Theme of this thesis is the passing nature of things or ``impermanence{\crqq}. The theoretical part of thesis, it covers the philosophy of the theme and give personal view on the theme of impermanence, using quotes from experts in the field of philosophy. It discusses the sections chosen for the practical part of the thesis. The practical part of this thesis is divided in five basic sections {--} man, animal, tree, machine and rock. The next theoretical parts are devoted to colours, textures of material, action painting and gestical abstraction. The application of the techniques and processes in teaching is discussed. In conclusion, I give my personal interpretation of the theory and apply it to this thesis. The practical part of this thesis consists of a cycle of 10 paintings (60 x 80 cm) in acrylic. The cycle is devoted to man, animal, tree, machine and rock in relation to the central theme.

This dissertation explores value-creation in interaction design through practical collaborations with studio craftspersons. A focus is on the meaning of “preciousness” from a design perspective – what I refer to as Making Preciousness –  which highlights aspects of material properties, design processes, and the attitude to the design space. Theoretically, the work takes inspiration from the Japanese philosophy of Wabi-Sabi, which is based on the fact that things are impermanent, incomplete, and imperfect. This reflects a view of preciousness beyond notions of practical use, luxury or monetary cost. In addition to theoretical studies, I engaged in practice-based research at the intersection of interaction design and studio crafts, in the domains of leather, silversmith and textile crafting. Through an approach that blends these practices with the making of interactive artefacts, preciousness for interaction design was explored. Through this work, I extract three qualities, all of which are closely linked to attributes and values ​​embedded in the craft practices examined. I refer to these as resourceful composition, material sensuality and the aiming for mattering artefacts. Resourceful composition refers to approaching a design space “resourcefully”, meaning that the designer actively values and uses the specific qualities of materials and tools consciously, for what they are suitable for. Material sensuality is about appreciating the sensory experience of interacting with materials, arriving through particular material qualities, such as texture, temperature or smell, but also interactive qualities. Aiming for mattering artefacts involves actively designing for impermanence, incompleteness and imperfection, and through that contributing to notions of preciousness through use, care, ownership and interaction between users and artefacts over time. The attitude of making preciousness can be seen as tying together materials and making with user experiences of computational artefacts. For interaction design, this points towards making processes in which computation and material knowledge, craftsmanship and aesthetic intentions are placed at the core. These values ​​relate to cultural, but also sensual experiences, which can be seen as under-explored in the design of interactive products. / <p>QC 20171213</p>

Impermanence concerns every aspect of our lives, yet it goes unseen often for that same reason. In my dissertation, I wish to explain what impermanence is and delve into the role of impermanence in art. I will first dive into an explanation of what impermanence is, starting from the teaching of the Buddha, then introducing impermanence as a primary quality, highlighting its distinction from the manifestation or secondary qualities, e.g. change, movement, ageing. I will then investigate three examples of how impermanence can be utilised in art. The first case is the representation of impermanence in Jackson Pollock’s abstract paintings, for which I argue that what makes it possible is the inherently unstable appearance of the pieces combined with the artist’s intention and other variables. The second case is that of Anicka Yi’s exploitation of impermanence as a medium for her installations, borrowing Sherri Irvin’s comprehensive definition of medium. I will explain how Yi uses impermanence inside her art, and how she employs the quality in the piece in an effort to achieve her purpose, that of communication. The third and last case concerns the acceptance of the impermanent nature of the medium in street art, which will be pivotal in the achievement of the goal of subversiveness.

The artist discusses her Master of Fine Arts exhibition, Echoes of Home, held at the Tipton Gallery in Johnson City, Tennessee on display March 15 through April 8, 2022. The author provides insight into concepts and influences relating to the creation of the exhibition with perspective on her intimate connection with place and memory. The exhibit features five installations addressing home, elusive memory, and the change and continuity of cultural traditions over time. The works consist of a series of large-scale wild clay vessels, gestural clay bookends, a wall installation of cups with a line drawing, suspended porcelain slabs, and video projection of clay materials “being breathed”. All works explore how the passage of time and the elusiveness of memory affect psychological connection to place. This exhibit is the culmination of iterative exploration of materiality inspired by exchange among the artist, the landscape, and Appalachian culture.

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