Scholarship & Research
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Item Porosity: the space between identities(Montana State University - Bozeman, College of Arts & Architecture, 2021) McKay, Laurel Brooke; Chairperson, Graduate Committee: Gesine JanzenPorosity' investigates the abstraction of bodies as a way to free people from the visual constraints and societal markers of 'difference' or 'otherness', as tied to class, gender, sexuality and race, that are used to marginalize individuals in our society. I in no way want to remove people's individual experiences, however, these narrow and rigid categories of socially constructed identities support hierarchies that are based in capitalism and systemic oppression, which I think should ultimately be dismantled. Within my monoprints, I use this abstraction of human form to allow for endless possibilities of shifting identity and individual freedom of expression that is not defined by the labels constructed by others. This abstraction of human form also, allows the body to become a sight of resistance and defiance to controls or 'disciplines' placed upon one's existence through bio-political or state structures. I argue that these works of art will allow contemplation on the structures, expectations and invisible manipulations that are tied to how we form and embody our identities in society, while still imparting feeling and emotion as tethered to a shared human existence. I also, hope that they will represent the future possibilities of our fluid identities and a utopian universal that is a shared human experience.Item Movement and energy(Montana State University - Bozeman, College of Arts & Architecture, 1983) Ackerley, Lawrence MichaelMovement and energy are the heart of my work. Movement is created by the manipulation of form, line, and color. These three elements are essential and create the energy of the work. The form, line, and color of the work express movement by the fluid qualities they exhibit. Form and line occur as a spontaneous flow of action and awareness while creating the work on the potter's wheel. The color is added by allowing both my input and the input of the firing process. By carefully arranging the work with organic materials and allowing the fire to integrate them, earth colors are produced. These colors are subtle, yet they are a vital part of the works' movement and energy. It is then that form, line, and color interact with each other and vary as they move around the work, thus creating the feeling of movement when the viewer is looking at them. Originally the forms came from the idea of the hat. This idea gradually became more a symbol of man in combination with landscape. As the work progressed the forms became just a subtle symbol of landscape. Upon reflection, I can see better the relationship of man and landscape in the work. The natural materials in the making of the work - clay, water, straw and fire - are certainly parts of the earth and the simple handling of the materials allow them to be known. In addition the forms give the impression of landscape because of their organic qualities, their flow and uneven nature. This is very much like the earth. Man's relationship shown in the objects, can be seen in several ways. The first relationship is that of the hat, which I see as a symbol of man; second is the creation of lines and finger impressions that indicate man's presence; and third is the fact that they are made by man on one of man's inventions, the potter's wheel. This helps reveal the fact that they were manipulated by man. Making this work brings about an energy and excitement, that is very important to me. It is that movement and energy in the work that gives them spirit and life. And life with spirit is the most important thing to me.Item Line, layer, and form(Montana State University - Bozeman, College of Arts & Architecture, 1983) Toland, Phoebe Rush; Chairperson, Graduate Committee: Richard HelzerI see my work as direct expressions of my feelings rather than as preconceived illustrations based on themes. I have progressed from working in a predetermined, fixed way, toward a more spontaneous and intuitive approach. Although my work begins with specific ideas, the paintings evolve as each phase suggests the next. Part of that, evolutionary process involves painting over areas in an effort to strengthen and support the whole. In the same way, the collaged fabric in my work is either exposed to make use of existing pattern or covered. By working with actual and illusionistic layers, pictorial activity and complexity result. Through layering a kind of depth occurs which is intended to suggest endless space. A duality between rounded organic shapes and hard-edged structural forms takes place as the images are layered. While there is a physical contrast between the wall pieces and the double-sided painting, it is my intent that they all suggest moods rather than depict specific scenes. Due to its structural division the free-standing painting allows for sharply contrasting moods. The imagery of both sides makes use of the screenlike construction, which serves to create a sense of movement. This piece redefines the gallery space and promotes physical interaction with the viewer. The theater work I have done here provided the motivation for making a piece that would integrate my work with human action. The painting functions as a backdrop, while the viewer acts as a player. In these works, it is my hope that the viewer can react on an emotional level to the color, which is both muted and vibrant, the momentum of the gesture and the forms and images.