Scholarship & Research
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Item Cake-o-rama(Montana State University - Bozeman, College of Arts & Architecture, 1990) Woloson, Wendy AdairUsing cakes as subject matter is a continuation of the food imagery I have drawn from in the past. Party cakes, especially, represent an excessive consumption at luxurious, festive gatherings. In a larger context, the cakes allude to a delirious atmosphere paralleling the vacant mentality promoted by the mass media in our culture. I direct this criticism through my work by creating the cakes with "flavors" - specific popular belief systems that "decorate" the cakes with satirical commentary. Thus, the super-saturated tiered cake with candle-crown and banner embodies the superficial idealization of a pageant queen. Because their hats are alike, the Pope and a Klansman share a cake in an uncomfortable stasis of competing ideologies. The decorative dome atop the Capitol transforms into a hovering U.F.O., suggesting a recent or imminent invasion. The humor in my work serves as an important vehicle for conveying more serious ideas. I question peoples' blind reliance on established beliefs and obsolescent attitudes. My scope ranges from ancient religious adoration to the deification of certain contemporary institutions. I have chosen to work with both prints and sculptures due to my eclectic technical background.Item Godander2mals(Montana State University - Bozeman, College of Arts & Architecture, 2007) Harrison, Daniel Adam; Chairperson, Graduate Committee: Rollin Beamish; Gesine Janzen (co-chair)As humans, we exist on the brink of solid matter (earth) and endless space (space) and are an incredibly small part of all that exists. My primary influences are the mystery of the universe that we are a part of, and the notion that outer space has no limits. A lot of my days are spent outside in extraordinary and unpredicted places observing and enjoying the simplicity of existing in a natural setting. The mental peace evoked by nature motivates my desire to create colorful lithographs depicting environments and creatures that are unknown in the natural world. These prints draw the viewer away from what they know and show them an experience that’s mystifying and exciting. I print an image using two different approaches: through a direct reference to an idea or picture in my mind, or by putting random marks of colored ink on paper which results in the determination of how the image is to develop layer by layer. Upon printing each subsequent color I am faced with a decision, is the print finished or does it want another color? The first method of creating a print shows effects of control and forethought, the second method of printing allows for a greater range of expression and a nonlinear impulsive thought process. The three dimensional pieces called xumert ancreon also express a spontaneous form of creation and were constructed from found objects. The use of found objects required that I act in response to the object for the completion of a piece resulting in an unplanned assemblage of the found parts. This was vital to the nature of the sculpture in two ways: finding objects from different locations infused energy from a large geographical area into their creation, and found objects were an environmentally friendly method for creating art. The prints and sculptures are visually compelling and may be experienced individually, however they were created in conjunction with a narrative text titled, “The Space Traveling Moon Monster.” A profound link was created between the text and artwork because they were generated simultaneously. The completion of a new print aroused perception for the next sequence of events or images. The ideas for this book were visualized as actual existing places but in a different time and space. The white of the paper depicted endless space and time was documented as a linear occurrence as well as a cyclical experience with no beginning and no end. In linear time, the more colors in a print, the longer it took to make. On a cyclical level, the individual experience of the viewer engaged with the print exists as soon as they first see it and continues on indefinitely from there I make largescale lithographs from stone because I like the effect I get with this medium. The effect extends from the visual experience through tactile properties achieved solely in lithography, such as shinny ink layers and solid blacks, and the ability to create an edition of prints that serve as an entire piece. I am expanding the boundaries of what is possible as a visual experience within an edition of lithographs by drawing nonvisual experiences such as laughter and confusion.Item Again and again(Montana State University - Bozeman, College of Arts & Architecture, 2011) Worob, Sukha; Chairperson, Graduate Committee: Gesine JanzenOur meaningful interactions within the realm of the Other define and develop who we are as social and cultural individuals. This body of work represents an exploration into the structure of social connectedness versus belonging. There are two aspects to the body of work; one employs more traditional printmaking techniques, the other engages the viewer through interactive performance based printmaking. The more traditional work holds on to its institution solely in terms of its technique. These works leave behind the edition in favor of the multiple and module which are used as conceptual symbols to reference repetition, open reinterpretation of action and memory, and the relationship between Self and the Other. For the interactive work, I ask that the viewer assist me in the creation of large scale works, printed directly on the wall. Using stamps, the viewer will add on to existing works printed directly on to the gallery walls. In the end, compositional choices and densities of the work will act as a visual representation of our communal engagement with one another. Through our meaningful interactions as a social group we hold great creative potential. Potential that is much larger than each of us as individuals.