Art Practice Commons^™

A Step Of Two Or The Pas De Deux, Molly A. Hoisington

Masters Theses

The second part of a two-part MFA Thesis presentation, this paper distills the content from the preceding exhibition A Step of Two or The Pas de Deux: an installation of paintings, drawings and projected video. It touches on various themes that surround [well researched] ideas about perception, dissociation, the gaze, and relationships. Most of all, this paper and the body of work it describes is about the visual representation of a sensual understanding of the world.

One Breath/ One Line, Theresa Antonellis

Masters Theses 1911 - February 2014

The scale of the body, the accretion of marks, the pace of the breath and a list of rules, underlie the work. These are parts of the process. I give myself over to the process. The drawing is evidence of the process. During process, there is constant struggle for dominance between the points of attention. Limitations of the body, habits of the mind, observation of the breath, and action of drawing compete for dominance. When are equal, the state of meditation arises. To me this is ultimate freedom. The intention is the viewer will also find freedom in contemplative viewing …

Yes, Probably, Hannah E B Richards

Masters Theses 1911 - February 2014

This M.F.A. thesis paper and drawing installation deal with the physical relationship of the body to itself, and with the neurological wiring connecting the parts to each other and to the whole. In my drawing 10 Months/ 9 x 20 Feet, I work on a scale several times that of my own body. Issues explored include contingency, relationships, accumulation, parameters, play, record, time, duration, proprioception, metonymy, fragmentation, space, scale, sight, process, and drawing. Over ten months, I produced a single drawing measuring twenty feet across and nine feet tall. My body’s repetitive contorting in order to trace itself, in …

The Unfixedness Of It, Kerry O'Grady

Masters Theses 1911 - February 2014

My drawings contemplate the unfixed nature of my experience. I draw from a state of uncertainty about the relationship between self and space, between a moment of experience and the one that follows it. My process involves intuitive mark-making in which instances of perception are indeterminate and discontinuous. I draw from the experience of unhinged moments, from silence and stillness, and from the indefinable, inarticulable, interstitial moments of perception between those that can be concretely described.

The immediacy of drawing, the direct engagement with the mark on the surface, is central to my work. Intuitive mark-making is a way of …