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Navigating the interior

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dc.contributor.authorGrimm, Lauren, author
dc.contributor.authorDietemann, David L., advisor
dc.contributor.authorLundberg, Thomas R., committee member
dc.contributor.authorLeyendecker, Liston E., committee member
dc.contributor.authorErskine, Nanci, committee member
dc.date.accessioned2007-01-03T05:04:22Z
dc.date.available2007-01-03T05:04:22Z
dc.date.issued1995
dc.description.abstractI 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.
dc.format.mediummasters theses
dc.identifier.urihttp://hdl.handle.net/10217/86987
dc.languageEnglish
dc.language.isoeng
dc.publisherColorado State University. Libraries
dc.relationCatalog record number (MMS ID): 991000085109703361
dc.relationND237.G65.A4 1995
dc.relation.ispartof1980-1999
dc.rightsCopyright and other restrictions may apply. User is responsible for compliance with all applicable laws. For information about copyright law, please see https://libguides.colostate.edu/copyright.
dc.subject.lcshPainting, American -- 21st century
dc.subject.lcshFabric pictures
dc.titleNavigating the interior
dc.typeText
dcterms.rights.dplaThis Item is protected by copyright and/or related rights (https://rightsstatements.org/vocab/InC/1.0/). You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).
thesis.degree.disciplineArt
thesis.degree.grantorColorado State University
thesis.degree.levelMasters
thesis.degree.nameMaster of Fine Arts (M.F.A.)

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