A sculpture can offer visual information that is simple or complex. The work can present only a single facet to ponder or deal with all facets equally polished and linked. There can be enough information to arrange in an order that reads as narrative. All is possible but, without question, the more complex the sculpture, the more information given, the greater the challenge to the artist to make a coherent and interesting whole of everything being presented. The body of work presented in my thesis show represents the outcome of exploring a chain of questions about sculpture. The first question was simply how to present a sculpture of a seed pod. This question led to inquiring what the base could do for the sculpture. Next came a study of the artwork of Constantin Brancusi. I realized that he had used formal qualities of sculpture to link his bases and sculptures, so I wondered about the ability of formal qualities to solve my base/sculpture problems. All of the work was completed with the intent of expanding my personal sculptural lexicon. I also intended to develop a store of knowledge that allowed free use of multiple artistic concepts. The hope was that what was being communicated through a sculpture would be sufficiently complex that a viewer would be intrigued into considering all the possible implications of the visual information.

This thesis deals with the implementation of luster and underglaze ceramic decorating techniques into the secondary ceramic curriculum. The formation and presentation of this unit is based upon historical and contemporary research of lusters and underglazes, as well as the author's own work with the materials. An instructional unit was designed to fulfill three primary objectives. First, to acquaint the student with the basic materials and techniques; second, to introduce the student to the conceptualization of successful imagery; third, to give the student ample opportunity to explore the uses and possibilities of the materials.

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This text investigates the notion of dissociative feminism in the novel Luster by Raven Leilani. The protagonist of the novel, Edie, can be understood as a dissociative feminist using Xine Yao’s understanding of the unfeeling and Leslie Jamison's understanding of wounds. Edie as a dissociative feminist experiences detachment from her feelings and her life. She deals with this through art. Both looking to great works of art and creating her own. The text investigates how Edie understands herself through several great works of art including The Great Wave off Kanagawa by Hokusai, Judith Slaying Holofernes by Artemisia Gentileschi, and Christina’s World by Andrew Wyeth. The text also explores how these artworks are connected to Edie’s own art. As well as the aim of her artistic pursuit. This is done through looking at John Dewey’s notion of Art as Experience as Edie is participating in it. The aim of her artistic pursuit ultimately is to find a way to reconnect to her emotions and to create a channel for healing from a traumatic past and present. Healing is approached through communion with other characters in the novel, most significantly with Rebecca. This is looked at through Bell Hook’s notion of healing.