Browsing by Author "Coronel, Patricia D., committee member"

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Open Access
A facility without its own territory
(Colorado State University. Libraries, 2011) Straub, Edwina, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Ryan, Ajean Lee, committee member; Sparks, Diane, committee member
Dipping into the reservoir of tacit knowledge, the phenomenon in art that is created through the "knowing of that" or embodied knowledge. The integration of experience and perception is where the motivations of my art making comes from. It is through the manipulation of fiber that I am able to transform its essence into something extraordinary. Through the process of dyeing, sewing and cutting I create patterns in space. Through the integration of their shadows into the artwork, I create the ephemeral character of my art. The hand-cut modules are sewn in a grid. Through the full integration of the grid into the artwork, in part as scaffold and in part as element of the artwork, I create a dynamic composition of movement.
Open Access
Analogues
(Colorado State University. Libraries, 2011) Phillips, Lindsey Elizabeth, author; Bates, Haley, advisor; Coronel, Patricia D., committee member; Tornatzky, Cyane R., committee member; Eckman, Molly Jean, committee member
Block by block, pixel by pixel, my three dimensional work suggests the framework of the virtual and how it has become increasingly routine to cross its borders. Handheld devices are our tangible windows to the cloud, a reminder that we still reside in a physical world. The use of wood and enamel accentuate the materiality of my pieces but also suggest a link to historical mosaic and stained glass work. The exponential evolution of technology is contrasted by the excessive manual fabrication within one piece. The two dimensional drawings are the cloud itself. They express the invisible narrative within a single device as well as the dialogue it has between other connected technologies. Just as the sculptures have been stripped of function to highlight their physicality, the drawings broadcast a corporeal familiarity onto an incomprehensible dimension.
Open Access
Beyond the circle
(Colorado State University. Libraries, 1990) Gerhardstein, Alan P., author; Enssle, Manfred J., advisor; Coronel, Patricia D., committee member; Dormer, James T., committee member; Williams, Ron G., committee member
The direction of this thesis is one of personal expression, not intended to educate or direct the viewer, but to freely address concerns to which I am sensitive. The need to deal with my own values and those of the traditional world led me to ask questions about their parallels, relationships and validity. I realized I was influenced by a traditional ideology and needed to understand and evaluate its meaning. For me, tradition is a world already named, safe and comfortable; it provides the assurance that life is already explained and not unduly threatening. Tradition and training encouraged me not to question but to accept readily the ways I inherited. Among other things, those traditional concepts established the expectations of male and female. For example males are invested with a sense of power and authority which often prohibits their true emotions to be expressed. In such cases they are expected to "act like men". Their toughness is assumed to justify their power over the "weaker" sex. The female is expected to be an attractive homey, individual who compassionately nurtures those around her while expressing "soft emotional" characteristics. Because I questioned these stereotypes, I felt a need to establish my own definitions based on the basic structure of nature, avoiding cultural preconceptions. The basic structure of nature is void of human political, social and regional sexual preconceptions. At this level I am able to feel what it is to be human--not male or female. A parallel exists between the earth and humans in this regard, for the earth is neither male nor female but both. The earth is strong yet nurturing and, at the same time, powerful and weak. The power and violence of storms and other natural phenomenon are as intrinsic to the cycles of earth as are the calm and stable moments of a sunny day. To observe this in nature brought forth more evidence of the cyclical qualities of these characteristics.
Open Access
Buildings-reflections, interior spaces
(Colorado State University. Libraries, 2001) Lee, Jiseon, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Voss, Gary Wayne, committee member; Mitchell, Carol A., committee member
Buildings-Reflections and Interior Spaces are abstractions of urban environments. Their conception springs from a wish to break familiar patterns of ordinary environments. The simple, geometric and repetitive images indicate uniform urban architecture and reveal the standardized lifestyle of contemporary cities. In turn, the layers of spaces symbolize the complicated construction of urban architecture. The inspiration comes from urban architecture. Buildings as man-made geometrical forms are attractive to me. I was born and raised in a big city, which was modernized and developed in a short time. Concrete buildings and houses of similar styles pervade the city, but also claim their own identity. For me, the insignificantly detailed architectural structure provides considerable differences among buildings and for the overall aspect of the city. The sequence of windows and doors and angles and combinations of walls and stairs offer visual and physical variety. The question is: how can this visual aspect visually and physically interact with audiences, when forms inspired by buildings- which are exterior and hard objects- become relatively small, soft and interior when set up into exhibition spaces? Initially, I was looking for visual similarities and differences within the forms of spaces with which I am familiar. It became my intent to incorporate these with my experiences and observations of people in these spaces. My visual interests include physical distance and the relationships of forms within interior spaces, buildings and environments. The built environment is represented as a more universal space and a communicative object of abstracted geometric structure. Buildings-Reflections integrates repetition, order and disorder, relationships among surfaces, three-dimensional forms and untouchable perspectives. I am also interested in the relationships of opposites such as dark and light, big and small, transparent and opaque, condensed and open details, which represent features of urban architecture. Buildings-Reflections is intended to evoke viewers' memories of specific or ordinary places, just as I interpret these environments through impressions and fragments of my own memories. Interior Spaces invites viewers to participate in internal spaces that are created in an exhibition space, which are themselves already interior spaces. Partitions or wall-like panels are stitched and joined to create an isolating and contemplative space. This work leads audiences to walk through the passages created by screen panels. The stool placed inside invite the audience to sit and allows them to experience the layers of space around them as a new environment I regard materials and techniques as parts of the content of my works. Plastic screen is an actual architectural material and connects exteriors and interiors of buildings. In the actual objects, architecture, which is hard and opaque, becomes soft and transparent with this material. The use of transparent screen and opaque fabric, or several layered pieces of screen, allows me to create surface depth and three-dimensional forms. Softness of the works reduces the intimidating feeling out of size and architectural form. The size of the works suggests that viewers are in an imaginary big city. Soft and transparent materials are also deliberately chosen to eliminate the standardized feelings of architecture, providing intimate and tactile feelings. Stitched drawing is applied to plastic screen and fabric, which along with simplified geometric shapes that relate to three-dimensional forms, and various thickness of stitching allows variety of spatial perspectives. By manipulating these materials and techniques, I develop spaces that can interact with the actual environments in which the work is installed. Reinterpreting architectural forms in soft materials allows me to transform the nature of the original objects. I hope the work allows the audience to experience new environments that are a transformation of the familiar patterns of contemporary architecture. I also wish that the installation of the works allows audiences to interact with my works both physically and visually.
Open Access
Drawing on identity
(Colorado State University. Libraries, 2011) Rockett, Sarah, author; Kokoska, Mary-Ann, advisor; Coronel, Patricia D., committee member; Hempel, Lynn Marie, 1965-, committee member; Lundberg, Thomas R., committee member; Ryan, Ajean Lee, committee member
The focus of my work is to express aspects and constructs of identity through employing a physical drawing line. I view identity as a fragmented conglomerate influenced by one's personal experiences and interactions with social expectations. Through an analytical process of observation, I investigate my own identity by compulsively examining myself from the perspective of others and simultaneously considering my inner self. As the individual cannot be understood without her relationship to the many, my process highlights the roles that I play in relation to the collective of society. I take into account the many variations of social constructs, gender roles, and stereotypes that are imposed upon my identity, and question their impact upon my inner self. The result of this practice manifests itself in the form of art works made of many parts. Each work displays an accumulation of physical pieces that unite to emphasize the architecture of my identity. My art works tend to have an open-ended question or statement that propels their initial formation. They continuously grow, multiply, and accumulate to become drawings in space. By removing the traditional tools of drawing, the immediacy of the process commonly associated with drawing is increased with materials such as wire and thread. Through this method, there is a greater degree of tangible interaction by the artist with the work. I am no longer separated from the line by the tip of a pencil, but physically manipulating the movement of the line by hand. My anxious nature of looking inwards and outwards is recorded in each bend of wire and every stitch of thread. While these materials work harmoniously with my process, they also lend themselves in support of the conceptual aspect of the work. As I cannot escape the social construct of my gender, it must be noted that my work derives from an innately female perspective. Many of the questions that I pose towards social constructs revolve around the expectations of women's roles. With the use of wire and fibers, I am able to portray the complexity of contradictions that exists within my gender and myself. Wire functions as a strong building material, but is also durable, fragile, and may be manipulated to fit a specific mold. In this manner, the wire relates to current expectations of women both in the home and in the social sphere. Often viewed as having a delicate sensibility, embroidery echoes a long standing tradition of women's work and craft. However, the complexity of this technique can be emphasized and amplified when united with the physical drawing line. While I do not intentionally endeavor to compose a feminist statement in my work, an aspect of feminism remains in the process of self-discovery.
Open Access
Elemental cloth
(Colorado State University. Libraries, 2007) Cason, Cory Jo, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Voss, Gary Wayne, committee member; Clemons, Stephanie, committee member
Cloth is elemental. In its most basic form, it is created by interlacing threads in an over-under construction. Individual threads are woven together to create a substantive piece of cloth, and the result can be uncomplicated and beautiful. Elemental or basic, uncompounded visual form has the potential to be beautiful in its simplicity. Using only components deemed essential, I endeavor to create a visual experience with elegant directness and a quiet presence that arises from this idea of unassuming simplicity. My weavings focus on the essential, the elemental, and the inherent beauty found in visual simplicity. I use cloth to inhabit, divide, and shape interior architectural space. Acting as architectural markers, the weavings delineate space and guide viewer movement. It is important for me to create an overall atmosphere, as well as to provide engaging visual details. It is my intent to create a space that is refined in its simplicity, where stillness and silence are tangible. Architecture, spatial organization, movement, and color are specifically related to the viewer's experience and also described within the microcosm of the constructed cloth. The influence of architecture is evident in my work. I am particularly interested in twentieth century modern architecture. Cleanness of line, exactness of expression and use of industrial materials are aligned with my central idea of simplicity and visual economy. These characteristics influence the overall organization of the complete space and the design of the individual weavings. The two-dimensional weavings work together to create a three dimensional space. They act as an architectural construction that creates a distinct space through which viewers can move. The influence of architecture is also seen in the strong verticality and large scale of the weavings. The use of concrete, a material known for its economy and basic building applications, is a suitable companion for the cloth; both are inherently elemental in their nature. The weavings are grounded by their placement over concrete bases, reminiscent of architectural bases with columns or pillars. The spatial organization of woven fabric panels guides viewers through the work. By moving through the space, viewers can change their perspectives on the complete space as well as their proximity to the individual weavings. The small spatial gaps that occur in the weave of the cloth allow light and air to become components of the piece. This transparency encourages the layers of cloth to optically overlap and increases spatial depth. Viewers can affect the space by their own movement. Encouraged by the warmth of the material and innate human connections to the cloth, viewers can move throughout the space to take a closer look. The weavings are light and airy, and the space is activated as cloth sways with movement of the viewer. Movement is also present in specific fabric details. I use the ikat-dyeing technique to accentuate the vertical movement of the warp threads, in contrast to the less active unmarked space in the cloth. Ikat also marks the movement of the horizontal weft across the fabric, where one might see staccato marks or more lingering dashes. This technique allows me to reinforce and highlight the elemental nature of the cloth construction. The reduced color palette of blues, grays, whites and blacks acts to provide cohesion for the piece and sets the emotive tone of the space. A serious and contemplative color, blue fills the space with a quiet calm and stillness. This color palette evokes a sense of an expansive outside space effecting an atmospheric quality, while complementing the color of concrete and emphasizing economy and simplicity. The color relationships within the cloth highlight visual transition and emphasize transparency and lightness. I am drawn to visual simplicity and the creative potential it holds. Cloth, which is inherently elemental, is the form I have chosen to explore this idea. My weavings focus on the essential and the elemental, and I endeavor to create work that speaks with a quiet presence and that is beautiful in its simplicity.
Open Access
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(Colorado State University. Libraries, 2009) McGrath, Meghan, author; Yust, Dave, 1939-, advisor; Sullivan, Patrice M., advisor; Coronel, Patricia D., committee member; Faris, Suzanne, committee member; Flippen, Paul, committee member; Beachy-Quick, Dan, 1973-, committee member
My current work, as a painter, is interactive and personal. Patterns of communication, relationships, and personalities are represented through family portraits. I am interested in dissecting characteristics and connecting them visually. Rather than nostalgia, memory serves as a visual history. The portraits become metaphors for maps describing time, place and linear movement.
Open Access
Exploring my art
(Colorado State University. Libraries, 2001) Jendlin, D. Sean, author; Sullivan, Patrice M., advisor; Coronel, Patricia D., committee member; Williams, Ron G., committee member; Yust, Dave, 1939-, committee member
This thesis is an interpretation of a Tarot spread used as a tool to investigate my relationship to my art. My thesis paintings interface only with the ideas found in a specific number of Tarot cards. My thesis Paper concentrates on the functionality and depth present in Tarot as both a source for my work and the results of a divination about my work. Through this experience I have learned a process of painting which investigates and explores the human experience.
Open Access
Found, and wandering lost
(Colorado State University. Libraries, 2008) Kissell, Kevin, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Littrell, Mary, committee member; Faris, Suzanne, committee member
To view the abstract, please see the full text of the document.
Open Access
Functional beauty
(Colorado State University. Libraries, 2003) Bossert, Anne, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Wassell, Harold, committee member; Dunbar, Brian, committee member
To view the abstract, please see the full text of the document.
Open Access
Images in time
(Colorado State University. Libraries, 1987) Patin, Thomas, 1958-, author; Dietemann, David L., advisor; Yust, Dave, 1939-, committee member; Voss, Gary Wayne, committee member; Coronel, Patricia D., committee member; McKee, Patrick L., committee member
In my work of the past few years two of my major concerns have been the perception of wholes and the role of art as a means to understanding the world. Gestalt theories of perception present several principles describing how perceptual wholes are formed. However, Gestaltists see a whole only as perceptual and ignore that a whole is theoretical as well as perceptual. Also, Gestaltists do not consider a perceptual whole as changing and diverse. Our experience, however, is a buzzing confusion upon which we impose order in an attempt to see and understand our world. We are our own most intriguing example of theoretical and perceptual wholes. Despite tremendously varying experiences and changes in time we nevertheless view ourselves as whole and continuous. In my work I create a situation in which a person experiences the disparate elements within it over time as well as space, and inter-relates those elements both through a perception of them as well as through an attempt to understand them as being together. It is my aim for my work to be a part of a history of art and ideas which serves as an instrument in an attempt to understand our world.
Open Access
Masks
(Colorado State University. Libraries, 1988) Borak, Marie-Louise, author; Dietemann, David L., advisor; Lundberg, Thomas R., committee member; Coronel, Patricia D., committee member; Runyan, William E., committee member; Yust, Dave, 1939-, committee member
Creation begins, continues, and ends with a story. Life is the stage, and the mask is the storyteller. My thesis is the visual manifestation of my creation story. My masks are creation spirits. They plant their seeds along the "songlines" of their legends as they create the universe. Together they form the myth of all times and all places. When acting as intermediaries between the world of the living and the world of the dead, these masks put man in touch with spiritual reality. They are gateways of transformation and guides who help man put order into chaos. As an artist, I am engaged in the continuous effort toward experiencing the mysterious forces of the cosmos. Through my artwork, I want to keep the ongoing myth of creation alive.
Open Access
Masquerade
(Colorado State University. Libraries, 1995) Morris, Deborah Watkins, author; Lundberg, Thomas R., advisor; Sparks, Diane, committee member; Coronel, Patricia D., committee member; Voss, Gary Wayne, committee member
Masquerade embodies ideas concerning disguise and facade, separation and distance. As a landscape Masquerade is a place which depicts a frame of mind in memory. I think of this installation as a garden. Natural landscapes are not yet gardens, and they must thrive by chance. Gardens are watered places of planned beauty. They are controlled, contained spaces of ordered and selected abundance. For these reasons gardens have come to mean places of harmony and pleasant viewing of ideal forms in nature. Elements in the Garden In recent years many artists have utilized empty clothing as an image to express concerns about gender and other political or social issues. By eliminating the body, clothing through reference can focus on complex human conditions. For me, the empty dress provides a simple but content laden form with which to discuss the feminine and the female body in culture and nature. I use the dress as a metaphor to symbolize interior/exterior/mind/body. Looking at the empty dresses in Masquerade there is a sense of the body pushing outward against the cloth of the dress. The dress becomes the outermost boundary of the body, and cloth functions as a barrier between inside and outside. Stiffened cloth assumes shell-like qualities of containment and protection. The exterior view of the form also reveals messages about age, size ideals and sexuality. These strapless sheath evening gowns seek attention, a desire for attraction. The alluring forms mask the implied women inside. We see only the exterior and consider that we know all about these women. These facades are completed by culturally accepted codes applied to the dresses' forms. I am looking at the codified shell as well as the unknown empty inside. In Bangkok, Thailand, I remember a temple garden where dozens of stupa had been placed, their glittering structures towering over me. Passage between the stupa was narrow, and I felt dwarfed in their totemic presence. When I designed the dresses for Masquerade, I strove to evoke something of this forest feeling. With the multiple dresses I wanted to create tension between the forms like the passages between the stupa. Since social relationships are suggested, the dresses assemble in a non-touching gathering. Earth and glass make the floor. These materials were chosen to echo ideas presented in the dresses. As cloth supplies a screen between inside and outside, glass performs as a barrier between up and down. Glass also allows us to see a submerged reflection, an illusion going downward. The floor's glass tiles arranged in a grid pattern intimate a shiny ballroom floor. Exquisitely formed flowers have long been associated with the unconscious, the body, the feminine, and the earth. Gaily colored corolla and tempting petals sway invitingly to passing bees. Flowers reach upward to the light while their roots dig downward into the earth. Exchanges between the bee and flower benefit them both through fertilization and nourishment. Choosing to use images associated with natural systems allowed me to derive from and mirror their substance. Undulating edges at the top and bottom of the dresses came from observing the petals of roses. Structural ribbons of wire were suggested from crocus. Because the flower is the sexual organ of the plant, ideas about allure and sexual appeal could be applied to the surface decorations in the motifs of flower festoons. By associating women's dresses to flowers I could think of the whole composition as a garden. In the ordered arrangement of Masquerade the viewer is denied entrance. Viewing of the dresses must be interpreted by culture's codes. The dresses' shells only permit exterior gazing. Real understanding is barred by the masquerade, the illusion.
Open Access
Mysteriously speaking of the mysterious
(Colorado State University. Libraries, 1986) Schilling, Eugene Allen, author; Dietemann, David L., advisor; Ellerby, David A., committee member; Levine, Frederick S., committee member; Coronel, Patricia D., committee member
As an artist, my work represents an esoteric, creative expression in terms of nonverbal, abstract communication. I intend to make use of certain aspects of abstract expressionism to convey my feelings through painting. These aspects represent personal thoughts and symbols. In so doing, I intend to bring a number of conceptual and visual stimuli together simultaneously. A primary concern is to take abstract expressionism to a new technical and conceptual level by using back-lighting as a principal element. In essence, this new element allows me to intensify the attention of the viewer.
Open Access
Planes of reality
(Colorado State University. Libraries, 1990) Tisdale, Tracy Lee, author; Getty, Nilda C., advisor; Coronel, Patricia D., committee member; Kutzik, John F., committee member; Williams, Ron G., committee member
I am using a format of a barrage of selected images to show the inundation of images we as individuals receive on a daily basis. Each panel is composed of bordered images, combined to produce a comprehensive subject. The United States West, Outer Space, Music/Television/Film, and Art are the four subjects I chose. Their sources--reality and fantasy--as well as their influence on me brought about my interest in the exploration of these subjects. Through personal experiences they have become interrelated and create a sense of change and adventure for me. It is my personal feeling that in many cases there is no concrete distinction between reality and fantasy. I have created and operated, made decisions by, and have lived based on multiple planes of "reality."
Open Access
Presence of mind
(Colorado State University. Libraries, 2005) Edwards, Jeanette J., author; Yust, Dave, 1939-, advisor; Coronel, Patricia D., committee member
This body of work is a visual interpretation of my thought process. A combination of the present, the essence of stored memories and the intensity of experienced emotions create a state of awareness. This awareness is a space influenced by stream of consciousness and repeated kinetic actions. A space where biology ends and psychology begins. The compositional format and repeated shapes lay the foundation. Slices of the past are frozen in the present through the different processes of layering media, while colors and depth of the subconscious surface through immediate acts of polishing, scratching, pulling and tearing. Each painting presented for thesis work traces experiences transformed through this process, depicting sections of consciousness simultaneously to produce a personal moment of awareness.
Open Access
Someone who looks like me
(Colorado State University. Libraries, 2005) Toppin, Ayn K., author; Yust, Dave, 1939-, advisor; Coronel, Patricia D., committee member; Hall, Bruce, committee member; Lehene, Marius, committee member
Thematically, my paintings reflect the life long struggle of coming to terms with self-identity. The process of creating art enables me to navigate the complexities of identity while examining the connection this has to our emotional behavior. I use the figure as a tool to explore the space between self-actualization and self-presentation. Dualities, their balance and imbalance, make up the majority of the questions I address in my work. The primary examples are self/other, emotional/corporeal, private/public, sameness/difference, and reality/performance. I'm interested in challenging societal conditioning which teaches to disguise homosexuality and emotional expression, and question how this conflict constructs our self-identity and self-worth. My emotive response to these issues is the driving force behind my work. This thesis is a visual journey through the obscurity of existence, a search for a sense of recognition within oneself.
Open Access
Still lifes: the transformation of the everyday
(Colorado State University. Libraries, 1992) Lopez, Wendy Kathleen, author; Dietemann, David L., advisor; Yust, Dave, 1939-, committee member; Coronel, Patricia D., committee member; Rock, Kenneth W., committee member
What I find of particular interest is the transformation of the mundane. Through this series of still life paintings, I convey an acceptance of and love for everyday life -- life not characterized by memorable events, but by a sort of constant clutter that denotes human presence and communal living. I choose common objects (chairs, bowls, jewelry ... ) because of my emotional ties to the people they represent or their ability to access my memories. The result is an elevation of the ordinary to a place of value, through focused attention, rich coloration, sensuous textures, and exuberant brush stroke.
Open Access
Stitched cloth
(Colorado State University. Libraries, 1992) Aviks, Ilze Anita, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Mitchell, Carol A., committee member; Voss, Gary Wayne, committee member
To view the abstract, please see the full text of the document.
Open Access
The chase
(Colorado State University. Libraries, 1995) Saurer, John R., author; Voss, Gary Wayne, advisor; Coronel, Patricia D., committee member; Orman, Jack L., committee member; Lundberg, Thomas R., committee member; Williams, Ron G., committee member
I intend to use those materials (steel, iron, bronze, wood, fabric) and forms (geometric shapes, vessels, rings, wheels) that strike a response of familiarity in us all. I hope to develop a dialogue between the forms, scale and chosen materials that engenders an emotional, perhaps sublime, experience for the viewer. Sculptural concepts often begin for me verbally- through a word or phrase- and the physical materials I choose to use create associations that build and finish the concept presented by the title. I hope to present a situation, involve the viewer by piquing their interest in a familiar form or medium and leave them with a new experience.