The Empty Space project aims to explore the interior and exterior space of an object through the use of Perspex. The solidity of the concrete or minimalist art object and the space that it physically occupies will be challenged by the use of visually ambiguous material. Physically solid yet visually transparent or reflective, perspex challenges our perception of solidity - what is internal and what is external. It is by nature a subversive and ambiguous material. The visual transparency of the material contradicts the physical presence of the object it creates. It creates a play between presence and absence. It is this spatial contradiction that this project exploits in order to create physical and visual tension. The solid physicality of the objects will directly draw on the tradition of concrete art and the language of minimalism. The visual transparency of the material will however, subvert this language both conceptually and literally. This will make the relationship between internal and external space more complex, challenging the physicality of the art object and questioning the nature of solidity.

The Empty Space project aims to explore the interior and exterior space of an object through the use of Perspex. The solidity of the concrete or minimalist art object and the space that it physically occupies will be challenged by the use of visually ambiguous material. Physically solid yet visually transparent or reflective, perspex challenges our perception of solidity - what is internal and what is external. It is by nature a subversive and ambiguous material. The visual transparency of the material contradicts the physical presence of the object it creates. It creates a play between presence and absence. It is this spatial contradiction that this project exploits in order to create physical and visual tension. The solid physicality of the objects will directly draw on the tradition of concrete art and the language of minimalism. The visual transparency of the material will however, subvert this language both conceptually and literally. This will make the relationship between internal and external space more complex, challenging the physicality of the art object and questioning the nature of solidity.

Thesis (Ph. D.)--University of California. / Photocopy made by University Microfilms International, Ann Arbor, Michigan, 1980.

Viewed from odd angles, the ordinary looks new and the commonplace becomes unusual. The purpose of my creative project, Re-envisionina the Ordinary: A Study of Vantage Points in Painting, was to use unusual vantage points and multiple viewpoints as compositional devices to show familiar household scenes and objects in a new way. Analysis of artworks and writings by realist painters such as Edgar Degas, Paul Cezanne and Pierre Bonnard helped me learn how each of these artists used unusual or multiple viewpoints While researching these artists, I began to understand why space is one of the fundamental issues of art. I found that, as an artist, I cannot use vantage points and viewpoints without considering the larger issue of space.Artists throughout time have wrestled with the question: how does one represent three-dimensional space on a two-dimensional surface? By presenting different treatments of space, I showed how various artists have answered the question. Leonardo da Vinci solved the problem using linear perspective. Edgar Degas and Pierre Bonnard answered the question usingoriental space and unusual or multiple viewpoints. Paul Cezanne's solution was a new system of unified space.Contemporary artists provide other answers to the question of space. Rene Magritte used the illusionary devices of linear perspective to paint his surreal world. Philip Pearlstein returned to Degas' and Cezannes' concept of space to emphasize both the three-dimensionality of the figures and the twodimensionality of the picture plane. David Hockney found his solution in the multiple viewpoints of cubism.My creative project is my answer to the question. I integrated unusual vantage points, and multiple viewpoints to create ten paintings with unified space. I used some conventions of linear perspective to show depth. For example, sizes and details in my paintings diminish with distance. I then contradicted the three-dimensionality by using some conventions of oriental space that flatten the picture plane: oblique perspective, overlapping and positioning an object next to the front surface. / Department of Art

An artwork does not obliterate the traces of its making. In the contemporary technological context such "untidiness" is effectively erased through instrumental methods of production. A great divide exists between instrumental and poetic modalities of disclosure which is no more apparent than in the arts of cinema and architecture. The motion picture camera is the emblem par excellence of the voyeuristic sensibility of the disembodied 20th century spectator who inevitably is the very same "body" which inhabits the built world. The British artist-filmmaker Peter Greenaway calls into question numerous aspects of traditional and technological ways of looking and making relevant to architectural creation as similarly constitutive of both functional and poetic realms. Rather than suppress or deny the traces left upon a work, he valorizes and amplifies them to create a self-reflexivity between work and working as an intertwining of the process and work horizons. His ultimate concern is for "content" or poetic meaning as the aesthetic experience of depth which he sees as a matter of the form and style of making.

Exegesis (MA--Art and Design) -- AUT University, 2007. / 5 DVDs contain appendices. Includes bibliographical references. Also held in print (47 leaves : col. ill. ; 30 cm. + 5 DVDs) in City Campus Collection (T 709.93 JAM)

Thesis (M.F.A.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains iv, 49 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 30).

Thesis (M.F.A.)--West Virginia University, 2005 / Title from document title page. Document formatted into pages; contains v, 27 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 24).

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 59-62).

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