Abstract

While snooping through my great grandmother's belongings, I found late 19th and early 20th century photographs and stories of untold familial histories, from that of my own family and others. I have taken to adopting these families, and I am attracted to these almost forgotten narratives and developing these incomplete truths about past relatives into fictionalized characters and false histories. I strive to develop a chaotic but structured quality in my work. While doing so, I explore relationships. The relationships evolve between myself and the material, myself and the characters, and the characters and the material. By observing and learning from the processes of ceramics, photography and other areas I incorporate those techniques into my paintings. The process of painting is as important to me as the finished work. Each painting begins with a direction that I want to take the work in, and I rely on intuition when establishing the rest. Scale is also a factor I consider, as I want the viewer to step back and become slowly absorbed into each painting, but also get closer and become more intimate with the work while exploring the details within it. Letting the embedded imagery within the processed field create it's own narrative.

Advisor

Brian Frink

First Committee Member

Liz Miller

Second Committee Member

Nancy Drescher

Date of Degree

2014

Language

english

Document Type

Thesis

Degree

Master of Arts (MA)

Department

Art

College

Arts and Humanities

Creative Commons License

Creative Commons Attribution-Noncommercial 4.0 License
This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License

Included in

Fine Arts Commons

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