Browsing by Author "Lundberg, Thomas R., committee member"

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Open Access
Axis mundi
(Colorado State University. Libraries, 1991) Valenti, Anne, author; Voss, Gary Wayne, advisor; Lundberg, Thomas R., committee member; Williams, Ron G., committee member; Silberberg-Peirce, Susan, committee member
To view the abstract, please see the full text of the document.
Open Access
Between the lines
(Colorado State University. Libraries, 2005) Howard, Mark Lawrence, author; Ellerby, David A., advisor; Kokoska, Mary-Ann, advisor; Lundberg, Thomas R., committee member; Boyd, James W., committee member
In my exploration of line and structure of a picture's surface I have relied on analysis, as well as intuitive response to the work as it progresses, as a method of creating art. Attitude is an important element in influencing what inevitably is produced. A rigid mind produces rigid art and, conversely, a more fluid mind can create freer art, art which may therefor evoke an emotional response from an audience, rather than intellectual analysis of form or objects. In my use of materials I chose encaustic for the majority of the works, which requires heat in its application. While researching the history of prehistoric art I serendipitously discovered that heat and fire are commonly associated with shamans in tribal cultures, and since the axis mundi is an integral shamanic motif in this series, it seems appropriate that another shamanic element is included. The material of beeswax is another connection to the shamanic aspect of my work in that it is a natural substance, and thus reinforces the theme of nature in this body of work. It is the shamans' respect and communion with nature, and their art created from this perspective, which has motivated my own artistic investigation as well as inspiring historical research into primitive cultures. The nonobjective forms I have employed serve to function artistically as language or symbols rather that representation of objects. It is this symbolic nature of visual art that is the core of my thesis. This form of art, abstract or nonobjective, relates to music in its structure and transcendence of material reality, as well as explores a temporal dimension. What is communicated in this art is conceptual as well as observational, as much of my imagery is inspired by concepts of natural systems, formed by unseen forces, yet manifested in pattern and structure.
Open Access
Building drawings with patterns of processed stereotyped motifs
(Colorado State University. Libraries, 1982) Herbert, Frank L., author; Cody, Bruce J., advisor; Ellerby, David A., committee member; Lundberg, Thomas R., committee member; Williams, Ron G., committee member
To view the abstract, please see the full text of the document.
Open Access
Contemporary body adornment influenced by Elizabethan, Victorian and Tribal African design
(Colorado State University. Libraries, 2004) Douglass, Hilary, author; Getty, Nilda, advisor; Carlson, Linda L., committee member; Kokoska, Mary-Ann, committee member; Lundberg, Thomas R., committee member
Body adornment is linked to a person's identity, a view of self, and how a person is viewed by others. Elizabethan and Victorian women's clothing addresses the issue of identity. Many of the ritual objects worn by some of the peoples of Africa are also strongly linked to the idea of self-identification. My artwork has been influenced by the large-scale and dramatic presence of Elizabethan and Victorian women's attire, and by the beautiful objects of ornamentation created and worn by the peoples of Africa. Specifically, my work has been affected by the size and the visual dominance of tribal African and European adornment. The purpose of my large pieces is not to dominate, but rather to be a symbol of power and femininity of the wearer, thus enhancing their feeling of self-identity.
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
Emerging worker project
(Colorado State University. Libraries, 2007) Jentzsch, Keith, author; Voss, Gary Wayne, advisor; Lundberg, Thomas R., committee member; Kokoska, Mary-Ann, committee member; Sparks, Diane Carol, committee member
To view the abstract, please see the full text of the document.
Open Access
Garden mandalas
(Colorado State University. Libraries, 1995) Jones, Jean L., author; Dietemann, David L., advisor; Yust, Dave, 1939-, committee member; Lundberg, Thomas R., committee member; Macagno-Shang, Laura, committee member
Since my early childhood I have had a dialogue with nature; these works come from my side of that relationship. While they reflect my interpretation of a specific form of plant life, they also symbolically illuminate my inner world-my journey through self-knowing. This symbolism influences the subject matter, size of the work and the choice and handling of the medium. The symbols evoked by the garden are revealed in the studio. My time in the garden is a visual feast, my imagery chosen intuitively for its formal challenges and metaphoric potential. I look for plants full of pattern, color and movement that emerge from the darkness to touch the senses and celebrate the light.
Open Access
Garden of the mind
(Colorado State University. Libraries, 1998) Wang, Yaw-Jun, author; Voss, Gary Wayne, advisor; Lundberg, Thomas R., committee member; Frickman, Linda, committee member; Bowman, James P., committee member
Life is an ongoing process. My philosophy of life is based on a feeling of temporary presence. I don't seek immortality; instead, I desire a life of rural simplicity. For the past three years, I have experienced the unique life situation of living far away from my motherland of Taiwan. Exploring the American continent and recalling my past memories and experiences have formed the reality of my existence here. I am interested in presenting feelings and thoughts in a metaphorical way. Garden of the Mind, a metaphorical environment, is filled with carefully composed objects. The idea of creating these objects comes from the emotional aspects of my life experiences, such as my hopes and fears. In this garden, nothing is perfect. Objects here were created and arranged to reveal the reality of my life experiences as a whole. In order to convey the concept of modifying natural resources into cultural objects, I combined organic and human-made materials. Branch and root came from the physical context of nature, and were engaged with human-made objects such as light bulb, cardboard, and cloth. The choice of materials allows me to examine how I feel about the surroundings. For example, I use cardboard as a medium to express a feeling of temporary presence. On the other hand, the choice of colors represents my awareness of some specific colors. For instance, I use blue in my light bulb piece, Blue, to convey my perception of the universe. As a result, the ongoing process of life's struggles and changes allows me to examine myself. The choice of life's struggles and changes, and the choice of materials and colors have become the most important aspects of my creation. To keep an eye on the wonders of life, I don't seek immortality but a life of rural simplicity.
Open Access
Gloss: an incomplete glossary
(Colorado State University. Libraries, 2000) Lindsten, Scott, author; Gravdahl, John, advisor; Lundberg, Thomas R., committee member; Reid, Louann, committee member; Kwiatkowski, Ronald W., committee member
Artmaking at the end of the twentieth century became engulfed by theory. In the wake of such movements as poststructuralism, deconstructionism, and postmodernism, came a reexamination of aesthetics which incorporated an ever-broadening intellectual discourse. Many of these theories have their conception in the realm of linguistics, and language itself begins to exert its ascendency on other fields of study-indeed, on reality itself. This written accompaniment to my thesis art exhibit examines the complex, sometimes oppressive, sometimes sublime, nature of words and language and their effects on my approach to art.
Open Access
In search of self
(Colorado State University. Libraries, 2004) Ferrer, Kim, author; Voss, Gary Wayne, advisor; Pettigrew, Ruth, committee member; Kneller, Jane, 1954-, committee member; Lundberg, Thomas R., committee member; Kokoska, Mary-Ann, committee member
I am a hunter and gatherer of forgotten and discarded objects I find on the side of the road, in dumpsters or in empty fields. In the studio, these materials are reprocessed and reconstituted, becoming metaphorical vehicles to communicate how life and the world impact me. The pursuit of materials is engrained into my daily life. My interest can be aroused by an objects unique form, color, texture, gesture or translucency. This practice engages me with my instinctual nature and begins an excavation of my internal world. Intuition helps accomplish the task. Bringing an intuitive disposition into my hunt gives me the ability to measure things at a glance, to name the essence of the thing, to fire it with vitality and discover its enchantment. Through intuition I learn how to sort and understand my attraction to certain materials and how they are connected to my emotions. As in life, the act of creation is a series of births and deaths. It relies on impulses, desires, patience, surrender, intuition and trust to complete its voyage into uncharted areas of the psyche. The evolution of this process is shrouded in mystery. It is as if I am finding my way along a path that has already been laid out for me, the pieces having already been created. As I slowly sift through myself and let emotions filter through, I begin to uncover and unravel the mystery and discover what each artwork needs in order to become whole. My work is a personal catechism of toil where process and materials act as a door into the psychological and metaphorical meaning of a piece. The materials can be as simple as old discarded wood fencing, rice, straw or windblown plastic. The creation process is triggered and fueled by emotions. Whether it is constructing, sewing, wrapping, tying, carving or stacking, the labor that ensues relates to and embodies the content of the piece. The unconscious, empathic dialogue I have with materials and how to utilize them can be equated to deliverance. Through a sacrifice of efforts I am able to release a part of myself into my work and remember who I am. Much of my thesis work speaks to the Life/Death/Life cycle of relationships, relationships with others and oneself. Each phase of this cycle portrays elements of loss, surrender, acceptance and growth. For example, in "Metamorphosis," the cylindrical, oval-shaped metal cage acts as a physical body to house the thick, opaque plastic sheets that take on an ethereal, sarcophagus-like form (Figure I). The texture on the plastic is reminiscent of aged or dead skin that is dry and ready to be shed. Although the plastic form seems to be nestled in the metal cage, it is also sewn in along the sides with nylon filament. These looped stitches that are randomly placed have been cut, and further suggest the shedding or transformation that is slowly taking place. Two pieces of thick rope are tied and wrapped around the middle portion of the cage with one piece running through the middle of the interior down into the plastic form, coming out on the bottom where it is wrapped around a large, white rock. Metaphorically, this rope acts as an umbilical cord, a source of nourishment and hope for the death process that is underway. The wrapped rock anchors the piece in reality and distinguishes the external world from an internal world. By surrendering to loss, the cycle of death is embraced with new growth being its final destination. The work in this thesis represents a journey of conflict and resolution. The themes of birth, death, home, love, loss, surrender, separation, faith and creation are both personal and universal. These themes have been an integral part of my life since childhood. My work sets the stage for an awareness of feelings and gives the emotions of the past a place to go. As I work out these struggles through my art, I am always cognizant of an underlying longing for peace and comfort. It is the actual physical work of making art that brings this sense of tranquility into my being. It is then that I am home.
Open Access
Loss and plenty: a banquet of age and spirit
(Colorado State University. Libraries, 2000) Sternlieb, Susan Joy, author; Voss, Gary Wayne, advisor; Lundberg, Thomas R., committee member; Fahey, Patrick G., committee member; Kneller, Jane E., committee member
This exhibition presents a still life tableau on a wooden banquet table, eighteen feet by three and one half feet. The objects on the table are platters, bowls, shards and potatoes of fired clay and urethane rubber. All of the objects are metaphors for spiritually enriched aging human beings, and relate to each other and the viewer in an attraction/repulsion play. Three decades of feminist artwork have coalesced into the analysis and exposure of many discriminating myths which have defined women. In addition, we have seen the creation of an enormous body of women-defined, substantive and empowering images. These gifts from women artists who have come before me have made it possible for me to make self defining work about age and spirit.
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
Navigating the interior
(Colorado State University. Libraries, 1995) Grimm, Lauren, author; Dietemann, David L., advisor; Lundberg, Thomas R., committee member; Leyendecker, Liston E., committee member; Erskine, Nanci, committee member
I am interested in the polarity of life, the yin and yang of existence. Without the continual tension between these forces, I believe life would not exist. We need both in order to find balance in our lives. I utilize the interior as the basis for my subject matter, in part, because of its intrinsic, dichotomous nature. On the one hand, interiors are womblike in nature as their walls enclose us and protect us from the rain and cold. Interiors allow for the intense interaction and intimacy experienced between humans. However, the walls of the interior often becoming confining. They limit our view, our senses, and our ability to interact with nature. At times, the walls of the interior restrain our human essence which longs to be free and wild. As I experience the process of painting these interiors, I have discovered that the interior also serves as a cogent metaphor for self. In other words, I am not concerned with the task of replicating an interior. Instead, my challenge lies in demonstrating how an interior feels. These interiors become a manifestation of self, my subconscious. The paradoxes of the interior are strengthened through the elements of polarity and balance which are so imperative to the formal qualities of the work. I purposefully create and at times deny believable space within the interior. My experiences are translated into the language of paint by juxtaposing the elements of: color temperature and intensity; inactive and active brushstroke; ambiguous light and direct light; and opaque paint with translucent glazes. The collage materials used, often include richly patterned pieces of fabric and/or paper. These materials are used to evoke not only a memory of place and/or time, but also on a formal level, to push the tension between the flat, two dimensional space and the suggested depth of the three-dimensional space. As these interiors emerge on the canvas, I begin to see and feel places which are familiar, yet at the same time distant and quirky. Through the process of painting, I begin to experience a feeling of deja vu in which the memory of a particular fabric, combined with the emotive qualities of color and paint transport me to a new reality. These paintings rejoice in the intrinsic nature of experience, that cannot be easily defined or proven.
Open Access
Passage of time
(Colorado State University. Libraries, 2006) Alpern, Amerinda, author; Voss, Gary Wayne, advisor; Alexander, Ruth M., committee member; Kokoska, Mary-Ann, committee member; Lundberg, Thomas R., committee member
This collection of work is an expression of my changing body and psyche as a middle-aged woman. For me this is a transformative time of living on the edge between the two halves of my life, young and old. I've chosen to work with the depictions of women's breasts because they are the central icons of femininity; they represent the generative, nurturing aspects of women, as well as their sexual nature. Although identity changes throughout one's life, these times of passage offer opportunities for intense reflection while the body and psyche reconfigure themselves. Changes in the soft tissues of the body occur with time. The breast is one of the more noticeable areas of the body that exhibits these changes. At mid-life, while observing these changes, a woman has the opportunity to consciously let go of socially imposed standards of how she should behave and look, and redefine herself on her own terms. During the process of making molds of many women's breasts, I discovered and wanted to demonstrate how completely unique they are, ranging from the breasts of early adulthood, small and firm, to the weight and distortion that aging brings. Of the range of women who participated in the casting process, one woman was still lactating, other women had nursed their children many years ago, and there were women who have not had children. These castings represent transition away from youth into the unknown, into mysteries yet to unfold. I have chosen to express these ideas through the use of clay, plaster, and bronze. Clay is a fragile substance before firing, soft and malleable like breast tissue. Once fired, the clay castings become more fragile, like dried delicate tissue. Plaster can be used as an intermediary material in the mold-making process or as an end product in sculpture. Fragile plaster castings make way for the strength of bronze. Bronze, like the strength of tempered women is an enduring medium withstanding the passage of time. The wall-mounted breasts represent the underlying unity of women's experiences through time. The small bronze works embody my emotional passages of womanhood, the reconfiguring of self, the release of youth, and the welcoming of wisdom.
Open Access
Prints and books
(Colorado State University. Libraries, 1991) Catlett, Rachel Ashley, author; Orman, Jack L., advisor; Dormer, James T., committee member; Lundberg, Thomas R., committee member
My work is about the idea of the individual in group situations. I am interested in this dynamic relationship because each gives to the other. Presenting the individual in a group underlines the distinct similarities and differences between the two. It underlines the commonality between them. I want my images to speak to the individual but in the context of the group. I want marks to be both about themselves and fit with others to depict a specific time and place or describe a figure. I want the figures to be specific and individual and also be part of the dynamic that happens when groups get together to eat, play, dance, be with each other. I want specifically remembered events in different times and places to be presented together as they do in the personal history of a lifetime.
Open Access
Rites of mine
(Colorado State University. Libraries, 1993) Warnock, Cindy, author; Voss, Gary Wayne, advisor; Williams, Ronald G., committee member; Lundberg, Thomas R., committee member; Ruby, Christine, committee member
To view the abstract, please see the full text of the document.
Open Access
SET
(Colorado State University. Libraries, 1997) Leech, Heidi, author; Lundberg, Thomas R., committee member; Bacheller-Stewart, Susan, committee member; Rutstein, Joel S., committee member
"It was no longer merely important to be something [on television], you also had to appear to be something." -Phil Ross Boynton, Winning the Media Game. "You're not anybody in America unless you're on TV. On TV is where we learn about who we really are. Because what's the point of doing anything worthwhile if nobody's watching? And if people are watching it makes you a better person." " .. .If you get too close to the screen, all you can see is a bunch of little dots. You don't see the big picture until you stand back. But when you do, everything comes into focus." -Suzanne Stone, in the film To Die For (1995). SET is an illusion. The viewer looks at a larger-than-life television set to see a scene containing a TV, a chair and other items: pictures on the wall, a quilt draped across the chair, a vase of flowers and a lamp on a table. Playing on the TV in this inner scene is a room, an iteration of a television scene, this one animated with a television set and a blinking eye. This initial enclosed view appears cramped and solitary, but not extraordinary. Looking closer-or watching longer-the viewer discovers that each item in SET is composed of televisions. Pictures of televisions, framed in televisions, hang on the wall. The flowers are televisions with screen-shaped petals and antenna leaves. The lamp rests on a TV posing as a table; its shade and base show television faces. The quilt shows television imagery on its squares. The chair is covered in eyeballs with television-screen-shaped pupils. This work began when, as a whimsical element to an art project, I screen-printed images of six well-known women from the entertainment industry onto t-shirts. Over the years acquaintances had told me I resembled these women in one way or another. Suddenly I became fascinated with the television set (on which I had seen these women's images) as a formal element; it was a compelling box full of reflections and symbolic mirrors. I began creating illustrations of televisions in unique situations. At the same time, I turned the mirrors on myself and became more aware of unanswered questions about my own identity. Since I am adopted, the origins of my appearance are a mystery. I have no visual history with which to inform my own image, and I believe I was subconsciously reaching to TV for resemblances, so I could experience the feeling of identification that others take for granted. I realized the illusory quality of image and appearance on television and how the illusion is perpetuated. This is the basis upon which the work is built. SET is a stage for the exploration of illusion, appearance and reflection. The eye is the subject. Within the animation, the TV faces the eye and becomes an eye of its own. Each flower and wall hanging are eyes. The empty chair draped with the quilt refers to the animated eye and becomes a representation of self in a situation of watching, searching and wondering.
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.
Open Access
The ubiquitious equine
(Colorado State University. Libraries, 1995) Kaup, Karla M. Parker, author; Dormer, James T., advisor; Orman, Jack L., advisor; Bohren, Lenora, committee member; Lundberg, Thomas R., committee member; Twarogowski, Leroy A., committee member
I have been a connoisseur of the American back road for quite some time now. "Rural America" is a subculture that is quiet, yet powerful. As I swallow endless ribbons of asphalt one common sight has captivated me all my life. The ever present horse. Landscapes and even backyards all over the country are speckled with horses. The horse seems to have the uncanny ability to be everywhere at the same time. These animals manifest a sense of freedom for me, yet paradoxically it is the horse who is the captive to man. With this body of work I intend to walk up close to the horse, and take away the barrier of the car window, or the fence, and offer my hand to the muzzle, and look them straight in the eyes. In doing so I wish to explore the emotional content through my visual concerns, of this submissive, yet powerful animal. As an artist, I am fascinated with a visual dialogue, one without sound. Even so, I feel an artwork should satisfy all the senses. An image should trigger a stimulus to taste, smell, and hear. This is why I utilize textures, to stimulate a tactile response from the viewer. Texture also allows for a response to "hear" the artwork. I choose to get close to my subject matter so the viewer might even "smell" the artwork. This dialogue is emphasized from the eyes of an animal, to the viewer. The eyes are truly "windows" to the soul, and this silent sense of communication can often metaphorically be "deafening." The image of the horse has proven to be the subject matter which facilitates my visual concerns. These consist of line variations, depth of value, shape organization, and composition. Composition is important for I wish to "fill" the image with the subject matter so that the viewer might get close to the expressive qualities that are emphasized at this distance. Each of these visual concerns, utilized at once or individually express drama and emotion within the context of subject matter which has often been the victim of banal and sentimental stereotypes. This body of work is executed as intaglio prints. Intaglio, as a medium, has the ability to facilitate a wide vocabulary of mark making which executes my visual concerns. The use of soft ground is utilized to "model" and "pull" my image out of the plate through a series of wiping and textural impressions. Sugar lift creates bold and fluid areas which are etched deeply to produce dramatic darks. Variations of line etch and dry point describe differences in line quality, and the use of mezzotint allows for softer tones of grays. Chine colle is also a technique which I use by adhering different colors of paper to my original printing paper. This gives me the ability to create a broader depth of value. My intention with The Ubiquitous Equine has been to create a unique body of work, from subject matter which is intriguing to me, and from media which I find challenging. I wish to utilize to my advantage the individual "language" that each technique may facilitate. With this visual language I want to convey to the viewer, a different perspective of an animal which is familiar and common to us. I intend to present a viewpoint which is intimate, yet without sentiment. One which expresses my own personal vision, by embracing the broad vocabulary of intaglio.
Open Access
Threads in common
(Colorado State University. Libraries, 2001) Nakoa, Elizabeth J., author; Dormer, James T., advisor; Crow, Mary, committee member; Simons, Stephen R., committee member; Lundberg, Thomas R., committee member
There is a complex and alluring involvement resulting from the printing of reductive and multiple wood blocks that I am currently exploring. My imagery frequently involves the formal structural elements of the grid combined with the organic qualities and movement found in natural materials such as wood. Rather than representing literal or figurative images, I am more concerned with sharing a feeling or thought, inviting the viewer to have an experiential response to my work. I am exploring and utilizing the nature of different materials, which helps me to deal with my imagery in a gentle, thoughtful approach. I value the involvement of the processes of printmaking and the myriad possibilities that come with working with multiples. The elements of the spirit of the creative journey and the act of discovery are significant factors in enhancing the development of my imagery.