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Orientador: Sérgio Mauro Romagnolo / Banca: José Leonardo Nascimento / Banca: Helena Gomes dos Reis Pessoa / Resumo: Aproprio-me da literatura para falar do processo criativo na fatura de meus autorretratos, me recorro aos contos homônimos de Machado de Assis e Guimarães Rosa, O Espelho. Elemento imprescindível para as composições plásticas e que também desdobra em questões filosóficas por se tratar das percepções da autoimagem, desta maneira, a investigação se apoia em conceitos da psicanálise conforme as relações do imaginário e do fazer artístico. / Resumen: Apropiome de la literatura para hablar del proceso creativo en la elaboración de mis autorretratos, me vuelvo a los cuentos homónimos de Machado de Assis y Guimarães Rosa, El Espejo. Elemento indispensable para las composiciones plásticas que también dispone cuestiones filosóficas, por tratarse de las percepciones de la auto-imagen, de esta manera, el estúdio se basa em conceptos del psicoanálisis de acuerdo con las relaciones del imaginário y la creación artística. / Mestre

Thesis (Ph. D.)--University of California, Los Angeles--Art History, 1982. / Vita. "A copy of this doctoral dissertation with the plates and three supplemental catalogues is on file at the Art Library of the University of California, Los Angeles." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 235-238).

Thesis (doctoral)--Universität, Essen, 1999. / Includes bibliographical references (p. 249-265).

The creative project, which focused in painting and print making was the conclusion of my graduate program in studio art. I executed eleven oil paintings and eleven woodblock prints which demonstrated my development as a twodimensional artist.Although oil painting is the primary medium that I worked in for this project, I expanded my visual vocabulary to include woodblock printing. These paintings and prints were exhibited at the University Theater Gallery on Ball State University's campus in April of 1992.Painting is a vehicle to express my ideas to others. It is also a vehicle for my personal discovery' Being Japanese (Eastern) living in America (Western) has created a cultural duality in my life, which is the main focus of this creative project. The emotional content of each piece is expressed through visual metaphors.This project involves the exploration of the female figure as a self-portrait, rendered in an environment that visually represents my emotional state of mind. It is a visual diary which started out with the creation of small black and white woodblock prints. I created the images of the four seasons with a female figure surrounded by decorative patterns. This idea expanded as I worked on the oil paintings, which are larger in format (human scale). My intention was to provide a stimulus for emotional response while gaining a greater understanding of how colors, shapes, and other elements operate expressively. For example, in most of the images I intentionally positioned the figure so that the face is turned away from the viewer and not portrayed. This allowed the viewers to project their own feelings onto the work.Along with the creation of the paintings and the prints, I researched past and contemporary artists who shared my ideas and concerns. These artists include the post impressionists--Van Gogh and Paul Gauguin; the Nabis--Pierre Bonnard and Edouard Vuillard; the Fauves--primarily Matisse; German Expressionists; and a contemporary English artist, Howard Hodgkin. / Department of Art

The subject of this dissertation is female self-portraiture in Australia of the interwar years, 1918 to 1939. The primary concern of this thesis is to consider self-portraiture as a conceptual process. Self-portrayal is understood as an act of cultural invention rather than an unmediated access to an essential core self. It is this invention and what is entailed in the process of self-imagining, rather than any formal analysis of the style, which is of greatest concern. (For complete abstract open document)

Univ., Diss--Essen, 1999.

Thesis (MFineArt)--University of Melbourne, The Faculty of the Victorian College of the Arts and Music, 2010. / Typescript. Includes bibliographical references (leaves 32-34)

With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.

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