Theses and Dissertations

Permanent URI for this collectionhttps://hdl.handle.net/10217/100332

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Open Access
An exhibition of twenty-three original works of art
(Colorado State University. Libraries, 1980) Benedict, James Michael, author; Dormer, James T., advisor; Dietemann, David L., committee member; Sanford, Kern, committee member
The concern of this thesis is a personal translation of light and form into an interplay of forces that animate the objects or shapes beyond the picture plane. This poetic rhythm of object and space is created by delicate intrusions of geometry on the shapes. These intrusions allow the open space and light to penetrate the image or object but do not dictate its specified shape. The images suggest volume, but they are not hallowed out from space; rather they are projected from space through the interaction of light on form. I have examined these elements in terms of organic forms and also mechanical forms.
Open Access
The vital force
(Colorado State University. Libraries, 1980) Square, Vicki Lambert, author; Orman, Jack L., advisor; Dietemann, David L., committee member; Dormer, James T., committee member; Kern, Sanford, committee member
In a discussion of my work my inclination would be to focus in on my use of light. Most probably the reason for this is that using a strong light source, most often sunlight, is always a conscious decision in my work. In fact, I am not at all inclined to draw of that strong light is not present. The light in my work appears in one of two ways, or in combination. In some cases, particularly in the figures, the light appears as an opaque coating of the surface, describing volume as well as surface texture. In others, and these may be combined with the opaque quality, an atmospheric light pervades. This type of light establishes a space, but more importantly it creates the mood, or spirit if you will, by which the subject is enveloped. I am using light in a very conscious way, but the real forte of my work is the gestural, expressive, and strong line. The line is intuitive and is the very thread of continuity in my work. I believe I see things in terms of an active, dancing line enlivening the shadow, and therefore my line embodies movement. The line is what makes my work distinctive as corning from my hand. In terms of subject matter, my graduate exhibition is a most personal one. The progression of my artistic development and personal maturation is most evident in the self-portrait series. It goes from a beginning of a more superficial way of seeing myself and hiding things within me, to taking a hard and objective look desiring to lay bare hidden things; taking an unabashed look and not being afraid of what I see. Hands become an increasingly important part of my portrait. My hands are what I do things with, what I say things visually with, what I either hide or reveal with. Possibly they may be more expressive than the face, but together the hands and face constitute an undeniable force the viewer must deal with. I learn the most from doing the self-portrait, about the progression of my artwork. I believe I can go from the self-portrait to other subjects taking a fresh look, but always knowing the intensity of work that accompanies the understanding of the inner spirit of whatever subject I am dealing with. Most probably I will always return to the self-portrait to take new steps, to experiment, and to progress. I believe it to be a blessing to know concretely that I have a direction to always encounter an intense learning experience.
Open Access
Panoramic space and landscape
(Colorado State University. Libraries, 1980) Jensen, Jay W., author; Orman, Jack L., advisor; Dormer, James T., committee member; Dietemann, David L., committee member; Twarogowski, Leroy A., committee member; Crocker, David A., committee member
To view the abstract please see the full text of the document.
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
Neighbor-scape
(Colorado State University. Libraries, 1981) Ambrose, Richard M., author; Cody, Bruce, advisor; Twarogowski, Leroy A., committee member; Ellerby, David A., committee member; Orman, Jack L., committee member
To view the abstract, please see the full text of the document.
Open Access
Evolutionary cycles of light
(Colorado State University. Libraries, 1982) Anderson, Loraine Lundquist, author; Berland, John C., advisor; Wassell, Harold J., committee member; Getty, Nilda C., committee member; Henre, James, committee member; Cantrell, Carol H., committee member
The mysteries of reflected and refracted solar light phenomena integrated with geometry and the technology of the 20th century are the major focus of the work in this thesis. It is concerned with the metaphysical and personal aspects of universal cyclic solar light used in ancient ritual and medieval theology, integrated with the contemporary external-oriented and impersonal use of solar energy. The objective was to explore ancient, medieval and contemporary differences regarding evolutionary cycles of solar light. For example, the Indians of Peru found order in the universe through observation of solar light cycles. Through veneration of the sun as god in personal internal-oriented ritual celebrating the beauty of light and giver of fertility and harvest, they explained their relationship to the cosmos. The meaning of the sun and its light manifest itself in the gold icons symbolic of the beauty of solar light. Medieval humanity in the 12th and 13th centuries further explored the organization of state and theology in crystal and stone Gothic cathedrals. Opening the architecture to the sun with windows exemplary of the feudal state and Christian religion, Romanesque shadows were banished from somber interiors. The God-given sun as divine light, shining through crystal combined with stone exemplified the medieval spirit of bright and dark, fierce passion and stillness, life and death. During the 20th century, scientists, astronomers and physicists gathered solar light for energy purposes without regard for its splendor and beauty, while natural light cycles integrated with art were ignored during post-medieval times until late 20th century. Based on the perception of light, Dewain Valentine, Larry Bell, James Turrell, Nancy Holt and Eric Orr have explored the content of light with sculptural form beginning with the l 970's. The sculptures in this thesis bring together the inherent order, harmony and intellect of geometric shape with the purity of solar light, presenting stability in a 20th century world of daily violence, economic crises and finite energy sources. Via a concentration of solar energy in reflected and refracted images from Plexiglas planes onto receptive surfaces in sculptural form, it is a search for the origin of personal energies. On another level, the works ask the viewer to examine her /his own source of strength and appreciation. Perhaps inquiry of their consciousness will lead them to a discovery of a new relationship to the universe and a world beyond time and space.
Open Access
The human figure as fragmented form in space
(Colorado State University. Libraries, 1982) Dirrim, David M., author; Berland, John C., advisor; Orman, Jack L., committee member; Twarogowski, Leroy A., committee member; McKee, Patrick L., committee member; Wassell, Harold J., committee member
The works in the Master's Thesis exhibition are the result of the past five months of growth and study. The thesis represents the experimentation with the human figure as fragmented form in space, in relationship with a spontaneous intuitive approach to the casting process. Throughout the creative act, an attempt has been made to utilize the various steps of the casting procedure (modeling, mold making, wax, investing) in such a manner that they become essential in the communication of a spontaneous and immediate attitude. To further convey a spontaneity in approach, traditional attitudes of refining the work have been replaced with a selective approach to the finishing process. In each of the individual works, a variable use of color has been used in order to convey a natural aging process.
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
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
Hidden places
(Colorado State University. Libraries, 1983) Nevius, Thia, author; Dietemann, David L., advisor; Levine, Frederick S., committee member; Wedge, Karen J., committee member
The objective of this thesis is to create paintings of an organic flowing quality that are emotionally expressive. Art that is not representational has more possibilities for interpretation and leaves more room for an open-ended expression of feeling. Concern lies with eye movement through the painting by the placement of line, shape, color, and texture. The process and product are equally important as no final ideas are established before a painting is begun, but rather a burgeoning idea of composition. As a painting proceeds, spaces are pushed and pulled to facilitate flow and desired arrangements. Often figurative shapes or colors are used as points of departure. Serious color considerations are made concerning value and temperature where a dynamic quality may be achieved. Juxtaposition of line and shape, active and inactive areas, hard and soft edges, impasto and transparent areas are employed with balance in mind. These and other rational and intuitive thought and decision making processes proceed as the painting is developed.
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
A personal symbolism
(Colorado State University. Libraries, 1984) Ash, Lori Jean, author; Dormer, James T., committee member; Orman, Jack L., committee member; Ellerby, David A., committee member; Lakin, Barbara L., committee member
To view the abstract, please see the full text of the document.
Open Access
Object, emotion and materials
(Colorado State University. Libraries, 1984) Canary, Susan, author; Orman, Jack L., advisor; Dormer, James T., committee member; Twarogowski, Leroy A., committee member; Freeman, David M., committee member
The lithographs and watercolors of my thesis are still lives and landscapes which demonstrate my concerns with personal, emotional subject matter and simultaneous exploration of the mediums.
Open Access
Gargoyles
(Colorado State University. Libraries, 1984) Nichols, Charlotte, author; Getty, Nilda, advisor; Kwiatkowski, Ronald W., committee member; Mitchell, Carol, committee member
Circulation of internal and external currents within a sculptural form is the major focus of the work in this thesis. As a contemporary interpretation of medieval waterspouts found in Gothic architecture, these gargoyles act to catch, circulate and expel the viewer's visual currents. In addition, these forms constitute a personal interpretation of the flow of human emotional currents circulating internally, erupting, entering and flowing away from man's receptacle. Two distinctly different sculptural forms, mechanical and organic, have been combined in the development of these gargoyles. Geometric surfaces of grids, movable connections of sockets and tubing, constitute the mechanical facades of humanity. They act as an armor to protect and house man's emotions. The organic forms containing recognizable human qualities create an identifiable relationship between the viewer and the sculpture. This relationship establishes a bond between mechanical and organic forms, both acting as human characteristics. Hollow systems were incorporated in these gargoyles to establish an internal flow throughout each piece. Rather than directing a physical flow of water as did their medieval counterparts, these systems act to channel the eye of the viewer. Openings allow entrance into receptacles whereas spillways and exits enable the eye to pour out over external surfaces. The visual currents circulated by these forms represent the movement of emotions within mankind. The human body is the receptacle for emotions, yet unlike physical circulation confined within sealed systems, our emotional currents are free to come and go. To enter and dwell within us, to seep out of crevices, our feelings are at liberty to erupt and splash onto mechanical facades. The viewer plays an active part in establishing the currents within these gargoyles. Human characteristics create rapport, non-human aspects stimulate inquiry into meanings which ultimately reach inside man's emotions. Perhaps these gargoyles, manifestations of emotional currents, will give the viewer a new insight into human sensitivity and feeling.
Open Access
Thought-sounds and mustard jars
(Colorado State University. Libraries, 1984) Sharkoffmadrid, Margaret Ann, author; Dietemann, David L., advisor; Yust, Dave, 1939-, committee member; Ellerby, David A., committee member; Twarogowski, Leroy A., committee member
These works exist in order that I may manifest my internal "thought-sounds." The vertical bands and the resonant stains which connect and/or isolate them are the means I have chosen to communicate about sensation, emotion, thought, humanness, and time past and present. The selection of every color is a critical process, as each is chosen for its emotive quality and its tone. Through many additions and judgments each color is achieved, and consequently an acknowledgment is due to the role played by the mustard jars.
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
On and of paper
(Colorado State University. Libraries, 1984) Miller, Gail I., author; Dormer, James T., advisor; Orman, Jack L., committee member; Crocker, David A., committee member
A personal interest and belief in nature has been the basis for the creation of this series of reflective, interior landscapes. Color is used to express subtle atmospheric light, and space appears to extend beyond the picture plane, which is defined by an abstract, geometric structure. These landscapes reach for the universal essence of nature rather than a sense of place and present a moment of timelessness within the ever changing.
Open Access
Interior event
(Colorado State University. Libraries, 1984) Bridges, Amy C., author; Dormer, James T., advisor; Ellerby, David A., committee member; Berland, John C., committee member; Orman, Jack L., committee member
My work is based on rooms I have entered, where a corner or objects on a table quicken and stimulate me visually. The way things are placed geometrically and the way light falls to alter and distort them becomes a phenomenon or event. That arrangement or event spells out something very personal; a culmination of reality shown as pure form. It is a unique quality found only there at that moment, which is made up of unrepeatable consequences. These forms perceived in a certain relationship are an inspiration to me, and I create an image stemming from my emotion to it.
Open Access
Prosaic mystery, pentimento images
(Colorado State University. Libraries, 1985) Hettinga, Kathy T. (Kathy Tolsma), author; Dormer, James T., advisor; Orman, Jack L., committee member; Jordan, James R., committee member
The idea began with depicting places/landscapes that I feel an emotional affinity for; this initial interest was in expressing, by the subject matter and the marks, the intense feeling of a certain place and my relationship to it. Beyond the landscapes, which involved the places that I had lived, I then felt it necessary to add the images of people that I had known, who were intimately and inextricably tied to these places. The figures and the structured landscapes were interwoven in overlapping structures, resulting in phantoms of remembered places and pentimento figures; some clearly delineated, others merging with the architecture, or fading into grass fields. These distanced symbols of passing people and places, I saw as embodying the temporal nature of life and thus something of our common mystery. In these prints, I strove to represent what is of importance to me, personal symbols of people and places filled with the personal moment, which is specific; and in this very specificity, embodies the universal.
Open Access
Shapes of sounds and silence
(Colorado State University. Libraries, 1985) Haertel, Nilza Grau, author; Orman, Jack L., advisor; Twarogowski, Leroy A., committee member; Dormer, James T., committee member; Levine, Frederick S., committee member; McKee, Patrick L., committee member
My work is a constant search for a significant form that would embody a multiplicity of 'meanings' and not exhaust itself in one fixed 'interpretation’. I feel a deep, reverential fascination for Nature's perfect harmony and order and for the everlasting beauty and spirituality of music. As for the title of my thesis, it is important to clarify that I do not intend to convey the idea that a sound or a silence can be 'translated' into a visual form. The elements of sound, such as tonal color, loudness or softness, and those of visual form do not possess a fixed connotation as do words in a language, and therefore they can never be “literally" translated. The relation that (perceive, though, lies in an infinity of abstract patterns and logical formal structures that exist within both, and my work is about the perception of this ever changing relationship and the emotion that it creates within myself.