Searching

Rochester Institute of Technology

RIT Scholar Works

Theses

Thesis/Dissertation Collections

5-1-1987

Searching

Lisa (Elizabeth) Forster

Follow this and additional works at:

http://scholarworks.rit.edu/theses

Recommended Citation

ROCHESTER INSTITUTE OFTECHNOLOGY

A Thesis Submitted to the

Faculty

of The College of Fineand Applied Arts

in

Candidacy

for the Degreeof

MASTER OF FINE ARTS

SEARCHING

LISA FORSTER

(ELIZABETH)

APPROVALS

Adviser: Philip Bornarth

/

_

Date:

~

p

-vln

Associate Adviser: Leonard

Urso

/

_

Date:

S

&

I

):V

7

•

Associate Adviser: Sheila Wellsl

_

Date:_---"'-f-.::::....<+-.::....,<'-

Cfr/ln

7

r

'

Special Assistant to the

Dean for Graduate Affairs: Philip Bornarth/

_

Date

:

s

/ n_

.

-

/n

,

Dean, College of

Fine and Applied Arts

:

Dr. Robert Johnstonl

_

Date:

I

,

,

hereby grant permission to the

Wallace Memorial Library of RIT

,

to reproduce my Thesis in

whole or in part. Any reproduction will not be for commercial

use or profit.

I,

,

prefer to be contacted each time a

request for production is made

,

I can be reached at the

following address.

Lisa Forster

3041 Atlant

ic

Ave

.

TABLE OF

CONTENTS

Introduction _v

Concept ₁

Design and Composition ₈

Media-Technical Search ₁₅

Conclusion ₂₁

Bibliography

22

The purpose ofthis Thesis has been an exploration ofthe means of_composing paintingsthatare _{personallyexpressive,} meaningful in concept, and _{aesthetically exciting,} while

being

structurally welldesigned and executed. An intensive search in the areas of_concept, or idea

development;

design and

composition; aswell as the technical concerns in choosing media and the _methodologyof its use has resulted in growth, increased

knowledge,

and _many newdiscoveries. Each area has been_{systematically} explored ingreatdepth in a productive and effective sequence. The process involved in thedevelopment of conceptwas researchedthrough _many avenues. Theareas of art philosophy, human

development,

psychology, mythology, historic viewpoints, artist's diaries andwritings, artist's

biographies,

interviews,

and personal experience have been considered. The

studyof design and composition has been extensive. Both pictorial material, sculpture, and writings of

theory

have been studied. Investigation of _varying media and techniques was undertaken to determinethe bestmeans of _giving visible form to the conceptsdeveloped. This wasdone

by

_{researching along} with a lotoftrial and error. Each partofthis investigation and

CONCEPT

A work of art is a_vision, an

idea,

a concept, or athought

translated into visible form. It is form given to perceptions.

These perceptions are derivedfrom the life experiences ofthe artist.

"Art has its roots in real _{life. Art may}

affirm its

life-giving

soil or repudiate itwholly.

It may mock as

bitterly

asdid

Goya,

be partisan, aswas

Daumier,

discover

beauty

within the sordid

and real as_{did Toulouse Lautrec. Art may}

luxuriate in life positivelyand _{affirmatively} with

Renoir,

or

Matisse,

or

Rubens,

or Vermeer. It may turn to the nebulous horizons of sense-experience with the

Post-Impressionists,

the

Cubists,

the various orders of

Abstractionists,

_{but in any}case

it is life itselfas itchancesto existthat

furnishes the stimulusfor art." '

An artist respondsto the world around him in _manyways. All of his _{senses, visual, olfactory, auditory, tactile,} and

kinesthetic,

take in impressions. His intellectprocesses this information. His sense of spirit and _energy give importanceand

value. His individual kinesthetics infuence thedynamics

perceived. The artist's

feelings, fears,

and pleasures are part of

his

thinking

and color his mode of perceiving.

Therefore,

while

an experience is an external _stimulus, it is interpreted

by

the artist _uniquely because of his

being;

the sum total of his mind,

soul, and body. Itbecomes important then, for the artistto understand his being. An understanding of his

inner-self,

personal sense of reality, values, individual rhythms,

kinesthetics,

spirit, and _{energy is}of consequence. It helps him in selecting

meaningful modes of expression. This knowledge coupled with a

sense oftrust in his intuition allowsthe artistto relax and go

with the flow ofhis expression.

Thus,

experiences influence the artist, butthe artist's

individuality

influencesthe perception of these experiences and how

they

will betranslated into visible form.

"

Forms in art arise from the impact

of idea upon _material, orthe

impinging

of

the mind upon material.

They

stem out of

the human wish to formulate

ideas,

to

recreatethem into entities, so that

meanings will notdepart

fitfully

as

they

do from the mind, so that

thinking

and belief

and attitudes _mayendure as actual things. For form is notjust the intention of

content, it isthe embodiment of content. Form is

based,

first upon a_supposition, a

theme. Form is second, a _marshalling of

materials, the inert matter in whichthe theme is to becast. Form is _third, a_setting of _boundaries, of

limits,

the whole extent of

idea,

but no _more, an outer shape of idea. Form is , next, the relating of innershapes

to outer

limits,

the _{initial establishing} of harmonies. Form is

further,

the _abolishing

of excessive content, ofcontentthatfalls

outsidethe true limits ofthe theme. It is

abolishing ofexcessive _materials,

whatever material is extraneousto inner

harmony,

to the order of shapes now

established. Form isthus a

discipline,

an

The form given to aworkof art then derivesfrom the idea orconceptofthe artist. Itgives visible shape to his thoughts. It extends his _{reality beyond his} own being. The ideathen, exists in timeand space as a material entity. It becomes

available forothersto perceive.

Perception,

while

individual,

can be universal as well. Carl

Jung

describesour unconscious mind as_containing the

"collective unconscious"

information from all of man's past

discoveries and achievements. This meansthatthe artist as

well as theviewer can draw upon this reservoir. Theartist

creating from his inner intuitive sensibilities can utilize his

unconscious in his creative process. The symbolism and images

thatarise can be universal aswell as personal forboth the

artist and theviewer. Itcan becomea communication between

them. Theartist'screation becomesa "visible pattern that

represents asymbolicstatementaboutthe human condition".

An ideaor conceptthat _{has meaning for}the _artist, one

that has a_{strong identification} with hisvalues and feelings of

emotional

involvement,

can allowfor an expression of greater

impact. David Levine puts itstrongly.

"To _{be genuinely}

important,

awork of art

must contain evidence ofthe artist's

concern foror with his _{subject; conversely,}

superficial involvement in thesubject itself

cannot in his view producegood painting".

Therefore,

it is important thatan artist express that

which is of personal importanceto his own psyche orbeing.

Although his artshould be an expression of his _time, he needsto search out and discoverthose ideaswhich are

truly

an

important partof his being.

3.

Jung,

Carl,

Man and His Symbols.

4.

Arnheim, Rudolph,

The Powerof the Center, pg. xi.

With these ideas in _{mind, this Thesis study began. It}was atime to search out and discover the ideas or concepts that were of the most intense interestand most _personally

meaningful. Itwas _necessaryfor me to look

internally,

to explore _{my innerself, to} determinevalues, rhythms,

kinesthetics,

ways of _perceiving,

feelings,

_energy

fields,

spirituality, and thoughtpatterns. Next itwas importantto

assess the experiences that had hadthe greatestimpact and for which there was the stimulation or motivation forvisual

expression. I needed to _{find ideas from my}experiencesthat called for communication in visible

form,

that _{had left strong} impressions _{in my} mind, and that had not _{previously been} exhausted orsolved _{in my} previous _painting experiences. It was _my goal to explore newterritory.

One of the areaswhere I felt much new

territory

could be exploredwas _{in working} with figures.

Having

models available allowed this_studyto be possible. I programmed _my time to concentrate on _{working from} the figureto betterunderstand the

structure, volume, and characteristics. This concentration helped me shift_my attention to the _study of organic

forms,

as opposed to the period _preceding this _study, where I had studied architectural forms and structures.

Studying

the figure for this prolonged period in an intenseway, yielded good results for me from many pointsof view.

My

level of_proficiencychanged and _{my interest held. These} paintings and drawings were intendedto bestudies, not complex pictorial statements.

Yet,

they

were_{very satisfying} and played an important role in my progress. Afterthe period of _{closely observing} the figure

itself,

I was able to extend _{my focus}to also include the

Another setof ideas was

brewing

simultaneously. I had

spent a month in the mountains ofAustriathesummer before

beginning

this program. I had an urgeto expressthe

impressionsfrom this experience. A new_{way for} this to happen

eluded me. So atthe mid-pointof _mystudy, I returned to the

Alps,

this time to Switzerland for more research.

Driving

mountain _passes,

hiking

trails in the mountains, and

photographing, rekindled the impressions and the stored images in my memory bank. To produce literal images was not _mygoal. So while I took in individualviews, an overall essence or sense

of thespiritwas the most pertinentdirection of _myscrutiny. Part ofwhat seemed to impress me in addition to the sights,

was theatmosphere and sense of space.

My

mind _consciously and _{unconsciously} recordedcolorsequences, theconfigurations of rock

formations,

the patterns ofdark rock againstthe

glacial _{snow, the} flowpatterns and dynamics of water

cascading down mountain _streams, and _many other

fascinating

bits ofdata.

Atthe end ofthesummer, more visual datawas stored from a

trip

to Grand Manan

Island,

New

Brunswick,

Canada. It is an island in the

Bay

of

Fundy

with _very unusual geological

features. One side of the island has 200 foot high rock cliffs

that meetthe sea abruptly. The water _{laps gently up} against

this rock face in times of quiet seas. In times of _stormyseas,

the waves crash againstthe rocks, sending spray and foam into

the airin beautifuldynamic patterns. The rhythmic forms were

somewhat_predictable, yet complex and neverquite the same.

Watching

this ballet of surfis always _mesmerizing for me as I

identify

with the motion and dynamics. The otherside ofthe

island is atsea level with quiet _coves, uninhabited

beaches,

littlevillages nestled beside the ocean in protected

bays,

and

views of other little islands reaching out into the

Bay

of Fundy. The almost30 foottideschange the shoreline's appearance

rapidly providing an _{everchanging interaction between the rocks,}

sand, and water. Again I drove _around, hiked _extensively, sketched, photographed, waded, canoed, went out on a small

fishing

vessel,

day

dreamed , asked questions, and absorbed.

I

totally

immersed myself in _{the experience,} again

letting

myconscious and unconscious mind respond. The

intensity

of this involvementwas to be of greatbenefit later as these _many

impressions found their_way into _my paintings. Thatthe sea

was _meeting with the mountainous rock faces was

bringing

together for me two_compelling fascinations. All through _my

life I have been an undauntedclimber andwater person. Some

inner

force,

a kindof_{compulsion, irresistible} to me, caused me

to climb _{from early childhood,} notjust fornew vantage points, butalso for the physical appeal oftheactof climbing.

Water,

be ita _pool,

lake,

or_ocean, has always beenworth a pilgrimage

and _{is restoring} to _my soul. I liketo

look,

but also be in or on

the _{water, moving in it}or _{sensuously moving} on its surface.

My

present addiction to sailboarding, or_windsurfing, as it is also called, meets this need. Both thesefascinations involve visual elements of _experience, butare also kinesthetic. The more this

Thesis project and research progressed, the more apparent it

becameto me that the _merging of both the visual and

kinestheticwere atthe_verycore of _{my being. This}

discovery

was to _profoundly effectthe final resultand is important in

viewing thefinal paintings. Thatthesefinal paintings were

very personal statements _may not _{necessarily be} evidentfrom casual observation. While thatdid not effecttheir aesthetic

qualityor objective value, itwas importantto me. A personal

or individual artistic statement in this

body

of work was one

of _my goals.

The sense of kinesthetics as

being

of vital importance to

me needed to be renewed in my mind. This identification with motion, with

being

_actively and _physically

involved,

was significant.

Moving

in and through space,

feeling

the wind against _me, whether

bicycling,

_{sailing, sailboarding, skiing,} or

hiking,

isexhilatarating. For _{me, this} movementor motion is

rhythmic, There is an innersense of musicthat is

kinesthetically

expressed. To translate these sensationsor

While I attempted to understand myself and _my own

characteristics, I continuedto _study and read aboutthe artistic ideas of others. I was interested inthe thought processes,

motivations, personal _symbolism, and conceptdevelopment of

other aritists. _Timespent in this research _{both in reading} and

interviewing

was of greatvalue. There seemed to be patterns

thatemerged. Some artists depended _primarilyon theirown

innerdreamsor intuition as the source of_{their expression;} and

this then was their_primary focus. Others relied on the

experiences intheir immediate environment as

they

sawthem

and transformedthem into pictorial form from their

observations. The degree to which this _group altered or

interpreted what

they

perceived varied greatly. There also

emerged a _groupof artistswhose ideaswere generated

directly

from _manipulating their materials. In this _group conceptswere

notintellectualized beforethework was

begun,

butappeared or

developed

during

the progress ofthe work. Otherartists

attempted to integrate these methods.

They

combinedtheir

intuitive innersensewith theirexternal observationas and also

allowed their media to generate directionsas well. I explored

working in each oftheseways

during

_{my Thesis} study. While

each method had its _merits, the lattermethod seemed to work

best for me.

In producing the

body

ofThesis work, I set some goalsfor

myself. I wanted apersonal translation _{from my} own _primary

observations and/or experiences. I sought a non-literal

translation, one thatcontainedthe essence ofthe concept. In this work it was agoal to promote _mysubjective involvementin

the interpretation, togive visual form to _{my feelings.} I wished

to combine _{my intuitive} responses with _{my intellectual ideas}

while _allowing the media to generate additional dimensions.

Thetaskthen, was tofind a_{way for} meto meetthese _goals, to

give form to _my

ideas,

to design and compose a series of

DESIGN AND COMPOSITION

Composition is defined asthe arrangement of elements

into an _{aesthetically} unified whole. _{It is putting} together

parts to create a _new, harmonious entity. The elements of

shape, value,

hue, line,

and

intensity,

are manipulated. In two dimensional work itinvolves theformation of a_pattern, an

interaction between negative and positive forms. The artist

musthave an _{understanding} oftheelements ofdesign. The individual choiceseach artist makes shape thecomposition and

give it uniqueness.

Many

ofthepaintings thatpreceded _{my Thesis study had}

been composed geometrically. The structurederived in an

architectural manner. An axial format was_commonly used.

Angular shapes tended to dominate. Therewas an exploration of

intentionally

flattened space. Therewas

however,

afull use of

color, in

hue,

value, and

intensity

inthe work. One central

theme was explored thatcould be understood in a

fairly

obvious

way even though an attempt was madeto provide counterpoint.

It wastime to lookforotherdesign solutions.

In

designing

and_composing this

body

of_work, itwas _my

intention to stretch _my perimeters. A listof goals wasformed.

There were areas or ideasthat I wishedto explore, comprehend,

and incorporate. I wishedthework to

be,

to have orto include: Complexity-while maintaining unity

Unity

ofform andconcept

Full use of pictorial space

Spatial depth-manipulation of the illusion of third

dimension

Use of organic forms

Non-staticforms

Strong

dynamics

Rhythmicsense ofform and interval

Sequencing

fora sense of movement

(fluid movement) Kinestheticgracefulness

Interweaving

offorms

Interweaving

ofedges

Asense of _spontaneity

A_strong senseof structure

Colorrelated toconcept

Use of personal refined color sense

Interplay

of warm againstcool colors

Full value range

Use ofdescriptive

line-drawing

Use ofpersonal _calligraphy

Opaque

drawing interplaying

with areas of

transparencies

An

interplay

of active areaswith quiet open areas

Incorporating

all ofthesecomponents with aesthetic

success seemed awesome. _{Yet working in} thisdirection was

where I wished to concentrate. _{The pathway}to the end was not

clearfor me inthe beginning. I groped, struggled, and

experienced _{many frustations. At}times, it seemed as though

each direction I tookwas unacceptable and sent me back to

square one again. The pieces ofthe puzzle did notfall easily

into place. Itwas _{necessary for} me to takecircuitous routes

over and over.

When onehas established a_vocabulary of solutions that

are successful and incorporated as partof one's _production, it

requires a_{strong shaking} ofthe tree, so to speak, to change.

Thischange was desired. To change required

building

a new

vocabulary. To build a new_vocabulary required exploration into less familiarterritory. Territoriesor areas for exploration

were thus mapped out and _{systematically} approached. Each area

of_study added _{to the vocabulary} and _slowly and _sequentiallythe

desired change tookplace.

Since _my experience in figure

drawing

_{from life had been}

limited,

this becamean area I wishedto explore. I began with the intentof_establishing a competence _{in understanding} and

portraying theform and structure of the figurefrom accurate observation. The colorcharacteristics thathelped definethe form wereof interestto me, aswell.

Capturing

the presence of the model was also a concern. _{I focused my} entireconcentration in this direction. The many, _{many drawings} I did

during

this

period were studies. Asthe poses

by

the models were of

relatively short

duration,

I concentrated on the figures

themselves.

However,

the placementon the pageofthe figure

was

thoughtfully

considered. The standards I setfor myself

were high and required _many hours of work.

Finally

I moved on to also incorporate the pictorial space around_{the model,}

concerning myselfwith thecontext aswell asthe figure.

I,

then,

was concerned with _establishing a spatialsense within the pictorial format. One setofpaintings and drawings was an

attempt todeal with severalfigures in one composition. I

played with the _{spacing between} thefigures and the tensions created thereby. Itried multiple

imaging,

that _{is overlaying} one over anotherto create

interesting

interactions. I referred to

my sketchbooks and did a series of composite scenes with figures. Somehow theseseemed too close to illustrationsto

satisfy my goals. I did aseries of lithographs with _slightly hidden

figures,

more abstracted. Atanotherperiod of

time,

I

shifted _myconcentration to a _studyof volume. I focused on establishing a _strong sense of volume through distortion and

exaggeration oftheform. All ofthese studies _{honed my}skills

and added to _my repertoire. I acquired more knowledge from

which to draw.6

The ideaof _{using my} travel experiences in the mountains

and in Canada persisted. The rock cliffs _meetingthe sea

continued to bean inspiration fora series of paintings.

Many

steps took place _along the_waytoward the final realization of the concept intended.

While in Grand

Manan, Canada,

I back-packed _my

drawing

and _painting gearto the locations I found inspiring. I drew

directly

ontowatercolor paper with permanent ink so thateach

linewould havethedirect expressive_{quality felt} atthe moment

ofobservation. Drawings were donethat aimedat _recording

what I sawwithout major changes in composition. Others were

done where choices ofwhatto

include,

_exclude, or rearrange

were

freely

exercised. In _these, essences ratherthan realities

were recorded. I also did a series of watercolors _{using both}

methods. Atthesame time I took a series of photographsto

record whatthecamera perceived. These were intended to

gatherdata. The aim was notto find a ready-made composition.

The compositions I envisioned wereto be more _encompassing

than _anyone particular view/

The next _stepwasto translate oneof thepen drawings

into anotherform.

Using

the basiccomposition established in

the pen

drawing,

I did a pastel

drawing

. Itwas atranslation

in more abstracted form. I worked

intuitively,

_weavingthe

forms and colors in an expressive way. Itcaptured a sense of

atmosphere and some ofthe moodthrough use of color in very

close value range. It was an impression ofthe reality. A

second version wasdone in the same way. Ittookon a

characterof its own even though begun from the same reference.

Thecolors were changed, as well as the value patterns and

shapes. In this

drawing

the space was considered differently. Therewas an intentional

flattening

of the spatialfield and a

zeroing in closerto the vertical cliffforms.

7. See

Illustrations,

8-9.

8. See

Illustration,

10.

9. See

Illustration,

11.

10. See Illustration, 12.

Expanding

the idea onto a largecanvas followed. The same

drawing

was again the basiccomposition chosen as a point

of reference. Thecolor in thefirst pastel version was also used

as an inspiration. This acrylic _painting was painted

intuitively

concentratingon the interaction of

interesting

shapes and color.

Itwas painted at close rangewhile_{concentrating} on the

abstractformswithout_viewing the references. When the

painting was viewedfrom a

distance,

itsurprised methat the landscapefrom which it _sprung was so apparent. The

atmospheric_quality seemed to dominate and become stronger

than the geological features orforms. This effect was

consistantwith _{the experience,} but had notbeen consciously

recorded. It intrigued methat this atmospheric _qualityagain

intuitively

appeared, altering theweight ofthecomposition in yet anotherway. "

Simultaneously,

I painted a30" x 40" canvas with even

different dynamics although still _{springing from} the same

drawing

as asource. Thistime theshapes or pieces of color were larger and flatterand more angular. It has a more active

set of_tensions, but is still quite atmospheric. The

fog

shrouded sense of spatial _{subtlety is}

definitely

in character

with the experience.12

In each _case, thecompositions were

begun from the same

drawing,

butaltered both

intentionally

and

intuitively

as

they

progressed. This series hada lotto

communicate aboutthe experience that prompted it.

By

beginning

each time with the same

idea,

itwas possibleto _play

with different ways of _arranging the pictorial elements and

then analyze the results ofthese slightchanges.

11. See llustration, 13.

The next _{two versions, both} on 4' x6' canvases didn't

survive.

They

feltmuch too staticto me. Thecliff forms stood

so _solidly that one's eye could not progressthrough thepicture

plane in an

interesting

way. One was so sweet

that I was reminded ofthe _{sentimentality}of the 19th Century.

Thiswas not _myaim. Itwas _{psychologically necessary for}me

to

destroy

itto go on. Itwas painted overaswas its companion. In both of_{these paintings,} I had used the same reference asthe

others, butagain was _{experimenting} with _changing the

composition _{slightly, shifting} thefocus to seewhat would happen. What happened was notacceptable, butquite

educational.

The level of frustation atthis pointcaused meto paint

over one of these canvaseswith avengence, subjecting itto all forms of abuse and experimentation. Since _{in my} mind itwas

expendable, I explored

freely

on

it,

_adding a_complexity of elements, strong value _changes, visual and actual _textures, and

elements of stronger color.

Finally

itwas turned _verticallyand

some neutral areas blocked in. Thetextural excitement and

strong contrasts

totally

transformed the idea and extended its

dimensions. _{The painting} reads quite_abstractly now with _many

otherideas incorporated as well. While I had painted _many

paintings in oils and acrylics in this same

bold,

abstract

manner, itwas a

long

time ago.

Having

specialized in recent years in

totally

and

thoroughly

_{researching watercolors, my}

thinking

wasgeared to the possibilities ofthat medium more

than itshould have been. While this _{painting did} notcontain the

kindof spatial dynamics and movementthatwas _my ultimate

goal, it had many exciting things

happening

in it that I wanted to explore further in the next paintings. It became then the

beginning

of the nextseries. ,<J

13. See Illustration, 15.

As this next series of paintings

began,

the concept began

to change it's focus from the land and rock masses to more and

more emphasis on thewaterforms. The paintings were painted

abstractly and intended to be so.

However,

it became evident

thatanother part ofthe experiences I had hadwas

influencing

the choices I made.

Shifting

_thefocus meantthatdifferent

kinds of shapes appeared. I was ableto more

freely

manipulate

the spatial elements. I worked hard to get a_complexity of

interesting

calligraphic shapes _{that overlapped,} had

intermingling

edges, and sequenced in such a_waythat itwould

cause one to percieve motion. I used _sequencing of colorand

valueforthis effect as well asto create a

deep

sense of space.

The use ofcool, neutral colorin areas helpedto create depth on

the picture plane. Some areas had closetransitionsfrom one

colorto another thatwere quite subtle. Other areas had strong

contrasts between colors. Some areas had brilliant bits of

color in full

intensity

_playing againstthe neutrals ortheir

color compliments. I played areas of visual quietness against

active, dynamiccalligraphy. Complex texturalareas were

contrasted with open areas. I worked to getthe

break-up

of

space to be such that one wouldfeel asthough the _painting

extended or pushed beyond the confines of its physical

boundaries. I wanted an interaction ofthefigure and ground

elements. While working for_{these effects,} itwas also

importantto methata _strong sense of structure was created.

The paintings wentthrough _many transformations to getthe

desired results. Determination and persistence paid off. As I

moved ahead on _some, the next one was more _easily resolved.

The final paintings chosen for my Thesis Exhibition satisfied

manyofthegoals that I had setforthis study. 4

MEDIA-TECHNICAL SEARCH

Whilean artist must look for his own ideas andconcepts,

he must also discover the design and composition solutions that

serve as the most successful means of _giving visualform to them. At the sametime the choice of mediathatwill best

realize his intentions mustbe determined. An artist in the 20th

Century

has _many materials at his disposal. The influence of

the mediathatan artist chooses_may not seem as important in

the formation ofthe work to the viewer orart historian.

They

tend to viewthe finished product and based on theirown

knowledgeorthatwhich

they

have aquiredfrom others,

determine theirviews. This vantage pointdiffers greatly from

that ofthe artistwho is actively involved in creatingthework.

There is abond between theartist and the tools and materials

thatgive realization to his intentions.

During

thecreative

process the materials themselves _{may influence} thedirection

that takes place becauseof theirinherent properties. These

properties could bethe chemical or physical _{chacteristics, the}

molecular structure and _{its ability} to be manipulated, the

visual sensationsthatare perceived or_sensed, and/orthe

limitations or possibilitiesof the scope oftheir applications.

Characteristics such as its opacity or

transparency

effect its

use.

Viscosity

is afactor. The chemical interaction between layers , ifused, becomes important. Thatthe materialswill

adhereto the surface when a ground surface is used is

important. _{The malleability} or

forming

_{possibilities, the}

techniques of

joining

or_{constructing,} and/orthe structural

stability ofthe work, influence the design both in its inception

and

during

the_working process. The original concept _may

changeas theartist adapts and responds to whatis

taking

place

during

his creative process. This information was important for meto research for each media or material that I used or

explored.

Asa _practicing artistfor many yearswith an insatiable

curiosity, I have explored _many materials.

Having

this

experience allows me to be able to choosethe media thatbest

suits theconceptor idea that is the inspiration for a piece of work. Years have been devotedto

drawing

media. Atonetime

collage and assemblage techniques were explored. Ata time

when studio space_permitted, oil paintswere the chosen media.

A

body

of

large,

bold,

abstract paintings resulted.

Researching

the use ofacrylics followed this period.

They

were used in

manyways fromthin transparentapplications to thick opaque applications. Thesevaried from small impressionistic

paintings to large abstractions. The possibilities ofthe

printmaking media were then explored from silkscreening,

etching,

lithography,

and _woodcutting to monoprinting. A period oftimewas spent

doing

welded steel sculpture, welding both

rod and

heavy

sheet steel. In addition to these areas of concentration as a _{practicing artist, my} undergraduate studies

includedwork in _{ceramics, textiles, weaving, enameling,}

jewelry

making, graphic

design,

and photography. The time

immediately

preceding this Thesis study wasdevoted to a thorough exploration of thefull range of watercolor painting.

The background of this wide range of media exploration wasto

influence this_{Thesis study in many}ways. This study _then, was

a extension of _{my ongoing study,}where each componentof past studyor production was incorporated ordrawn from in the

creation of the new

body

of work.

In working outthe means to express a concept or an idea

fora series of work, It has become a habit for meto go through

a sequence of studies in various media. Some ofthese _early

studies contain qualities that do not appearin the laterwork.

As theartist, it is importantto be open-minded and value each stage inthe creative sequence for its merit in the development

ofthe idea or concept intended. As the viewer or

historian,

it is

makejudgementsthatare out ofcontext orto place avalue on

a piece thatis not valid tothe intent of thework or sequence.

An _{individual study} in a sequence ofworks _may expore buta

fragmentofthe concept

being

explored. _{When working} on

location,

I _{usually backpack many} materialswith me. To record

detail,

I maychoose to do afine line pen and ink drawing. At the

same

time,

I will also do graphite studies thatgive me

information aboutthe value patterns that I see ortheways that I chooseto arrange them. Watercolorstudiescan be used to

expressthe effects of lightandthose of color. Markers are

handy

to _carry and quickto use to record both linear

characteristics and _{dynamics. A quickly done} expressive line

can become a shorthandforme _{in recalling} thatwhich inspired

me. These ways of _{gathering data}

by

_using several media

help

me to record the _{many impressions} thatflood _{into my}

conscious and unconscious mind. Studio workthatfollows

profitsfrom this multi-faceted approach. The data recorded in

the _primaryexperience is used or leftout

by

_{intent according} to

whetherit is relevantto the workthatemerges. _{This working}

pattern was used in this study. Studies were made in morethan

one medium and were approached in differentways.

Atthe time this _study

began,

_{I had been specializing in}

watercolor painting. In orderto

develop

an expertise in this

field,

I sought out _nationally

known,

_producing and _exhibiting

watercolorartists. Watercolorartists in the United States use

the medium in a wide _variety of ways. I soughtacomplete

understanding of theaesthetic_qualities, as well as

learning

the

chemical properties, and thecharacteristics ofthe materials

available on the market.

My

_{study included}

testing

allthe paint

brands,

color

interactions,

(Chemical interactions aredifferent than with other _media.), paperbrands and _weights, awareness

ofthe

current

leading

watercolor _artists, and _study ofthegreat

works from the past. The kind of knowledge I sought and gained

was

highly

specialized. _{Since any} one artist's experience is not

necessarily comprehensive, itcould _{only be} gained

by learning

what each of_{many specialists had discovered. These ideas or}

the information gathered was _{tested in my} ownwork. It was

in the middle of oneofthese

testing

periods that _{my Thesis}

study began. I was_working on a series of paintingsthat were

being

produced totest an individual brand ofGerman-made paint

forcolor

brilliancy

and intensity. Watercolorswere used also

for thefirst figure studies.

Atthistime exposureto Sheila Wells' _{strong dynamic}

pastels excited and inspired me. She hadattained a

highly

complex surface _qualitythatdid not interfere with her_concept,

but realized its presence in a rich and an _excitingway. With no

previous experience with this medium, I started from square

one.

My beginning

effortswerecrude indeed and humbling.

Facility

came with timeand _{dedication. The quality} thatI

soughtwas not a blended tonal _effect, butthe multiple

layering

of linear strokes thatwould build up asurface richnesswhile

still

describing

theform. Hour after hourwas invested. The

encouragement ofothers helped

during

the _many moments of

frustration.

Eventually

, I began

toning

the paper with a middle

value of a neutral color with either watercolor or acrylic paint.

These backgrounds were not a singleeven _tone, but had a

pattern.

My

goal then becameto achieve an

interesting

interaction between thefigure drawn with pastels and the

painted background. I experimented also with pastel _pencils,

colored charcoal _pencils, and soft pastels on a wide_variety of

papers. The qualities thatdeveloped from the

layering

of linear

strokes of_varying colors, were _exciting to study. I wantedto

find a_way to incorporatethis rich surface_{quality into my}

paintings. 16

15. See Illustrations, 4-7.

I discovered other qualities that Iwished to use in my paintings in _exploring other media

during

this time as well. In

creating two stained glass_{windows, I} playedwith atype of

lightquality. The leaded

lines,

and colorsequences created a

strong sense of motion. _{The inspiration} camefrom some quick sketches that related to windsurfing, thus

involving

motion.

Working

in metals allowed mean _opportunity to manipulate

three-dimensional forms. The first major piece was quite

geometric, as itwas generated around a spherical silver bead. Itwas a silver pendantwhich was constructed _sculpturally of

geometric elements _{using both} silverand plexiglas. The next

pendant was also made of _sterling silver ofconstructed

elements, but becamea bit more organic in progress. Three

Baroque pearls added a_contrasting element. In contrastto

these, the next piece wascreatedwith more organicforms. It

was forged from sterling silverstock. This piece wasdone at a

timewhen I was _making progress in thedevelopment ofthe ideas in my paintings _relating to waterforms and motion.

These concerns are evidentin this piece. Exploration ofthese forms in metal continued_{simultaneously} as the paintings were

being

developed.

To express the ideas thatconcerned me and meetthe

goals I had set, I determined to paint large formatcanvases

using acrylic paint. 4"x 6' stretchers were built. Canvaswas stretched and primed. I readied several in order to be able to

work on more than one at atime and to be able to

keep

a

momentum _going when generated. To workon this large

format,

I hadto readjust _{my working} procedures. Large airtight

containers allowed me to mix and

keep

paint easily.

Mixing

many of thecolors ahead in quantity made iteasierto work quickly. It also meantthat I could judge thecolor _relations, one

to another, while the paint was still wet. Acrylics often tend to

change when the paint has dried. These are subtle

differences,

but do exsist. From the

containers of_{base colors, I} could mix _manyadditional ones as

needed.

Altering

and _making slight changes

by

_{starting from} a pre-mixed base color keys _{the color, relating} it in a harmonious way.

Finding

brushes thatwere largeenough and worked _well,

took some research. Thiswas important as one of_my goalswas

the use ofthe direct line orstroke as an expressive _entity, (As

opposedto onethatconsisted of"filling-in" an areawith the

brush). I experimented with paint viscositiesforthis same reason.

Differing

ways of _applying the paintwere alsoexplored.

Acrylic modeling paste and marble dustwere used on the

canvases where a build _up of surfacetexture was desired. The

use ofthese materials and _working methods was evaluated

according to its compatibilitywith _{my intentions} and the

aesthetic success.

The final paintings have areasthat have been painted in

differentways. Some areas are painted with thick impasto

paint. Others are painted with layers ofthin transparentglazes.

Theconcern forspace and structuredetermined the method

chosen.

Thus,

the use ofthe materialswas influenced

by

the

intent.,

Butthe materials and toolschosen also generated new

directions as the paintingsprogressed. The paintingswere

constructed in many layers. Linearelements were woven and

overlapped to build _up atextural surface andcreate a complex

spatial system onthe picture plane. In some of_{the paintings,} I

worked from lightto darkwhen _{adding layers. In} others I

reversed thisprocedure to workfrom darkto light. Theeffect

of a light glaze overa darkcolor is very differentthan adark

glaze overa light area, even ifthe tonal area is of asimilar

value. The edges of shapes were varied to provide both

separation in some places and visual _continuity in others. In

this mannerthe

paintings'

complexities were constructed.17

CONCLUSION

The exploration and research that has taken place

during

this Thesis study hasproduced considerable growth in many

areas. _{In searching} out ideas and conceptsthat had personal

meaning, I have learned more about _{myself, my}thoughtpatterns,

and _myvalues. _{In reading} aboutand _questioning other_artists, I

have been presentedwith _manyvantage _points,

differing

concerns, and ways of

thinking

orinterpreting. This

information,

I have attempted to process, assimilate, and

understand. In putting these ideas into practice, I have explored

many approachesto

designing

and composing. Problemswere

set _up and solutionssought _{resulting in} new insightsand

capablities. New knowledgewas gained from exploring other

media. All ofthis investigation and _study made this Thesis

study a valuable

learning

experience. It is my intention to

continuethe search to find ways of

translating

_{my ideas} and

concepts into aesthetically

interesting,

meaningful, visual

BIBLIOGRAPHY

Abbey,

Rita Deanin and G. William

Hero,

Artand Geology.

(Utah,

Gibbs M.

Smith, Inc.,

1986).

Arguelles,

Joseand

Miriam,

Mandala.

(Boston,

Shambhala,

1972).

Arnheim, Rudolf,

The Powerof the Center. A study of

Composition in the Visual Arts.

(Calif.,

University

of California

Press,

1982).

Bag

nail,

Oscar,

The Origin and Propertiesofthe Human Aura.

(York

Beach,

Maine,

Samuel

Wieser, Inc.,

1937).

Bandler,

Richard.

Using

Your Brain-Fora Change.

Neuro-linguistic

Programming, (Moab,

Utah,

Real People

Press,

1985).

Berger, John,

Wavsof Seeing. (Great

Britian,

BBCand Penguin

Books,

1972).

Brett,

Bernard. A Historyof Watercolor. (New

York,

Excalibur

Books,

1984).

Buechner, Thomas, (foreward),

The Arts of David Levine. (New

York,

AlfredA.

Knopf,

1978).

Cezanne, the Late Work. (New York.Museum of Modern

Art,

1977).

Chaet,

Bernard. An Artists' Notebook. Technique and

Materials. (New

York,

Holt Rinehartand

Winston,

1979).

Clift,

Wallace,

Juno and Christianity. The Challengeof

Reconciliation.

New, Crossroad,

1986).

Dine, James,

Jim Dine Figure.

Drawing

1975-1979. (New

York,

Harperand

Row,

1979)

Feibleman, James,

The Quiet Rebellion. (New

York,

Horizon

Press,

1973).

Feldenkrais,

Moshe,

The Elusive Obvious.

California,

Meta Publications, 1981).

Gawain, Shakti,

Creative Visualization.(New

York,

Bantam

Books,

1979).

Heider, John,

The Taoof Leadership.

Atlanta, Georgia,

Humanics New

Age,

1985).

Hoopes,

Donelson,

SaroentWatercolors. New

York,

Watson

Guptill Pub.,1976).

Hoopes,

Donelson. Winslow Homer Watercnlors( New

York,

Watson

Guptill,

1969).

Hunter, Sam,

and John

Jacobus,

Modern Art.

Painting

Sculpture. Architecture. (Englewood

Cliffs,

New

Jersey,

1976).

Janssen, Horst,

HorstJanssen.

(Hamburg, Germany,

Brockstedt,

1983).

Kearns, Martha,

Kathe Kollwitz: Woman and Artist. (Old

Westbury,

New

York,

The Feminist

Press,

1976).

Langer,

Susanne, Feeling

and Form. A

theory

of art.(New

York,

Charles Scribner's

Sons,

1953).

Langer, Susanne,

Philosophy in aNew Kev.

(Cambridge,

Harvard

Press,

1942).

Larrea, Juan,

Guernica. Pablo Picasso.

(

New

York,

Arno

Press,

1969).

Loran, Erie,

Cezanne's Composition.

(Calif.,

University

of

California

Press,

1943).

Lord, James,

AGiacometti Portrait. (New

York,

Farrar Straus

Giroux,

1965).

Moore,

Henry,

and John

Hedgcoe,

Henry Moore. Mv Ideas

Inspiration and Life as an Artist. (San

Francisco,

Calif,,Chronicle

Books,

1986).

Penrose, Roland,

Picasso. His Lifeand Work.

(Calif.,

University

of California

Press,

1981).

Penrose, Roland,

Portraitof Picasso. (New

York,

Museum of

Modern

Art,

1971).

Pickvance, Ronald,

Van Gogh in Aries. (New

York,

Harry

Abrams, Inc.

Pub.,

Metropolitan Museum of

Art,

1984).

Selz,

Jean,

Turner.

(

Bonfini

Press,

1977).

Shahn, Ben,

The Shape of Content.(Cambridoe.

Mass.,

Harvard

University

Press,

1967).

Werner, Alfred,

Degas. Pastels. (New

York,

Watson

Guptill,

1967).

Zigrosser,

Carl,

Prints and Drawings of Kathe Kollwitz. (New

c o

-t'

eg

c g

"co

'

- _-T-'

A

in

g

co

- *

CD

c

.g

cc i -4

1

IB%H^ra

'"%

(

%4

1 *

k

adi

Hk

;JB

A

*. /V'ji

18

--3B

ES..

#>-'

^;

Pr-'l

JHl

^S0

ISFjtjLr* -=3^

~H$m

**- - '^^S^^r

""'^

* I

r^

'

VrrjjJ

*-*3

A

^

- _-*ff

-_ .

-;--fe-*iBas*'

v#H8

;3*#*E<

*.

A: <

Illustration 8

j

v

V

\

-.--? - *

...

g

2

-*.

4a

w

-eg

CO

g

CO

-t'

g

CD

c

_g

"co

CO

CD

g

v ,

-'

CD

g

'to

-*