Browsing by Author "Lundberg, Thomas R., advisor"

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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
And she built a crooked house
(Colorado State University. Libraries, 2012) Franzen, Wendy Westfall, author; Lundberg, Thomas R., advisor; Kneller, Jane E., committee member; Faris, Suzanne M., committee member; Moseman, Eleanor F., committee member
The title of my installation originates from a favorite short story I first read in high school. Robert A. Heinlein originally published "-And He Built a Crooked House-" in Astounding Science Fiction in 1941. The tale is about a California architect who designs an efficient structure by building a house in a three-dimensional representation of four-dimensions. An earthquake causes the house to actually fall into the fourth dimension: time. This is not a horror story, but a whimsical view of the wonders of the space-time continuum, and how a natural event like an earthquake can affect our lives. In my response to Heinlein's tale "she" is Mother Nature or Gaia, who has "built a crooked house" still beyond our complete understanding or control. The forces and movements of the earth that create organic structures and environments are the basis for the formal and conceptual aspects of my thesis: Tectonic plate movements cause mountains to form at a geological pace, punctuated by the rapid turns of volcanoes and earthquakes. Even the fastest rivers must yield to the rhythms of stone in their making of canyons. Weather events, like hurricanes and tornados, swirl through land and sea on a seasonal basis. Water and minerals slowly build into sand dunes and caverns of stalactites and stalagmites. It is the mystery and force of these complex occurrences of nature that compelled me to build And She Built a Crooked House.
Open Access
Banners, triangles and fire
(Colorado State University. Libraries, 1992) Lovett, Kimberly Laurice, author; Lundberg, Thomas R., advisor; Knoll, Diane Sparks, committee member; Twarogowski, Leroy A., committee member; Kwiatkowski, Ronald W., committee member
My work celebrates the ritual of making art. When I work, I touch and taste each thread; the needle becomes part of my fingers as I make the marks that contain my thoughts and memories. The act of sewing allows me to exist in a meditative or hypnotic state; I am able to clear my mind of everyday pressures and contemplate what expression and discovery might be within. I want each piece to continually evoke contemplation both within myself and my viewers. The archetypal images of banners, triangles, vessels and fire enable the viewer to participate in potential aspects of the collective unconscious. The form of a cloth banner offers a familiar experience and a reference to an heraldic tradition of commemoration or celebration. The triangles refer to the balance of three, the harmony of the spiritual. The image of a vessel parallels the containment of the spirit by the human body, as well as a place of storage and safekeeping of precious things. Fire can be read as transformation or enlightenment. I consider the fabric windows to be a sacred threshold, an entrance into the color and light created by the embroidered image. The placement of the fire within a vessel within the triangle suggests a movement into the spiritual self, toward personal enlightenment and evolutionary change. These fiery images are emblems of creative energy, ready to be awakened and given form. These images are made with thread upon woven thread. Thread is an ancient symbol to bind or link together elements. The overall form of my work is similar to an altar because of its material and spiritual references. The shrine-like quality can be seen within the illuminated central images. However, the banners are not objects of worship within themselves, but are vehicles that guide to the discovery of the inner self. They record my discovery of unconscious ideas and emotions. Put into form, they are my transformational process expressed. I want my work to speak of a subtle richness that emerges from the black cloth as the viewer moves closer. The color black surrounding the central image is a space through which the viewer can travel. Black speaks metaphorically of the void before creation or the dark before the light. The multiple borders and black spiraled textures create a quiet rhythm to engage the viewer in a transitional resting place. With the variety of textures of the wood and fabric, I hope to entice the viewer to visually experience the tactile element in my work. It is not important to me that the viewer sees or understands the personal thoughts and emotions that are imbued in my images, but that they are inspired to surpass their sense of what is mundane and to discover their own unknown. Amidst a black textured curtain, I offer a window filled with color and light, in hopes of creating a view that spurs individual reflection and discovery.
Open Access
Beaded vessels
(Colorado State University. Libraries, 1988) Goreski, Jeannine Denise, author; Lundberg, Thomas R., advisor; Williams, Ron G., committee member; Voss, Gary Wayne, committee member
These vessels are full. They contain vastness, subtleties, memories, questions, and moments. These vessels are empty. They offer stillness and energy. Beads are vehicles. They connote the precious and command close inspection revealing structure, line, image, color, light, idea, and tactile sensuality. The intimate scale of the beads easily lends them to personal, passionate content. The center, crucial both structurally and philosophically is the genesis from which each vessel spirals upward and outward. Stitched together, each bead is locked in a structured, ordered brick system, pattern. This bead-by-bead building process is important; it speaks of time, frailty, vulnerability, and integral elements. Able to transmit light through matter, glass beads allow for emphasis through illumination. Light suggests seeing and entering. Notions of interior and exterior, knowing and darkness are addressed. Color, inseparable from light, symbolizes emotion. Form is dictated by metaphor. The spaces created are born of contemplation and inviting of contemplation. Symbols of growth, change, directions, motion, and transcendence reflect my thoughts and questions.
Open Access
Bloom
(Colorado State University. Libraries, 1998) Carson, Jan, author; Lundberg, Thomas R., advisor
Butterfly Brown groundedness physicality passion Butterfly White awareness acceptance willingness Butterfly Blue longing humility gratitude In describing how I feel as a physical being, I draw from an experience of spiritual unfolding, which I compare to blooming. This is symbolized by the butterfly, which emerges in full glory, its purpose and beauty exhibited as a single attribute. Its metamorphosis and inherent interactions in nature follow a greater cycle. This artwork is an expression of that depth and radiance which I feel in being human. Though intended for the human body, these pieces are designed to transcend human proportion. Because the feelings I am describing are powerful, the resulting form is voluminous. To wear the garment is to feel at once small, extended, fixed, and magnificent. The velvet is heavy and luxurious. The butterfly form signifies freedom and lightness of being, while the amount of fabric hinders movement and grace. It is a sensation of both suffering and sweetness.
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
Construction and constriction
(Colorado State University. Libraries, 1999) Gaglio, Charla Y., author; Lundberg, Thomas R., advisor; Silberberg-Peirce, Susan, committee member; Kneller, Jane, 1954-, committee member; Fahey, Patrick G., committee member
To view the abstract, please see the full text of the document.
Open Access
Designing ornament: the Plic Plac series
(Colorado State University. Libraries, 2010) Crutchfield, Whitney Elizabeth-Simon, author; Lundberg, Thomas R., advisor; Coronel, Patricia, committee member; Emami, Sanam, committee member; Littrell, Mary Ann, committee member
Ornament, "something that lends grace or beauty," and decoration, "something that adorns or enriches," are by no means new elements within the human experience. Humans have been adorning their dwellings and possessions as early as 30,000 B.C., as seen in the Grotte Chauvet in present-day France, where inhabitants decorated their caves with paintings of horses. Ornamentation has continued throughout history and within every known culture, as demonstrated by a range of objects and environments, from Paleolithic carved antlers to the interiors of the palace at Versailles. Despite this ubiquity, the terms ornament and decoration often seem unwelcome in the traditional art canon. Recent history has seen a serious attempt at the eradication of ornament, founded upon perceived associations of ornament with otherness, irrationality, weakness, and barbarism. For many practitioners of art movements during the last one hundred years, ornament and its color and complexities represented a threat to their core artistic values. Especially within the contexts of modernism and minimalism of the last century, these words appear to be reserved for those objects and ideas undeserving of the high praise given to the traditional arts, and they often provoke scoffs and disregard from art professionals and critics. This disregard comes at a cost, that being the nearly total rejection of our visual histories. While a majority of art and design movements of the last century have attempted to diminish the importance of ornament within our daily lives, it is my goal to contribute to the re-introduction of ornament that can be seen today in a number of different design and art movements focusing on the revival and celebration of ornament.
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
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
Intersections
(Colorado State University. Libraries, 2005) McNamara, Jennifer L., author; Lundberg, Thomas R., advisor; Voss, Gary Wayne, committee member; Hannig, Jan, committee member; Bates, Haley, committee member
To view the abstract, please see the full text of the document.
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
Regarding humanity: interwoven intricacies of universality and unity
(Colorado State University. Libraries, 2013) Clark, Sandra S., author; Lundberg, Thomas R., advisor; Moseman, Eleanor, committee member; Faris, Suzanne, committee member; Volbrecht, Vicki, committee member
In order to communicate, organize and understand the world around them, people from the earliest times have established semiotic language systems, mathematics, social structures and religions. Through layered symbolism, the mathematically driven work discussed here ruminates on these common developments. Each component is individually crafted, bringing value to each unit of the overall pattern. While there are slight variations, as in humanity, these components are all basically the same. This installation is intended to draw attention to the beauty of the whole. Regarding Humanity offers my interpretation of these cultural developments and what I view as the fundamental, intellectual needs of people all over the world.
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 Putnam River stories: blankets from 1984 to 1987
(Colorado State University. Libraries, 1987) Trottmann, Robert Bruce, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Crow, Mary, committee member; Ellerby, David A., committee member; Levine, Frederick S., committee member
The blankets are about birds, rivers, deer, and sticks. They are about the stages: life, death, birth, and rebirth. They describe walking crippled and not walking at all, fences, stairways, barriers, and protection. They represent covering up, exposure, enclosure, and warmth. The blankets are hideouts, places of escape. Creating a sacred space, the blankets promote mystical awareness, magical experience, and a realm of preciousness. Their process of creation is ritualistic, as is their use. Ritual use augments the magic, promotes transformation, and induces transcendence. Unifying the physical and nonphysical, the blankets serve the body and the mind. It is important that the blankets offer hope. So they may be personally and socially enlightening, they must contain tremendous sadness, pain, and images of death and loss. Through repose they embody wholeness. Pictorial images on the blankets are created with embroidery. The process of embroidery is technically simple and proportionate to the construction requirements of the blankets. With embroidery I create symbols of personal and universal origin to contact essences. These symbols also explain and contact the past and present either metaphorically or directly. The blankets are an expression of values and a confirmation of social responsibility. Within the blankets issues and questions regarding time, states of consciousness, location, domesticity, health, aging, and interpersonal relationships are personified. Through the interaction and exchange between myself, needle and thread, and ground cloth, there results an endorsement of things made by hand. Because it is ancient, the technique of embroidery and hand sewing, with its requirement of extended contact with the materials imbues the blankets with an energy which can and does affect users of the blankets. Being made by hand, the blankets promote the power and mystery of touch and connect the blankets with the larger forces which created the hand. The blankets are the result of natural forces. They are organic. They are born, are now alive, and eventually will die. Cloth and threads are familiar to everyone. Both are essentially universal. I select materials with great care using intuitive processes. Color, weight, texture, thickness, and tactile responses are vital considerations for me. Due to the familiarity of the materials the blankets are capable of speaking to a large and diverse audience. The blankets may accurately be called shrouds or robes. The dynamics of their movement in use is contingent on the willingness, curiosity, and imagination of the user. The blankets' vitality is fully expressed when adorned by a user. The blankets may be sat under, slept with, lain upon, or wrapped around. Their posture, in use is dependent on a person's body, alive or dead. If the blankets cannot be used in life, they are viable as shrouds. It is the mystical, ritualistic, and transcendent power of the blankets that attracts and propels me in exploring new possibilities within this traditional format.
Open Access
Thresholds
(Colorado State University. Libraries, 2006) Cornelius-Jablonski, Lynn, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Williams, Ron G., committee member; Pettigrew, Ruth, committee member
“...by recalling... memories we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.” by Gaston Bachelard - Crossing a threshold, embarking on a journey, entering an unknown place. These endeavors can be internal as well as physical. Our world is becoming more and more mapped out: we can carry portable Global Positioning Systems on a voyage at sea and know what longitude and latitude we are occupying at any given moment. Radar systems used in air and ocean transportation identify obstacles. We have phones that connect us to others at the touch of a button. We are relentless in our quest to banish the possibility of being lost or alone in the world. Regardless of our efforts, however, it is still possible to experience the mystery in the unknown. In our physical environment, we can sense this vastness staring into the night sky, out to the unbroken horizon of the sea, or into a dense veil of fog. Our psyches present an even more complex landscape of the unknown. Our dreams, moments of silence, moments of loneliness offer windows into this mystery. Weaving is a way for me to express this internal landscape. As I weave I attempt to create a sort of psychic map to navigate the awe I experience when standing at the edge of infinity, whether it is on a ship's bow, completely out of sight of land, or upon waking from a dream in which another drama unfolds in the vast wilderness of the mind. I am curious about thresholds, the place where a known physical space merges with imagined places, and how these intersections can be embodied in objects. Often we are transported into a dream-like experience through memory. The wedding photograph that evokes a specific time, place, emotional state, for example, or perhaps a tactile memory triggered by a blanket from childhood. However, an object that evokes the unknown is more elusive. Seeing medieval illuminated manuscripts for the first time transported me into a dreamy imaginative state that never existed in my own memory. Despite the lack of firsthand experience, it suggests a cultural memory that is linked to a spiritual searching via the language and lush imagery within the pages of such texts. A roomful of books transports me into a place of wonder, awed by the seemingly infinite potential of human experience. I may not know the stories or the people inhabiting them, but it is the possibility they embody that intrigues me; it is as if I am about to embark on a journey to a place I've never been. This quality of possibility is captured within an ordinary object. This sense of mystery and possibility is why I weave. Tapestry is a medium in which the structure of warp and weft create a longitude and latitude for internal maps I want to use to explore these mysterious states. The process of weaving is a physical and psychic navigation of materials that evolves with the formal "terrain" of shifting colors. The hachure technique allows me to weave jagged shapes that are at once about the surface material and what could be the threshold into another reality. The idea of the voyage or journey is both subject matter and process for me. Weaving tapestries is a physical unfolding of time; I'm never quite sure where the tapestry will take me. While there are plans and formal decisions to be made, an improvisational spirit of exploration is important in the exploration of a threshold and the places just beyond.
Open Access
Unwearable war: a visual exploration of transversal politics
(Colorado State University. Libraries, 2008) Rockinger, Sara Pierce Rockwell, author; Lundberg, Thomas R., advisor; Kokoska, Mary-Ann, committee member; Faris, Suzanne, committee member; Aoki, Eric, committee member
To view the abstract, please see the full text of the document.
Open Access
Vinculum rigor
(Colorado State University. Libraries, 1989) Herold, Susan Smallwood, author; Lundberg, Thomas R., advisor; Kutzik, John F., committee member; Orman, Jack L., committee member; Williams, Ron G., committee member
To view the abstract, please see the full text of the document.
Open Access
When the bough breaks
(Colorado State University. Libraries, 1997) Clarke, Amy Catherine, author; Lundberg, Thomas R., advisor; Reid, Louann, committee member; Coronel, Patricia D., committee member; Voss, Gary Wayne, committee member
To view the abstract please see the full text of the document.