Pattern Design: Painting Inner Rhythms

Author

Audrey Ellen Farrell, University of Northern Iowa

Availability

Open Access Thesis

Keywords

Farrell, Audrey Ellen--Exhibitions; Slides (Photography); Exhibition catalogs; Photographs; Academic theses;

Abstract

"The term 'pattern' necessarily implies a design composed of one or more devices, multiplied and arranged in orderly sequence. A single device, however complicated or complete in itself it may be, is not a pattern, but a unit with which the designer, working according to some definite plan of action, may compose a pattern." Archibald H. Christie My investigation of pattern design has taken the form of a series of highly embellished paintings, applied to either two- or three-dimensional surfaces or a combination of both. Among the recurrent concerns in my work are the history of patterning, its use in modern painted furniture, decisions regarding material and application, and the nature of my own thought process. While researching the history of patterning, I have discovered. a wealth of examples ranging throughout the world and across all time periods. Of particular value are numerous books from the late 19th and early 20th centuries. Pattern Design: An Introduction to the Study of Formal Ornament by Archibald H. Christie, for example, provides a lexicon of marks from their employment on utilitarian objects to their adaptation in works of art. Patterning is discussed from a chronological viewpoint in Alexander Speltz's The Styles of Ornament while collections of visual examples are found in Owen Jones' Grammar of Ornament and two volumes by Auguste Racinet. Textile Designs by Susan Miller and Joost Elffers, and The Christian Oriental Carpet by Volkmar Gantzhorn and Benedikt Raschen provide other examples. In many cases, I am aware of the historical antecedents of certain aspects of my work. For example, the black and white checkerboard or counter change pattern in my work Mirage for C & T can be found in Spain as early as the 14th century, where it occurs in an enameled tile work on a recessed seat at the Alhambra in Granada. A cross band pattern similar to mine can be traced to an inlaid marble pavement at the church of San Clemente in 13th century Rome. Even the dotted line motif in that same cross can be found on a bronze greave in Bosnia-Herzegovina, which dates as early as 1500 B. C. In addition, I realize that I have been influenced by the wallpaper and textile designs of William Morris; the interior and fabric designs of Charles Rennie Mackintosh; the paintings of Gustav Klimt; and in this century, by the paintings and collages of Miriam Shapiro, and the murals of Joyce Kozloff. The technique of painting on furniture has a rich history and in recent decades it has enjoyed a revival. Among the artists who practice it now are Wendell Castle, Alan Daniels, Jay Stanger and Michael R. Toombs. Of contemporary examples, my favorite is Stanger's Structure of Brilliance which consists of a large desk in multiple sections, composed of various types of wood, dyed veneers, anodized aluminum and lacquer. I find this particularly inspiring and no doubt it was one of the objects that brought me to realize the range of possibilities in the application of patterns in furniture. The choice of materials in my work has varied somewhat. In Mirage for C & J, I I applied acrylic paint to the surface of discarded furniture and installed it on a large section of canvas, a setting in which the canvas was positioned partly on the wall, partly on the floor. In my two-dimensional pieces entitled Indigo Maze and Sapphire Nimbus, I used gouache paint on water color paper and juxtaposed complimentary hues to create the effect of optical vibration. By initially working on paper with gouache, I am able to develop new patterns which I then later apply to more complex three-dimensional pieces. While my work has enabled me to learn about historical pattern design, it has also led to self-discovery. The process of creating new marks and inventing new combinations requires patience and disciplined restraint, and I find it is often a way to achieve personal satisfaction. My enjoyment is partly the consequence of the mere physical act of painting, but I feel equally fulfilled by the stages of planning and drawing the work. The time spent working toward my degree has been very satisfying. While I have attempted to create works of art that are genuinely mine, I know that I have also changed during the period of my graduate study. The conclusion of that study is the starting point of the next stage in my development. In the future, I plan to expand on my work in the area of painted furniture, to further investigate historic and contemporary pattern design, and most important, to attempt to continue as an artistic individual. Masters Thesis Exhibition, Pattern Design: Painting Inner Rhythms opens on May 7, 1995 at 12:00 PM in Kamerick Art Building Gallery of Art.

Year of Submission

1995

Degree Name

Master of Arts

Department

Department of Art

First Advisor

Roy Behrens

Second Advisor

Crit Streed

Third Advisor

Charles Adelman

Comments

The source material included nine photographic slides.

If you are the rightful copyright holder of this thesis and wish to have it removed from the Open Access Collection, please submit a request to scholarworks@uni.edu and include clear identification of the work, preferably with URL.

Date Original

1995

Object Description

1 PDF file (9 leaves)

Copyright

©1995 Audrey Ellen Farrell

Language

en

File Format

application/pdf

Recommended Citation

Farrell, Audrey Ellen, "Pattern Design: Painting Inner Rhythms" (1995). Dissertations and Theses @ UNI. 2618.
https://scholarworks.uni.edu/etd/2618