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Dissertations / Theses on the topic 'Ceramic sculpture Ceramic sculpture'
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Liao, Jui-chang. "Sculpture in space /." Online version of thesis, 1992. http://hdl.handle.net/1850/11680.
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Cravenho, David M. "Conscious/Unconscious /." Online version of thesis, 1989. http://hdl.handle.net/1850/11514.
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Commanday, Clifford M. "Ascension /." Online version of thesis, 1995. http://hdl.handle.net/1850/12244.
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Clark, Tim. "Absence & presence /." Electronic version of thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/2677.
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Chang, Ching-Yuan. "Metamorphosis /." Online version of thesis, 1991. http://hdl.handle.net/1850/11626.
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Silapasathitwongs, Khontaporn. "Beyond the appearance /." Online version of thesis, 1995. http://hdl.handle.net/1850/12091.
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Wallert, Lisa. "Embodied : A bodily investigation through ceramic sculpture." Thesis, Konstfack, Keramik & Glas, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5553.
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Abstract Embodied evolves around the tactility of the present body, in relation to the eternal absence and the perishability of itself end the world that surrounds it. I work with ceramic sculpture, where the body in relation to the material and the world is both my theme and my method. The body is always present and a basic condition to experience and make objects; it is the subject, the objectand the execution in my work. The written part of my examwork is based on my process and studiowork.
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Adam, Mazin Siraj. "Responses to significant personal experiences /." Online version of thesis, 2007. http://hdl.handle.net/1850/4919.
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Levaque, Nicole. "generic of." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5893.
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generic of is a creative text paralleling the creation of my thesis exhibition. I use fragmented layers of narrative, description and prose in the same way each handbuilt ceramic is fired multiple times, allowing the glazes to build upon themselves. This is a close study of the still life, the intimacy of consuming, and how trauma is passed through the gut.
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Lee, Minkyu. "Hidden structure revealed /." Online version of thesis, 2008. http://hdl.handle.net/1850/7789.
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Thesis (M.F.A.)--Rochester Institute of Technology, 2008.Typescript. Accompanying CD-RW contains a PDF of the images referred to in the thesis, including images of sculptures from the artist's thesis exhibition. Includes bibliographical references (leaves 25-26).
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Fayer, Pamela Jayne. "An exploration of conscious and instinctive concepts within ceramic sculpture /." Online version of thesis, 1987. http://hdl.handle.net/1850/10320.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.
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Doctor of Philosophy‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Smith, Rachel Lucie. "Troubling ceramic art material imaginings in the field of visual art: Ruth Duckworth and Grayson Perry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48394944.
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Ruth Duckworth and Grayson Perry approach clay as a material for creative expression from different perspectives that are firmly located within their individual subjectivities, temporalities, spatial practices and in the wider cultural and socio-political contexts in which their works and methodologies are situated. In this essay Duckworth and Perry bear the burden of representation of being female and male, respectively, and in this respect their artworks reflect their individual responses to gender distinctions. Duckworth explores issues of sex and gender somewhat obliquely by comparison to Perry who takes a strident approach to what he perceives as a form of discrimination against men through their cultural representation as a result of British society’s expectations of masculinity. Perry expresses concepts of gender distinction and transformation through his embrace of transvestism as a way of life combined with heterosexual marriage, and in his work, writings and broadcasts in the media. Duckworth is largely silent and leads a more self-contained private life so that understanding her response to gender can only be a matter of interpretation from her ceramic practice.
The juxtaposition of these two artists provides an opportunity to consider how they each address gender through their work. This comparison also reveals some of the ways that the application of social and cultural interpretations of and responses to sex and gender contributes to a perception of Duckworth and Perry as sharing a degree of outsider status. Neither can be said to be purely an outsider artist yet their use of clay as a means of artistic expression inevitably leads to an association with the divisions and hierarchies within the art world involving art/craft and nature/culture binaries that are intimately connected to sex and gender debates alongside a consideration of primitivism, modernity and post-modernity.
These debates have relevance for a discussion of ceramic craft practice in contemporary Hong Kong and this dissertation draws attention to some of the issues facing the author who is also a practicing ceramic artist. The main focus of this essay is to reflect on the work, and to a lesser extent the lives, of Duckworth and Perry and more briefly Asger Jorn and Isamu Noguchi, whilst drawing some comparisons to the life of a practicing artist in Hong Kong who also works with clay, is female and originates from a different place from the one in which she currently lives and works.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Bothamley, Ryan J. "Pottery, the multi-sensual medium /." Online version of thesis, 2010. http://hdl.handle.net/1850/11887.
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Amato, Angela. "An illusion of reality /." Online version of thesis, 1987. http://hdl.handle.net/1850/10307.
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Tuttle, Megan K. "HAMBRE DEL ALMA:NOURISHING THE HUNGRY SOUL." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1258336622.
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Thesis (M.F.A.)--Kent State University, 2009.Title from PDF t.p. (viewed April 21, 2010). Advisor: Kirk Mangus. Keywords: ceramics; ceramic sculpture; figurative sculpture; heads; graffiti art; stream of consciousness; narrative. Includes bibliographical references (p. 16).
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Osborne, Ryan T. "Biomorphia." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397772443.
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Stafford, Kristina Marie. "Vivum excoriari /." Online version of thesis, 2008. http://hdl.handle.net/1850/8369.
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Masterson, Richard Garrett. "Torso as ceramic vessel." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4141.
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The ceramic forms in this thesis project represent a study of the sculptural and figurative qualities of the ceramic process. This study includes a search for a personal form language, development of the slab construction technique, and development of a glazed surface appropriate to the work. The subject of the work is the human torso, with the vessel-like forms focusing on the core of the body as a metaphor for the core of the human spirit.
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Castillo, Iris Margot. "The dance is in the dancer as the dancer is in the dance /." Online version of thesis, 1996. http://hdl.handle.net/1850/12236.
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Tomasik, Andrew J. "Forms of honesty : tactile experiences and organic formation in ceramic sculpture." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1318939.
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The primary objective for this creative project is to develop a series of wheel-thrown and altered ceramic sculptures that reflect my intuitive formation process. Although the work was influenced by a wide variety of outside sources, much of the impetus was born of my personal reflections on the concept of physical touch. My actions during the creation process were governed by sensory information absorbed mostly through my hands on the clay, and enhanced by inherent properties of the material. These preliminary experiences eventually sparked a desire to share this discovery with the viewer in the same tactile way. I further wished to include observers in the exhibit in a more direct and physical way, offering participants opportunities to explore their own sense of touch and consider how they relate to the objects around them. This body of work is an in-depth study of my intuitive creative process, a model for exploring the relationships between process and materials, and a means of providing observers of visual art a chance to connect with a visual object in a tactile way.Department of Art
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Collier, Maraiah Wenn. "Barangay my community, my family /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-03212005-202405/.
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Thesis (M.F.A.)--Georgia State University, 2005.Mark Burleson, Michael Murrell, committee co-chairs; Junco Sato Pollack, committee member. Electronic text (24 p. : col. ill.) : digital, PDF file. Description based on contents viewed July 16, 2007. Includes bibliographical references (p. 23-24).
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Huckins, Rachel. "Origination /." Online version of thesis, 2008. http://hdl.handle.net/1850/8831.
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Bratcher, Donna Nadine. "Personal icons /." Online version of thesis, 1988. http://hdl.handle.net/1850/11525.
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Marcão, Cloves 1974. "A cerâmica contemporânea de Akiko Fujita : seu desenvolvimento no Brasil e no Japão." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285255.
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Orientador: Marco Antonio Alves do ValleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T21:07:18Z (GMT). No. of bitstreams: 1 Marcao_Cloves_M.pdf: 23323593 bytes, checksum: b494de6e9c7b7ba7dea9e3743afba9ac (MD5) Previous issue date: 2014
Resumo: O objetivo deste projeto é estudar o trabalho de Akiko Fujita, dentro do contexto da cerâmica contemporânea, abordando os conceitos que a colocam dentro deste contexto de contemporaneidade, discutindo também as mudanças que ocorreram e deram as características desta prática ceramista contemporânea. Estudar o uso que a artista faz da cerâmica para o desenvolvimento de suas obras tridimensionais. Pretende-se identificar quais suas inspirações para o desenvolvimento do trabalho, técnicas usadas, materiais. E, sobretudo qual importância que o seu trabalho trouxe para o cenário artístico brasileiro durante sua estadia no país. Abordamos também as dificuldades enfrentadas pela artista durante sua estadia, tanto pela incompreensão de seu trabalho, como também pela nossa pouca tradição neste tipo de trabalho. Estudamos sua relação com o público, sua contribuição para os que tiveram contato com ela, não apenas dando enfoque as suas obras, mas também com suas preocupações sobre a disseminação do conhecimento, bem como o papel social do artista. Esta pesquisa seguiu a abordagem analítica dos estudos bibliográficos, e para tal realizou a consulta de estudos abrangentes e de outros mais específicos, consultados em livros, artigos e periódicos científicos que trataram das temáticas que foram analisadas. Permitindo, desta forma, discutir questões estéticas e conceituais. Tal análise foi pautada nos estudos conceituais dos artistas e movimentos artísticos abordados, e seus traços característicos, considerando a cerâmica contemporânea e a escultura. Também nos baseamos em relatos de pessoas que tiveram contato com a artista durante sua estada no país. Com esta pesquisa pude entrar em contato com outras formas de se pensar e fazer arte, estabelecendo conhecimento de outra teoria filosófica que ajudou a entender o meu próprio envolvimento com o suporte artístico abordado
Abstract: The objective of this project is to study the work of Akiko Fujita, within the context of contemporary ceramics. Address the concepts that lay within this contemporary context, also discussing the changes that have occurred and have the characteristics of contemporary ceramist practice. The use that the artist makes pottery for the development of its three-dimensional works. What are your inspirations for the development work, techniques used, materials. And above all what importance that his work brought to the Brazilian art scene during his stay in the country. We also analyze the difficulties faced by the artist during his stay, either by misunderstanding of his work, but also for our little tradition in this type of work. His relationship with the public, their contribution to those who had contact with her, not only focusing their works, but also with their concerns about the spread of knowledge and the social role of the artist. This research followed the analytical approach of bibliographical studies, and the consultations for such comprehensive studies and other more specific interest in books, articles and scientific journals that addressed the issues that were analyzed. Thereby enabling discuss aesthetic and conceptual issues. This analysis was based on studies of conceptual artists addressed, and their characteristic traits, considering the contemporary ceramics and sculpture. Also we rely on reports with people who had contact with the artist during his stay in the country. With this research we can get in touch with other ways of thinking and making art, by contacting another philosophical theory and that helped understand my own involvement with the artistic support addressed
Mestrado
Artes Visuais
Mestre em Artes Visuais
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Woodbrey, Timothy J. "Sensible Nonsense." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4281.
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“Truth happens only by establishing itself in the strife and the free space opened up by truth itself. Because truth is the opposition of clearing and concealing, there belongs to it what is here called establishing.”[i]—Martin Heidegger
All things contain their own individual existence. When I look at objects I notice material, tradition, individual history. These are starting points for my imagination to seed and germinate. My ideas are fragmented, nonlinear and nonsensical to others but they hold honesty to me. Honesty is powerful and is worth sharing.
This document is an examination of my work during my graduate studies. I will explain the importance of my relationship with: the imagination, jokes, materials, traditions and process as these are constant variables of my art practice.
[i] Martin Heidegger, “The Origin of the Works of Art” in Tanke, Joseph J., and Colin McQuillan. The Bloomsbury Anthology of Aesthetics. 394. New York: Bloomsbury Publishing Plc, 2012
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Lewis-Nash, Robert J. "Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.
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Hoover, Holly Lynn. "Diamonds in the rough : a journey of human spirituality /." Online version of thesis, 1993. http://hdl.handle.net/1850/11742.
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Santos, Elaine Regina dos 1964. "A escultura cerâmica e a partilha de conhecimento nas obras de Vilma Villaverde e Virgínia Fróis /." São Paulo, 2018. http://hdl.handle.net/11449/157438.
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Orientadora: Geralda Mendes F. S. Dalglish (Lalada Dalglish)Banca: Sumaya Mattar
Banca: Claudia Fazzollari
Banca: Jean Jacques Vidal
Banca: Zandra Coelho de Miranda Santos
Resumo: Esta tese defende a relevância da cerâmica na arte, bem como seu importante aspecto político, educacional e social. O trabalho teve como principal objetivo o estudo e a reflexão sobre o processo de formação, produção em escultura cerâmica e a atividade didática das artistas contemporâneas Vilma Villaverde, da Argentina, e Virgínia Fróis, de Portugal, que têm o corpo como temática em seus trabalhos artísticos. Neste âmbito, a pesquisa reflete sobre o contexto histórico da produção artística feminina, a presença do corpo na escultura, o papel da argila na escultura moderna e contemporânea, processos e procedimentos na criação das artistas selecionadas, seus mestres e influências herdadas, a instituição de centros de formação em arte, especialmente em seus países, bem como a atribuição do artista-professor. Como resultado a pesquisa enfatiza a forma como as artistas se consolidaram e como aliam suas criações artísticas ao seu trabalho de ensino, e como se dá a partilha de conhecimento.
Abstract: This thesis defends the relevance of the certamic art, as well as the importance of its political, educational and social aspect. The main objective of this work was the study and reflection on the process of formation, production in ceramic sculpture and the didactic activity of the contemporary artists, Vilma Villaverde of Argentina and Virginia Fróis of Portugal, who have the body as theme in their art work. In this way, the research reflects on the historical context of female artistic production, the presence of the body in sculpture, the role of clay in modern and contemporary sculpture, the processes and procedures in the creation of the selected artists, their masters and the inherited influences, and the establishment of training centers in art, especially in their countries, as well as the role of the artist-teacher. As a result the research emphasizes how artists have been consolidated and how they have combined their artistic creations with their teaching work and how knowledge is shared.
Resumen: Esta tesis defiende la relevancia de la cerámica en el arte, así como su importante aspecto político, educativo y social. El objetivo principal de este trabajo fue el estudio y la reflexión sobre el proceso de formación, producción de la escultura de cerámica y la actividad de enseñanza de las artistas contemporáneas Vilma Villaverde, Argentina, y Virgínia Fróis, de Portugal, que tienen el cuerpo como un tema en sus trabajos artísticos. En este ámbito, la investigación reflexiona sobre el contexto histórico de la producción artística femenina, la presencia del cuerpo en la escultura, el papel de la arcilla en la escultura moderna y contemporánea, procesos y procedimientos en la creación de las artistas seleccionadas, sus maestros e influencias heredadas, y el estabelecimiento de centros de formación en arte, especialmente en sus países, así como el papel del artista-maestro. Como resultado, la investigación enfatiza cómo las artistas se han consolidado y cómo alían sus creaciones artísticas a su trabajo de enseñanza, y cómo se da el compartir de conocimiento.
Doutor
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Gorman, Stephanie R. "Simultaneous opposition." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397372.
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The intention of this creative project is to explore the ideas of individuality and community through ceramic sculpture. The ultimate goal is to allow the viewers to draw their own conclusions about the suggested meaning, instead of forcing a direct reference. To achieve this, form, surface, texture, and grouping of individual pieces was utilized. Inspiration was drawn from the artworks of Barbara Hepworth, Michele Oka Doner, Yoonchung Kim, and from the multiple appendages of the sea anemone. The artworks were hand-built using high temperature clays that were fired in reduction, soda, and wood kilns. Plaster molds were used to maintain the identical forms, allowing the viewer to focus on textural variation.Department of Art
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Gibson, Melanie. "Takūk and Timthāl : a study of glazed ceramic sculpture from Iran and Syria circa 1150-1250." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627913.
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Sparks, Brittany. "This is Not a Pipe." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3777.
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The artist discusses her Master of Fine Arts exhibition, This is Not a Pipe, held at the Tipton Gallery in downtown Johnson City. Exhibition dates are from February 20 through February 28, 2020. The author provides insight into concepts and influences relating to the creation of the exhibition while offering a succinct perspective on her intimate connection with process.
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Leslie, James W. II. "My Nature." Kent State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=kent1196782535.
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Osborn, Lisa. "Encountering statues : object oriented ontology and the figure in a sculptural practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/13070.
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This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.
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Dinkins, Jonathan. "Apathy." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/dinkins/DinkinsJ0505.pdf.
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Tait, Trevor M. "In purpose there is harmony /." Online version of thesis, 1990. http://hdl.handle.net/1850/10899.
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Dykstra, Magdolene. "Polyanthroponemia: A Pursuit of Mystery." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5321.
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I wish I could believe in something. Having grown up in a religious household, I have continually teetered between faith and doubt. Landscapes seen and unseen are my last source of awe; here my doubt is suspended – for a moment. Using unfired clay, I create alternate landscapes inspired by sublime philosophy. The sublime experience is born in a sense of amazement linked to fear of something beyond our understanding or control. The amazing intricacy of microbiology, a whole universe existing alongside and inside us, fascinates me. The abundance of unfamiliar life in my work triggers a cautious curiosity. My imagined worlds push beyond the boundaries provided for them invading our tense reality. These unfamiliar landscapes offer a window of escape, where viewers explore their relationship to an alternate world which bears similarities to our own.
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Reynoso, Humberto. "Performing Binaries." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/252.
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I take a critical view of sociopolitical and cultural issues dealing with homoeroticism andgay politics. I explore gender theories in order to further understand what it means to bemasculine or feminine and how it affects my placement in society. I use art as a tool forexpressing sexual freedom while questioning traditional sexual identity. I'm interested in exploring ideas of the oppressor and the oppressed, and how power becomes an inevitable force (in every society) that creates a hierarchy, consequently establishing control. But what is power? According to various definitions, power is an entity that possesses and or exercises authority or influence. I want to focus on this idea of exercising authority, which one can argue we need, but why? To prevent chaos or is it to control a society? What about exercising influence? Do we need an influence exercised upon us? Or does that make us subjected to another person's subjective point of views? These are questions that I directly or indirectly ask with my work in relationship to gender, gender roles, and sexual orientation. I am interested in Judith Butler's theory in performing gender, and how in performing gender, one assumes social hierarchy of power depending on what gender we are performing. If I am a man performing as a man then I am treated differently by society than if I am a woman performing as a woman. But what happens if I am a man performing as a man who prefers men as lovers, or a woman who prefers other woman as lovers? In what context is this situation accepted by our society? And is it different for men and women? And why? What does it mean to be a man? What does it mean to be a woman, within the context of performance? Then taking it a step further and argue that we are all performing subjective ideas constructed by social norms.
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Lyons, Mark W. "American dreams /." Online version of thesis, 1990. http://hdl.handle.net/1850/11237.
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Pack, Crista Anne. "Ancient West Mexican Sculpture: A Formal and Stylistic Analysis of Eleven Figures in the Virginia Museum of Fine Arts." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1338.
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The Virginia Museum of Fine Arts (VMFA) has in its collection eleven ancient West Mexican ceramic sculptures. Given that the VMFA's West Mexican Ceramic figure collection has not been included in any extensive study, this thesis serves to provide a critical analysis of these figures through a formal and stylistic approach. These analyses are preceded by a brief history of the West Mexican cultures and highlight the artistic similarities and differences between each region. The primary regions under discussion are Colima, Nayarit, and Jalisco which correspond to modern geopolitical boundaries. Primary sources for these discussions are the figures themselves, while various published catalogues serve as comparative sources. Where applicable, iconographical theories are introduced and discussed in conjunction with the formal and stylistic analysis.
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Dunkleberger, Alisha J. "Bondo : not just for cars." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345337.
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This creative project was a study of combining large-scale ceramics and polymer resin (Brandname: Bondo) vessels. This project came out of an earlier experiment combining metals and resin, and therefore the interest in combining clay and resin was a natural transition for me, since ceramics was my major focus. I had a definite interest in the challenge of marrying two very different materials; clay and resin, and by using this combination I would make vessels that were visually successful and engaged the viewer.The technical basis for all of the ceramic elements of the vessels is wheel throwing. The molds made for the resin parts of the piece were wheel thrown as well. This project was very unique and there was little documented technical information for me to rely on other than personal experimentation and ceramic knowledge.The visual elements of clay with its opaqueness, and resin with its translucent qualities offered great visual contrast. The use of color contrast between warm and cool colors became an important element of the pieces.From an expressive standpoint, I feel the form of the vessels is viewed as solid and confrontational, yet very compelling. The smooth surfaces and the lush vibrant colors compel the viewer to examine the forms. The pieces are commanding in size and strength, so the viewer is somewhat hesitant to view for too long. There is a visual push/pull, a contrast between these simple yet over-scaled layered forms that evokes an emotional push/pull as well.Department of Art
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Lomax, Lawrence Talbot. "The development of a self-disintegrating core-body for use in an art bronze-casting foundry which employs the ceramic-shell investment technique." Thesis, Nelson Mandela Metropolitan University, 2004. http://hdl.handle.net/10948/219.
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The development of a disintegrating core-body for use in an art bronze foundry, which employs the ceramic shell investment process, begins with an investigation of four principal materials that will constitute the core formula. The specifications for the disintegration of the designed core-body formula fall within the parameters that are normally set and used in the ceramic shell art bronze casting process. The raison d’ être for the disintegrating formula is based on the premise that cement breaks down (spalling) after being subjected to heat above a certain temperature. It was shown that pure cement in the form of naked test bars 100 mm x 20 mm x 20 mm does indeed break down into separate pieces when fired to and above 9000C; where 9000C is the lowest recommended temperature required for sintering the ceramic shell investment mould. The addition of calcium carbonate to pure cement in the form of naked test bars, produced a more unified formula that did not break into separate pieces when fired to 9450C. However this combination of cement and calcium carbonate had a slow setting time of 12 hours and a shrinkage value of 2,3%, which were both above the parameters being sought for a quick-setting formula with a shrinkage value of below 1%. The combination of cement, plaster of paris and silica produced formulae that set within six hours and had shrinkage values of less than 1% but did not disintegrate within 72 hours. It was only after the addition of calcium carbonate to the these mixes that formulae resulted that set within six hours, had relatively low shrinkage values and showed signs of breaking up after 60 hours. It was further shown that by altering the ratios of cement, plaster of paris, calcium carbonate and silica, that the parameters for quick-setting formulae with shrinkage values of 1% and below, that also disintegrated within 55 hours, could be achieved. xvi It was also proved by subjecting these formulae to higher relative humidity conditions that the disintegrating times could be reduced and brought to below 48 hours. Selected formulae were then subjected to temperatures of between 9000C and 10000C. It was found that as the temperatures were increased so the disintegration times were reduced and were even further reduced under higher relative humidity conditions. It was found from the above experiments that the selected formula determined to be suitable in all respects as a disintegrating core-body was too difficult to remove from the hollow bronze cast when subjected to an actual bronze pour. Further experimentation using increased proportions of silica in the formula resulted in a final core-body that could be quickly and easily removed from its bronze cast as soon as the core-body had cooled to room temperature. The selected core-body formula (F21D) that was used in the final set of bronze casting procedures was found to function optimally when fired to a temperature of 9000C and could be quickly and easily removed from the bronze casts leaving a clean inner bronze surface, free from any remnants of the fired core. The document concludes by recording the delimitations and advantages of the final core-body formula F21D, as well as making recommendations based on these parameters for further study relating to disintegrating core-body formulations.
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Sinohuiz, Ibel M. "Anthropo-scenes." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/570.
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ARTIST
My work is a melding of mythology and personal experience. Growing up in the harsh desert of the Coachella Valley, I found refuge in music and art. My desire to become a drummer has leaded me to create a persona called Baby Lamb. Baby Lamb is a symbolic representation, as well as a physical manifestation of this desire and she is slowly evolving, eventually becoming my alter ego. Currently, the artwork that I create is a chapter in the life story of Baby Lamb.
BABY LAMB
Baby Lamb's art shows have included a collection of relics that have been made into a visual documentary of the artist's evolutionary presence. With guidance from Mama Lamb, Baby Lamb's ethereal mentor and ultimate drum Goddess; Baby Lamb is expressed through a variety of drum artifacts challenged by some of the most prominent drummers of our lifetime, John Bonham, Buddy Rich, and Jon Theodore.
MAMA LAMB
Mama Lamb is the original drum Goddess. She is a derivative of ancient rhythm masters from every spectrum of the universe and into the unknown. Mama Lamb is a symbol personified through earthly materials such as clay, glass, and real drum paraphernalia. Through these objects, Mama Lamb is able to help guide Baby Lamb into her authenticate self.
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Ross, Taylor M. "Manual." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555581017484701.
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Harwood, Jarel M. ".(In|Out)sider$." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3967.
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This thesis explores the insider/outsider dynamic experienced by individuals as they enter diverse social situations. The shift from insider to outsider is evoked through an art installation of 18 sculptures drawing influence from "goth" subculture, as the viewer enters and interacts with the art space. The subjects of culture and identity are discussed as they pertain to insider/outsider status.
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Alkandari, Fahad A. H. H. "Islamic ceramic ornamentation and process : proposals for a new aesthetic vocabulary in contemporary architectural embellishment within kuwait." Thesis, University of Central Lancashire, 2011. http://clok.uclan.ac.uk/2800/.
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Islamic architecture is arguably one of the greatest manifestations of Islamic visual culture. One of the defining aspects of the unique, aesthetic richness of traditional Islamic architecture has been the application of ceramic ornamentation or embellishment. There is a growing concern, however, that this legacy is being eroded. The diminishing identity of Islamic visual culture is particularly evident through current architectural developments occurring in the Arab states. The building revolution in the Gulf countries has dramatically increased momentum since the onset of the ‗oil economy‘, echoing the phenomena of globalization. This research project explores these concerns, discussing the erosion of Islamic ‗identity‘ within contemporary architecture in the Gulf States and in particularly Kuwait, as well as the ensuing decline in the use of ceramics as a defining embellishment material. The research compares the aesthetics of traditional and contemporary Islamic architectural design, whilst also examining the reasons behind this erosion in traditional design style. The diminishing identity of Islamic visual culture is investigated by combining studies in the fields of art, aesthetics, design, architecture, and the social sciences, in order to understand the nature of the research problem. A series of case-studies demonstrates how ceramics may be used to re-introduce a sense of Islamic identity within contemporary architecture. This offers design proposals, new materials and technical processes that acknowledge the rich traditions of Islamic Ceramics while also being appropriate for application within the context of contemporary Islamic architecture detailing; blending contemporary aesthetics and technical thinking with traditional Islamic design. The aim of the case-studies is to offer proposals for a new aesthetic vocabulary of architectural embellishment that is both appropriate to and innovative within, the context of contemporary Islamic architecture. This new aesthetic vocabulary III specifically blends contemporary design principals, new materials and technical processes, whilst acknowledging the rich traditions of Islamic ceramics. The PhD project, applies two types of research methodology: theoretical research and practice-based research. The former focused on social sciences and applied quantitative and qualitative research approaches, including surveys and interviews undertaken within Kuwait. The findings obtained from these surveys verified the emergence of a new cultural style of contemporary architecture and shaped the practice-based element of the project; proposals for ceramic embellishment that are contemporary, while still reflecting many recognizable aspects of traditional Islamic design. The new architectural style can be attributed to factors such as globalization, the adoption of international building styles, and a seeming unwillingness to incorporate traditional styles into new building design, all of which contribute to the currently weak identity of Arabic / Islamic ceramics within Kuwait. Despite of this, the survey revealed that Kuwaiti society maintains a strong relationship and affiliation with Islamic culture, although many seemed unaware of their own rich culture and its past legacy. The practice-based research involved two distinct phases. The first phase involved the development of a large number (172) of new glazes. The glazes were intended to reflect the palette of colours used over generations of Islamic Ceramic culture, while still being appropriate for integration within the contemporary Islamic architectural environment. The second phase of practice involved a series of case studies, embracing a wide range of contemporary architectural ceramic design processes (including 2 and 3 Dimensional geometrical patterns and interpretations of contemporary calligraphic design). The case studies utilised a number of modern technologies, such as 3D Solid modelling, CNC Rapid Prototyping and Laser-cutting, to prove that modern design and manufacturing technologies can be integrated within traditional ceramic processes. The aim being to both provide ceramic products that architects and designers can use to enhance the modern IV architectural environment of Kuwait and re-establish the creative status of ceramics.
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Masley, Jennifer Irene. "Transitory Ephemera." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619444631965175.
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Haines, Nicolin Baird. "Abnormality: Formal Explorations in Adaptation and Mutation." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1493287561812018.
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Cain, Micah. "Ambient." restricted, 2008. http://etd.gsu.edu/theses/available/etd-04192008-200728/.
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Thesis (M.F.A.)--Georgia State University, 2008.Title from file title page. Mark Burleson, committee chair; Ruth Stanford, Michael Murrell, committee members. Electronic text (29 p. : col. ill.) : digital, PDF file. Description based on contents viewed June 5, 2008. Includes bibliographical references (p. 29).
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Cadell, Melisa D. Ms. "A House Not of Our Choosing." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etd/1148.
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This thesis explores our existence through the confinement of the human body. The exhibition of “A House Not of Our Choosing,” was presented at the Tipton Gallery, 126 Spring Street Johnson City, Tennessee, from March 1, 2013, to March 8, 2013. It will visually describe Cadell’s thoughts regarding the figure as a fragile vessel. The installation is designed to require the viewer to closely examine the work from multiple perspectives.
The exhibition consists of sculpted paper, etched, painted, manipulated glass slides, and projection. Research discusses the work produced over a three-year period. Exploration and reflection in the areas of religion, history, philosophy and psychology contributed to the knowledge which inspired the exhibit.