Browsing by Author "Williams, Ron G., 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
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
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
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
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
Flatlander's view
(Colorado State University. Libraries, 1983) Komitor, Deb, author; Dietemann, David L., advisor; Orman, Jack L., committee member; Twarogowski, Leroy A., committee member; Williams, Ron G., committee member
I want to redefine for the viewer the same sense of power, force, vastness and immenseness that one gets from western landscapes. This is achieved through intense colors and large scale imagery. My paintings deal with a multiplicity of realities through color and space relationships. Areas of descriptive color and perspective are placed next to absurd color and space. This forms a tension between realities which further enhances the feelings of power and force.
Open Access
Gifts to a pagan grace
(Colorado State University. Libraries, 1994) Streams, Cheryl Josephine, author; Getty, Nilda C., advisor; Dormer, James T., committee member; Williams, Ron G., committee member; Silberberg-Peirce, Susan, committee member
This thesis explores the inspiration and passion that have transformed my ideas into physical forms. By breaking boundaries, I explore both physical and surrounding space in the process of creating metal forms. Thus, in my work, form integrates with formlessness. This integration with surrounding space in turn begins to define the forms. The forms then take on their own life and movement. My formative experiences are my inspiration: I look to family, river, rocks, Greek mythology, and my passions for the questions. My creative spirit lies beyond reason, somewhere in the darkness, somewhere beyond the boundary.
Open Access
Metaphors of the landscape: layering the poetic
(Colorado State University. Libraries, 1997) Ryan, Helene Englander, author; Dietemann, David L., advisor; Dormer, James T., committee member; Williams, Ron G., committee member; Yust, Dave, 1939-, committee member; Erskine, Nancy, committee member
The natural landscape provides a stage for dreams and reflection, for connection and renewal. It awakens the senses and quiets the mind. My paintings embody my imaginative contemplations similar to my experience in nature. Just as time and weather forms the land, my paintings are formed by many painting sessions, layering my poetic and visual responses. By working additively and subtractively, I intend to reveal the history that is embodied in the work.
Open Access
Paintings to be looked at: an effort to unify concept, form, and process
(Colorado State University. Libraries, 1983) Reasor, Michael Reuben, author; Dietemann, David L., advisor; Twarogowski, Leroy A., committee member; Williams, Ron G., committee member
The three major components of painting are concept, form, and process. The thesis paintings are the result of my effort to unify these three concerns. The works are intended to possess a quiet beauty that encourages extended visual interaction.
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
The artist and his model in an interior space
(Colorado State University. Libraries, 1984) Varona, Jorge Luis, author; Dietemann, David L., advisor; Yust, Dave, 1939-, committee member; Twarogowski, Leroy A., committee member; Williams, Ron G., committee member; Levine, Frederick S., committee member
An exploration of visual, psychological, and atmospheric qualities of the figure in an interior space relative to other objects and figures. There is also consideration of the space in relationship to the canvas which the viewer occupies in observing the paintings.
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
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
Untitled: pottery and drawing
(Colorado State University. Libraries, 1981) Veerkamp, Patrick B., author; Hendry, Kenneth, advisor; Dietemann, David L., committee member; Williams, Ron G., committee member; Twarogowski, Leroy A., committee member
My work originates from the personal experience and perception of the dichotomous nature of reality. My concern is with the interface of this twofold state. Metaphorically, I am exploring a hypothetical line of demarcation - the median - the verge of; classical and romantic, order and disorder, etc., the brink of transition from one position to the other. My intent is not merely to make known a duality but to explore mutual interactions and complexities within this relationship; the irony of the subtle conflicts and harmonies that result from this confrontation. TACIT RECONCILIATION - Each piece involves the juxtaposition of disparate plastic elements. The individual components are allowed to interact in contrast or in harmony, coexisting in a common space. In order to facilitate this union of contrasting parts certain mediating devices are employed to reconcile the inherent duality. Pottery, and its innate abstract associations, is one such device; the dynamic symmetry of specific proportional relations is another. The result is an intermingling of dissimilar elements within the structure of 'known' organizational principles. In effect the security of this known structure is countered by the insecurity and ambiguity of contrasting plastic means. Thus, the image becomes an intermediary, a compromising factor between unyielding extremes. It is an agent for a complex experience capable of accommodating such diverse feelings as anxiety, serenity, frustration, fulfillment and a similar variety of conflicting emotions. Ultimately, it serves to mediate a new state of experience interposed between antipodal positions. This experience is tacit, i.e., it cannot be perceived by stating directly the dichotomous premises but it is inferred by the reconciliation of the two. In fact, it must evade the extremes in order to mediate the intervening position - it is my thesis that this is the most complete and richest experience.
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
Why a noble 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