Thesis (M.F.A.)--West Virginia University, 2009. / Title from document title page. Document formatted into pages; contains v, 159 p. Vita. Includes abstract.

Thesis (M.F.A.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains xiii, 53 p. Includes abstract.

No description available.

No description available.

No description available.

No description available.

In this Master of Interior Design practicum project, the tenants of Andre Breton’s Surrealist theory inform the design of a commercial fashion studio and showroom in the adaptive reuse of a vacant warehouse in Bushwick, New York. The project looks at the circumstances of creative activity for fashion design production. The purpose is to investigate how the interior environment induces spontaneous creation: how one’s working environment influences the work, and conversely how the content changes the interior. Relevant theories on imagination and experimentation in art practice have been used as a foundation for design exploration, primarily through automatism in painting. The design process therefore demonstrates how the correlative relationship between Surrealism and creativity can be evidenced through interior spatial representation. Exterior and interior form and materiality inform the spatial experience and respond to the post-industrial context.

No description available.

Thesis (M.S.)--University of Wisconsin--Madison, 1960. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 62-63)

In Magical Thinking, Heidi Conrod explores through the act of painting, the depiction of mental states through the cautious release and withholding of visual, conceptual, and autobiographical cues. Reflecting on the nature of memory and time and the fluid ways in which these seemingly immaterial phenomena interact, the paintings represent multiple visions within one viewing experience; commenting not only on the surface of things, but also on what may lie hidden beneath. The works are best understood through introspection rather than a forced rationale. These paintings are intended to read like a stream, or perhaps a pool of consciousness, where the unconscious is expressed through swirls of imagery with surrealist undertones alluding to the seemingly contradictory conditions of dream and reality. Here fact, fiction, memory and imagination, are intertwined in a non-linear style through a multitude of painterly applications.