Scholarship & Research
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Item Manual disengagement(Montana State University - Bozeman, College of Arts & Architecture, 2016) Fitch, Matthew Martin; Chairperson, Graduate Committee: Bryan S. PetersenDysfunction is defined as abnormal or impaired function. To understand this we must first know the definition of function. To function is to work in a specified manner I order to accomplish a task. From here forward, utility will be used in place of function. With this prerequisite knowledge, dysfunction can occur, allowing an item to exist within the context of alteration and beauty prescribe for it. Tools are supremely relevant when considered with the framework characterized by use, which allows me to alter and manipulate them in ways that question the meaning of function and utility. Through the alteration of function and utility, I strive to let the viewer into my realm of modified tools that speak of work days past, labor at hand, and the value of a tool in today's society.Item Contemporary maiolica(Montana State University - Bozeman, College of Arts & Architecture, 1992) Salisbury, Mary ElisabethThe functional aspect of a vessel is vitally important to me. I have altered the maiolica glaze I use so that it does not contain lead which is toxic. This affords greater functionality of my ware and still provides for a broad range of color that lies within the earthenware temperature range. I continue to expand my personal vocabulary of form and ornamentation within the boundaries of functional ware. When my pots are wet I push them around to alter the surface profiles. Sometimes I add clay leaves or branch forms or carve into the surface to accentuate specific shapes. These manipulations, illustrated in the series of platters, allow me to integrate the form of the pot with the painted glaze surface. This integration of form and surface is far more interesting to me than throwing production ware covered with stagnant decoration. As I work with clay I think of the clay surface as skin. The surface stretches as my fingers poke and prod the clay to define the growing internal volume. The parts of the vessel, the handles, lips and feet, are exaggerated to animate the forms. Bulging bellies and jaunty spouts characterize the teapot series. I see these pots as individual personalities, yet united in their themes and functions.Item Functional pottery(Montana State University - Bozeman, College of Arts & Architecture, 1986) Fabens, Frank BevisMy pottery contains harmony which arises out of contradiction. The pieces do not appear to be traditionally functional, yet they are. The surface is both rigid and soft. The apparent heaviness of the forms is different from the actual weight. These contradictions create a pottery which is intriguing and is not understood at first glance. An initial visual impression of my sake’ bottle contradicts common ideas of a functional pot. If something feels good or works well, it may change one’s idea of the pot; consequently, these pots are to be explored with fingers. The eye and mind accept limited standards of function and nonfunction, while touch is accountable only to itself. A cup that can be held in one hand can be explored three-dimensionally through touch as well as through sight. The viewer using both touch and sight will gain a more complete understanding of my pot’s complex planes and surfaces.