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Capstones

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https://hdl.handle.net/10217/180165
These digital collections contain Department of Art and Art History capstone projects from 2012 to present, organized into themes by studio art concentration.

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Browsing Capstones by Subject "capstone"

Now showing 1 - 4 of 4
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    Alyssa Rusco: capstone
    (Colorado State University. Libraries, 2017) Rusco, Alyssa, artist
    The artist's statement: When documentation of place and human experience combine, there comes a hybrid observation of the place itself and how it has been consciously altered and used. In some cases, the traces of human interaction are what make the place either more interesting and contemplative, or unsuitable in the eyes of commercial perfection. One's roots do not only grow in places they live, but places they go. After a decade's worth of travelling to Sanibel Island, since I was 11-years-old, I have become akin to the place itself. In this series, I delved into capturing the true likeness of the sites I already knew for what they were. Without glamorizing, I sought to showcase a tropical location, which encompasses the human and the industrial meeting a previously free, natural space. There are rhythms of natural space, altered space, and human-entered space that became undeniable descriptors of how Sanibel has moved me. Past the obvious exotic beauty, Sanibel owns quirks and imperfections that make it more chewable. My kinship has been with the natural and the altered working together in a seemingly perfect landscape. These moments could not have been charmed out of the place itself without the presence of human life bringing its flavor, creating new aspects of the island.
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    Daniel Westhoff: capstone
    (Colorado State University. Libraries, 2017) Westhoff, Daniel, artist
    The artist's statement: My artwork poses metaphysical questions that analyze what constitutes the human mind, with the intention of better understanding our ends and motives as a society and a species. My process is an introspective one, enhanced by the slow and contemplative nature of metalwork. In creating an object, I learn more about myself, using each piece as a visual model for the issue I think upon. Through the content of my work, I invite viewers to engage in a similar mental process. My recent work is an exploration of the mind, and its inner workings. Each aspect, or faculty, provides a unique function in overall sentience. Our intuition supplies us with a foundation through which we can understand the world. Our perception is what manifests our experiences, and each vantage renders no experience the same as another. Through our reason, we can solve problems and determine the best course of action. Through our will, we enact our agenda and forge our destinies. My aim is to understand how each of these faculties operate and relate to one another, and turn the inquiry into physical objects. I portray these mental faculties as keys because of the way in which each of them, when used properly, grants access to new places and new states of mind. The process involved in making these pieces is as important as the final product. The choice of metal, and the techniques and elements used in each key, relate to the specific faculty represented. In this way, each key is imbued both materially and conceptually with the essence of my inquiry.
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    Jory Heyn: capstone
    (Colorado State University. Libraries, 2017) Heyn, Jory, artist
    The artist's statement: I'm an explorer. I want to explore what's new to me to obtain more tools in my repertoire of skills and knowledge. Searching for knowledge is a basic human instinct. We want to make sense of our world around us, make sense of who we are in this world, and how to interact with every aspect of what makes up our world. I began my journey with an interest of how humans, through the ages, have come to understand the stars and the universe. How ancient cultures personified the stars through constellations in conjunction to their Gods. How ancient cultures used the stars for navigation, in further understanding and exploring their worlds. How humans are still exploring space, and gaining more knowledge with the boom of technology. I grew attached to the ultra violet markers as a medium through this period of exploration. How marks that I'd make wouldn't be visible until reacted with an ultra-violet light source. How something could simultaneously exist, but seemingly not exist simultaneously. As I'd gained knowledge, I began to turn my focus away from the natural wonders of the world, but instead how I existed in this world. I began to explore how my experience shaped me into who I am today, and how these experiences may have occurred only in the way that they did, when they did, and where they did. How my losses and struggles have turned to strengths. How these losses, though each unique to me, is a shared sympathetic experience with humanity and how we still, gain knowledge through hard times.
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    Sarah Fish: capstone
    (Colorado State University. Libraries, 2017) Fish, Sarah, artist
    The artist's statement: Depicting what can not be physically seen has always driven my work. How does one capture a state of mind, an emotion, an illness that can't be seen with the eye? I present three narratives experienced through the mind of one individual. Equipped with a Mamiya 7 and rolls of 120 fujichrome color film, I capture each step in their journey, translating them to chromogenic prints. With masters of the psyche at the forefront, such as Alfred Hitchcock, Duane Michaels, and Francesca Woodman, my hope is to transport you to an alternate state of mind, warping your reality into that of the unfamiliar. To put the viewer in the shoes of another is what I believe the purpose of my art is. To let the viewer experience that which is entirely new and uncharted territory for them, allows them to exercise the action of empathy. For those who relate to the work, and see it as a representation of scenarios they have encountered, it's a warm reminder, that they are not alone, and that they can share in the cathartic experience of seeing representation of things they believed could not be represented.