Deep end
| dc.contributor.advisor | Sutherland, Dan, 1966- | en |
| dc.contributor.committeeMember | Mutchler, Leslie | en |
| dc.creator | Berg, Sonya Carol | en |
| dc.date.accessioned | 2010-11-12T19:50:51Z | en |
| dc.date.accessioned | 2010-11-12T19:51:24Z | en |
| dc.date.accessioned | 2017-05-11T22:20:40Z | |
| dc.date.available | 2010-11-12T19:50:51Z | en |
| dc.date.available | 2010-11-12T19:51:24Z | en |
| dc.date.available | 2017-05-11T22:20:40Z | |
| dc.date.issued | 2010-05 | en |
| dc.date.submitted | May 2010 | en |
| dc.date.updated | 2010-11-12T19:51:24Z | en |
| dc.description | text | en |
| dc.description.abstract | This report describes the processes, working habits, materials, and multiple iterations of my work over the past three years. I reflect more in depth on my final series of work in which I have incorporated images of empty pool structures into paintings and large drawings. I consider the pool images metaphors for containment, control of the landscape, the unknowable, and in both a material and psychological sense, the void. The objects I exhibit, drawings, paintings and prints, are generated using a convoluted process. Rather than working in a systematic way, I negotiate rapid impulses, subjective goals, and thematic consistency. When I use figure/ground reversal and gestural drawing, I look to create a hand-touched surface that generates a sense of uneasiness in the composition, and a subjective disruption in the landscape. | en |
| dc.description.department | Art and Art History | en |
| dc.format.mimetype | application/pdf | en |
| dc.identifier.uri | http://hdl.handle.net/2152/ETD-UT-2010-05-885 | en |
| dc.language.iso | eng | en |
| dc.subject | Painting | en |
| dc.subject | Drawing | en |
| dc.subject | Landscape | en |
| dc.subject | Swimming | en |
| dc.subject | Pool | en |
| dc.title | Deep end | en |
| dc.type.genre | thesis | en |