Browsing by Author "Yust, Dave, 1939-, advisor"
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Item Open Access A search for spiritual integration(Colorado State University. Libraries, 1997) Keyton, Lisa M., author; Yust, Dave, 1939-, advisor; Dietemann, David L., committee member; Gill, Ann M., committee member; Erskine, Nancy, committee memberMy paintings are about a spiritual journey. They act as a visual description as well as a vehicle for the journey itself. For me this journey has included an exploration of utopian visions and a spiritual ideal, as well as the struggle to integrate spirituality into my life. I consider contextual issues and the process of painting as being equally important and integral aspects of these paintings. Contextually this body of work represents an exploration into a "sense of place" and "ambiguous organic forms". This sense of place or environment is not physical, it is a phenomena I perceive while I am in a meditative state. The ambiguous organic forms in my paintings act as metaphors representing myself. Introducing these forms into a sense of place allows me to explore the relationship I have with my spiritual issues and my environment. For me the processes involved with painting helps facilitate the retrieval of memories, emotions and sensations, it soothes, stimulates and mesmerizes, creating a haven for expressing the inner recesses of my soul.Item Open Access Adventures in roller derby(Colorado State University. Libraries, 2007) Link, Karen Lynn, author; Yust, Dave, 1939-, advisor; Sullivan, Patrice M., advisor; Tremblay, William A., committee member; Simons, Stephen R., committee memberIn my thesis, I discuss why I paint images of roller derby matches and why, in particular, the Rocky Mountain Rollergirls. I show how I explore my subject through narrative, compositional space, and value. I write about the relationships between the figures, and between the figures and their environment, and how that relates to issues of narrative. I show how I explore my subject through acrylic and india ink and the materials that are used for my supports. I discuss how Henri Matisse and Richard Diebenkom have influenced my work and how my work functions differently from theirs. Also in my thesis, I discuss the use of photography and how it relates to the creative process of my painting. Lastly, the reasons and advantages of using photography in my process is explored including the malleability of digital photography.Item Open Access Error! Contact not found!(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 memberMy 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.Item Open Access Experience and the reality of illusion(Colorado State University. Libraries, 2008) Velazquez, Cassidy Garhart, author; Yust, Dave, 1939-, advisor; Sullivan, Patrice M., advisor; Dicesare, Catherine R., committee member; Malpezzi Price, Paola, 1948-, committee memberIn my paintings I strive to reconcile ambivalent illusions in search of the reality in my own experience. My paintings are narratives about perception and how perception is the product of synchronized inner imaginings and physical experiences. Paint is the perfect medium for this investigation as it allows me to move fluidly between trompe l'oeil and abstract renderings. Both painting approaches are ambivalent in that they represent only themselves and at the same time, in my work, are symbols for something else. In my paintings, trompe l'oeil imagery symbolizes the physical experience and emphasizes how easily perception can be deceived while elements of abstraction attempt to give substance to the inner experience. In between these poles of extreme illusion and non-illusion, I explore the endless realm of referential representation. It is my intention to craft images that function, ambivalently, as both windows and mirrors. As windows, my work offers me, and hopefully others, an ulterior understanding of reality. As mirrors, I endeavor to create, for me and my audience, compositions that echo, literally and metaphorically, the hard and soft edges that also compose a thought-filled life.Item Open Access Flashback(Colorado State University. Libraries, 2001) Ray, Steven Lee, author; Yust, Dave, 1939-, advisor; Sullivan, Patrice M., committee member; Vigil, Patricia M., committee memberMy thesis Flashback began on May First, 1972; that day I was hit by a car and that changed my life. It was not until I started into thesis that I realized I needed to come to terms with this event. With the aid of the resources available at Colorado State University, I began a journey of discovery. I underwent a long series of tests to determine the actual extent of the closed head injury I had received. Once I knew the physical and psychological effects from that trauma, I began to work on a series of paintings. These works deal with event itself and its aftermath and the techniques I used in making these paintings. Through these works I experienced a catharsis that led me out of the shadows of doubt into the light of knowledge.Item Open Access Houses of transition(Colorado State University. Libraries, 1993) McMurtry, Amy J., author; Yust, Dave, 1939-, advisor; Kwiatkowski, Ronald W., committee member; Dietemann, David L., committee member; Lehman, Jean P., committee memberThe body of work entitled "Houses of Transition" was the result of having undergone a profound personal change in my life; namely the birth of my daughter. These houses were created over a period of approximately a year and a half. At the time when all of these pieces were being created, My husband and I were experiencing either the emotional roller coaster known as pregnancy, or the first wonder-filled year of our daughter's life. For me, both events proved to be exhausting, exciting, and unfortunately somewhat disappointing. Throughout my life, I lived with the belief that once I was to become a mother, I would step back from my own life for a bit and take care of another full time. The realization that this was not possible left me initially angry, bitterly disappointed, but eventually lead to resolution of a significant life transition and acceptance of it. The house form became a metaphor bridging the gap between home which was where I wanted to be and the reality necessitated by my life. Color and shape process and textural composition are used to express the emotions of each stage of this transition. The result is a body of work which mirrors the emotional stages of this significant life change. It is immensely personal while at the same time is somehow universal in nature. All who have had a child understand the biological and spiritual longing to be with that other little person. And all who have been unable to fulfill this longing understand the pain of that separation. These houses of transition helped me to cope with and understand my own situation.Item Open Access Light works(Colorado State University. Libraries, 2009) Dillo, Sophia Dixon, author; Yust, Dave, 1939-, advisor; Faris, Suzanne, committee member; Kokoska, Mary-Ann, committee member; Lehene, Marius, committee member; McKee, Patrick L., committee memberLight Works explores the incorporation of light into painting in both small wall works and large hanging installation works. The pieces have a quiet gentle presence that sets the tone of the space they inhabit. Light is incorporated into the pieces through the combination of opaque layers such as off-white paper and white paint, with transparent and translucent layers of plastic and Mylar. Varying combinations of these materials create subtle visual effects as the light interacts with the layers. Elements of shadow, light, and visual fogginess or clarity of material all occur depending on the viewer's spatial relationship to the works. These works are non-objective. They use all-over patterning in order to not establish a visual hierarchy between forms. The viewer's attention thus tends to alternate between the whole of the work and the particular forms of the pattern. The combination of scale, composition, light, color, material, and physical placement of the works creates a space of simplicity, openness, and stillness. The intention is to situate the viewer in the immediacy of direct experience. Instead of our usual mind of naming, comparison and association, these works try to evoke a felt sense that exists before labeling, before thinking. I intend to have this space invite a specific experience of beauty, beauty as an activity of mind, a mind that reaches out to an object and returns nourished.Item Open Access Nothing stays unchanged(Colorado State University. Libraries, 1989) Kim, Unmi, author; Yust, Dave, 1939-, advisor; Dormer, James T., committee member; Dietemann, David L., committee member; Runyan, William E., committee memberThe concepts of time and memory have been the dominant influence in my work for a number of years. The two are inextricably linked to the reality in which we live and the manner in which we perceive that reality. It was not my intent to explain or interpret the extent to which these two elements influence the individual's visual perceptions, but rather to accept that influence and utilize its existence as the fundamental concept for the series of paintings completed for the Master’s Thesis Project. The paintings presented here represent my attempts to utilize the concepts of time and memory as an integral element in the development of a visual imagery and in the viewers' perceptions of that imagery. It was my desire to create works which conveyed a sense of history and familiarity designed to provoke the imagination and memory of the viewer; to suggest a mood or atmosphere in an environment which calls on the viewer for individual interpretation.Item Open Access Painting: a transitional process(Colorado State University. Libraries, 1990) Rezny, Christy L., author; Yust, Dave, 1939-, advisor; Dietemann, David L., committee member; Twarogowski, Leroy A., committee member; Kwiatkowski, Ronald W., committee member; Gill, Ann M., committee memberThese paintings bring my personal experiences to canvas. They are paintings about the painting process itself. Although they may have had arbitrary beginnings, they eventually evolved into cohesive compositional wholes.Item Open Access Pool of forms: speed and painterly economy(Colorado State University. Libraries, 2006) Roholt, David, author; Yust, Dave, 1939-, advisor; Sullivan, Patrice M., committee member; Simons, Stephen R., committee member; Cooperman, Matthew, 1964-, committee memberThis paper is a chronological examination of paintings, drawings, and prints of swimmers completed over a three-year period. Explanation is given on why swimmers have become a concrete fixture in my art making process. The topics of speed and economy will be discussed in the following ways: First, how time is placed on the overall completion of the work, and second, how speed functions as an aesthetic power, in addition to the emotive qualities of a raised tempo. The work proceeds to focus on painterly economy as defined by a simplification of structure and mark bending on the realm of abstraction. The balancing of clarity, in terms of referential detail, and ambiguity, as related to abstraction, is examined. The role of photography and how it can be an effective tool when employed as a catalyst for decision-making is examined and clarified. Additionally, high and low chroma colors combinations, used in developing a more personal visceral vision is discussed, and in conclusion, historical and contemporary influences, also insights on the positive nature I feel concerning the creative process.Item Open Access Presence of mind(Colorado State University. Libraries, 2005) Edwards, Jeanette J., author; Yust, Dave, 1939-, advisor; Coronel, Patricia D., committee memberThis 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.Item 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 memberThematically, 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.Item Open Access Ten representational paintings(Colorado State University. Libraries, 1994) Canelos, Alex, author; Yust, Dave, 1939-, advisor; Dietemann, David L., advisor; Mitchell, Carol A., committee member; Dormer, James T., committee memberIn my work I wanted to look into the possibilities of bringing together ideas on tone, hue, contour, and materials to represent three dimensional space on a two dimensional surface. My painting was guided by these speculative activities as well as the physical requirements of the moment, and was informed by both works of previous artists and personal experience.Item Open Access Texture, reading and meaning: notions, nebulae and the numinous(Colorado State University. Libraries, 2007) Jensen, Justin M., author; Yust, Dave, 1939-, advisor; Sullivan, Patrice M., advisor; Chong, Edwin Kan Pin, committee member; Simons, Stephen R., committee memberThe thesis is commenced by a development of a theory about art that encompasses what is referred to as the texture, the reading and the saying. The first refers to that of which the art is composed, the second refers to the referential aspect, and the third refers to the intended meaning. Each of these aspects has a value that is independent yet supported by the previous. This is the basis for my critical development in art. Within the texture level I discuss how the painting process is clarified as a push and pull between texture and render. The latter part of the thesis develops the key points for the saying aspect of my work. Sacred Time and real time is an idea used in mythological that clarifies the otherworldy nature of myth. This idea is carried into my thesis research and is developed by the dichotomy characterized as the numinous and the Weltschmerz. The numinous can be defined as sublime, or the feeling of the presence of the holy. Weltschmerz can be regarded as the feeling of the wrongness of the world. These two feelings come together in what C. S. Lewis describes as Joy, which is referenced in the appendix. The primary theme that I use to explore this feeling is the inclusion of deep-space celestial objects into terrestrial landscapes. This carries the symbolism of the mystery of the universe of that which is far seeming like it ought to be closer. It is the evocation of a moment of sacred time within real time. My intention in the sky-scape paintings is summarized in trying to create a place that is transcendent of time where we realize a truth about our own world. It is a myth that focuses a truth into clarity.Item Open Access This land is your land(Colorado State University. Libraries, 2002) Cohen, Dawn, author; Yust, Dave, 1939-, advisor; Mitchell, Carol A., committee member; Twarogowski, Leroy A., committee member; Jacobs, Peter, committee memberMy thesis paintings are part of a study and exploration of the Cache la Poudre River. Over the past four years I have been visually exploring different areas of the Poudre River with paint, in and around the Ft. Collins area. For my thesis paintings I chose one spot from which to create numerous and encompassing paintings of the river. I chose this spot to investigate thoroughly how patterns reveal themselves in landscapes as the seasons, weather, the light (time of day), and temperature changes. Each triptych or four panel painting is connected like a single painting because it follows the Poudre River as it flows down from the mountains and out to the plains. The paintings are on separate panels because there is a change and evolution of the impact of weather and light on the landscape and this ultimately resulted in a different painting on each panel. This evolution is meant to document the patterns and the passage of time while observing and painting this landscape.Item Open Access Tradition & interpretation(Colorado State University. Libraries, 2003) Lennartson, Kari, author; Yust, Dave, 1939-, advisor; Sullivan, Patrice M., advisor; Ellerby, David A., committee memberI am of the belief that the human mind is hardwired to create order out of disorder. I begin each work with a rhythmic web of marks, lines, and colors which stretch across the painting surface. It is important to integrate the unexpected into my work: with every misstep which occurs, there is an opportunity to take the image in new directions. As I am interested in creating a varied and complex surface, I work back and forth between the addition and subtraction of materials. I liken my subtractive process to the excavation of earth which an archeologist undergoes when searching for remnants of the past. Thematically, my artwork echoes several motifs found within Old Norse folk art and literature, appeasing a deep yearning for other worlds, remembered and imagined; nostalgia is a potent force within modernism. Motifs utilized include valkyries, telemark skiing, viking longboats, and the spiritual in nature. Archeologist Marie Louise Stig Sorensen relates, "material culture is at the same time active and pliable, meaningful but not absolute." The historical and mythological motifs explored within this body of work recognize the limitations and malleability of interpretation in regards to both Scandinavian historiography and contemporary art. The imagery which emerges from my artistic process owes its inspiration and existence to the initial marks, lines, and colors, and to all of the subsequent layers in between.Item Open Access Vessels(Colorado State University. Libraries, 1989) McLerran, Jennifer, author; Yust, Dave, 1939-, advisor; Dietemann, David L., committee member; Berland, John C., committee memberMy artwork serves as a means of exploration of ideas and of representations of experience. I choose to deal with symbols because, as carriers of meaning in the context of various cultures, symbols afford an exploration of the varied ways in which meaning is made. Use of symbols from diverse cultures allows me to comparatively examine the systems of thought from which such images arise. I intend to make no definite assertion in my work regarding the nature of symbol systems or of the meanings conveyed through such symbols. I only intend tentative explorations. The lack of definite assertion in my work is appropriate to its thematic concerns -- symbols of birth, images of time's passage and its manifestation in the process of aging, and conceptions of death and an afterlife -- since any understanding of these aspects of experience must ultimately remain tentative. I aim to express a sense of this mystery in my work, but to do so with a sense of irony.