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Open Access Thesis

Keywords

Hall, Daniel Tomas--Exhibitions; Slides (Photography); Academic theses; Exhibition catalogs; Photographs;

Abstract

This thesis is a development of my drawings and paintings during a 3-year period, from 1988 to 1991. I have sought a consistency in representing forms in an ambiguous space. Painting in a realistic mode has, for me, enhanced the sense of ambiguity. I have sought to discover different ways of presenting the union of objects and forms in a space that is both naturalistic and flat. Before I begin to discuss the road traveled in the development of my paintings, it is important to mention the role of the still life. The still life is a rich source of inspiration for me. Rearranging props and lighting stimulates the flow of creative energies and allows for new sources of inspiration and imagination. The constantly shifting backdrops, props, and lighting remind me of the theatre stage. All of the paintings seem to have a sense of being "staged." The objects in the still lifes are selected by simplicity, balance, and singularity of color. The objects are used mainly formally, as a means for form, line, movement, and color. However, I do not always represent the objects true to form, especially if there is an opportunity to enhance the beauty or grace of the form in relation to the other objects. The same object used in another painting may, therefore, be slightly different. I am not a swift, impulsive painter, splashing paint on canvas in the heat of artistic fervor. Rather, I work in a slow, deliberate fashion, planning and carefully considering each progressive phase of the painting. Many small painted sketches and drawings are done during the actual developing process to see how the still life will look on a two dimensional surface. My earliest still lifes show a sense of order and organization that is characteristic of architectonic structure. They reveal a tendency to flatten and create ambiguous space. In "Shadow Box Still Life" (figure 1) the strong sense of an architectonic structure is evident by the massive vertical and horizontal shapes. The cropping of the form on the top edge is a flattening device that enhances the ambiguity of the space; so does the use of dark shadows that form repetitive shapes. In "Still Life: Angles Forseen" (figure 2) the architectonic structuring is again evident, incorporating more diagonals. The flattening devices employed are similar to above, and add the use of flat color shapes, cast shadows by unseen objects, and an object brought to the immediate picture plane. In these first two paintings the quantity of space around the actual objects is far greater than the amount of space the objects themselves occupy.

Year of Submission

1991

Degree Name

Master of Arts

Department

Department of Art

First Advisor

Crit Streed

Second Advisor

Steven Bigler

Third Advisor

Frje Echeverria

Comments

The source material included 13 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

1991

Object Description

1 PDF file (10 leaves)

Language

en

File Format

application/pdf

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