The work in this exhibition is the result of philosophical contemplation and the concepts that followed from these moments. The moment that we find ourselves conscious, the moment in which we inhale or exhale is the focus of this work. Through the materiality and physicality of paint, I explore this moment. Paint thus acts as a metaphor for my body, having set parameters that dictate its cause and effect. The very nature of painting; its essence, is the moment of state change from a fluid material to a solid state. I use the method of process and tools that I invent to help express these concerns of eternal recurrence. I make paintings that make space visible and invisible.

A Many Splendored Thing is a summation of my artistic production during my masters.

Behavioural Enrichment is a series of paintings of fictional zoo exhibits; the body of work as a whole creates a silent zoo. The paintings merge imagery and draw comparisons between the stage-like sets of mid-century interior design photographs and Western zoos exhibits. The paintings present curious new worlds that comment upon the artificiality that is in both zoos and the ideal home. The contained curious new worlds that comment upon the artificiality that is in both zoos and the painted environments are complete with props of still-lifes, behavioural enrichment devices from zoos, and animal actors. These strange worlds of artifice are constructed with images within images: odd compositions and disintegrating spaces that balance between an illusion of depth and an abstract flatness. The work provides a space for the imagination to contemplate many possible metaphors.

“A Strange Loop” explores abstraction through a series of paintings that begin from a single point and evolve infinitely to create a self-contained, self-referential, and yet endlessly self-generating world. The series was created through an elaborate and repetitive process of tracing the marks, drips and forms from an existing painting. These traced drawings archive the act of painting, and serve as a map that reconstructs the space of the subsequent layers, which in turn generate future paintings. The drawings work in a symbiotic relationship with the paintings, each evolving in relation to each other and perpetuating each others’ existence. The resulting paintings are fictional spaces which emerge out of the painting process itself.

This thesis presents a study of both traditional Chinese painting and threedimensional (3D) digital non-photorealistic shading techniques, the results of which are used to create a short animation illustrating an environment that maintains the aesthetic of a Chinese painting while exploring a two-dimensional art style in a new way through camera movement and parallax. Traditional Chinese painting uses alternative methods to communicate depth, such as value range, water-to-ink ratio and vertical placement of objects. In contrast, perspective and parallax are native characteristics of 3D digital technology and are easily generated using a virtual camera. When combining these two mediums to inject linear perspective into the Chinese painting style, it is equally important to maintain the integrity of the aesthetic by adhering to the stylistic and compositional rules throughout the animation. As a result, the final project may be paused at many key frames and appear to follow these rules closely. This study also describes the methodology of translating the Chinese painting aesthetic into a 3D digital medium, which can also be used in the interpretation of other traditional art styles.

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Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Art History." Includes bibliographical references (p. 247-275).

Thesis (M.A.)--Brigham Young University Dept. of Art. / Includes bibliographical references (leaves 81-84).

Thesis (Ph. D.)--Princeton University, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 488-520).