Abstracture, The Abstraction Of Architecture And Space: MFA Thesis - Painting and Drawing
Cast your vote
You can rate an item by clicking the amount of stars they wish to award to this item.
When enough users have cast their vote on this item, the average rating will also be shown.
Your vote was cast
Thank you for your feedback
Thank you for your feedback
Architecture and Space
Research Subject Categories::HUMANITIES and RELIGION::Aesthetic subjects::Art
MetadataShow full item record
AbstractIf a room or space can alter how we feel, if our feelings are affected by the color of the walls, the shape of a door, the design of the wallpaper, what will happen to us in places we experience or inhabit?
The following license files are associated with this item:
- Creative Commons
Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivs 3.0 United States
Showing items related by title, author, creator and subject.
Painting Parallels: MFA Thesis - Painting and DrawingKovacevski, Olivia (2014-05)I cut and collage shapes to locate parallel meanings. I trust in the directness of mark making and deploy a formal vocabulary to reveal the structure of my thoughts. The artwork originates in the freedom of play and retains an intuitive child-like quality that I nurture through the sheer joy of making.
Asiaticoside : MFA Thesis - Painting and DrawingAn, Junmo (2014-05)I am wandering around the things that intrigue me, the beginning of maturation, the remains of life—such as ashes and bones, the objects that link our lives with our deaths. I walk on, like a column of ants. I feel something draws me, but I do not know what and where it is. I just follow the crumbs of ideas; life, death, and love.
Sweat Equity: MFA Thesis - Painting & DrawingLittle, Christian (2015-05)My work examines a voyeur culture preoccupied with sex, drama and the lives of others. It is not my intention to offer a representation of “reality”, but a simulation of an imagined actuality. The nature of this contradiction influences my painting process from conception to resolution. My paintings are simultaneously voyeuristic and participatory, erotic and sterile, stiff and fluid, analytic and absurd. I am aware of the dimensional limitations of traditional painting, and I believe the paintings’ audience is savvy as well, yet I urge the audience to believe these two dimensions to spill out of the hand-constructed wood panels. I self-consciously use paint to address painting’s history and the use of illusion to create dynamic spatial relationships on a flat surface. Through the use of trompe l’oeil and decorative painting techniques, I construct conceivable yet strange spaces while deconstructing the communal notion of a shared reality.