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- All Subjects: art
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
Full Disclosure, an honors thesis painting exhibition presented by Bachelor of Fine Arts candidate, Natalie Saez, strives to visually document the mental progression of people undergoing the transformative process of art therapy. Although often times a term that brings people on edge under certain circumstances, full disclosure brings to light information that otherwise would not have been expressed. In this same way, the process of art making - specifically referring to art therapy - presents a form of full disclosure. Varying stylistic approaches ranging from naturalistic to more abstracted portraits within the exhibition serve as a way to depict the uninhibited expression that results from the creative process.
ContributorsSaez, Natalie Marie (Author) / Schoebel, Henry (Thesis director) / Doane, Leah (Committee member) / Obuck, John (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2014-05
Description
Abstract Hope and Dreams: Insight into Autism Art Benefit Exhibition Megan H. Tollefson Hope and Dreams: Insight into Autism was a social outreach project benefiting autism research in the Phoenix Valley via an art exhibition. Autism is a widely discussed disorder that affects more than 1.5 million people in the United States. It has had a significant personal impact on my life, as I have two cousins with the disorder, as well as o the lives of millions of others. The project aimed to educate the public on autism, support families dealing with the disorder, and raise funds for essential research to better understand, treat, and prevent autism. The variety of paintings in the exhibition was meant to be representative of the many facets of autism while inspiring hope for viewers. The project also intended to advocate the arts as a viable method for communicating for collective community pulse in the face of increasing autism prevalence. The project process hoped to speak as a visual, social and most importantly, a human commentary on the current state of autism in America. My artwork was selected as the winner for the Sally A. McKenna memorial exhibition for spring 2008, and the exhibition took place in the Step Gallery in the heart of Tempe. The paintings I created and the marketing for the event allowed me to create a meaningful thesis project and combine my interest in business and the arts. I was also able to donate several thousand dollars and one of the paintings to the Southwest Autism Research and Resource Center.
ContributorsTollefson, Megan (Author) / Schoebel, Henry (Thesis director) / Ostrom, Amy (Committee member) / Minonich, Lyndsey (Committee member) / Barrett, The Honors College (Contributor)
Created2008-05
Description
The aim of this creative project was to explore the ideas of impermanence and transience through the lens of different, largely non-western cultural backgrounds, and to incorporate what I learned into my own work as a painter. As part of this, I focused on the materials, techniques, visual strategies, and philosophies that guided the creation of these works. The project consisted of a discrete research phase, during which time I gathered information and materials related to my topic, and a creation phase, when I focused largely on the production of oil paintings and ink paintings whose technique and/or subject matter pertained to impermanence. Research for the most part was conducted by utilizing online and physical collections of work to analyze the formal elements of the work along with the cultural context in which it was created. Ultimately the creative project resulted in a product of three oil paintings and five ink paintings.
ContributorsLewis, Evan G (Author) / Button, Melissa (Thesis director) / Schoebel, Henry (Committee member) / School of Art (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
The role of the artist is to push their field forward. Painting, an ancient
traditional practice, is constantly challenged by new ideas, technologies, societal
currents, and people. I believe it is my role to continue this tradition and introduce
my interpretation of the disciple that is painting.
In this series titled “What Our Bountiful Mother Earth Has Given Us”, I
explore topics of materiality, sacrifice, and the relationship between artists, laborers,
and the Earth. I began this investigation with an adoration for fruit- the signal of a
successful harvest, the budding of fertile land. To capture this organic abundance, I
decided to use the actual pulp of the fruit to depict it. The sacrificial act of using the
flesh of the fruit created an artifact that strives to be, in the end, greater than the
sum of its’ parts. At its’ core, painting is the alchemy of combining natural elements.
To do so, I began by sourcing as much of my chosen fruit as possible,
specifically choosing fruits that require the labor of migrant farm workers in
California. I experimented with using tools such as a blender or food processor to
crush the fruit, but ultimately decided that using my hands and feet to pulverize the
fruit to a paintable pulp allowed me to experience being a component in the process.
Next, I reduced the liquid content by boiling it down to concentrated medium,
adding salt as a preservative measure. Testing out heavy canvases and thin
starched cottons, I eventually chose the lightest fabric I could find, cheesecloth, to
allow the medium to carry the weight of the piece, rather than the support. I
suspended this fabric between two easels and began painting my pulp concoction
onto both sides in multiple layers, allowing it to dry in between. I repeated this
process multiple times until the cloth became stiff and only a small amount of light
could filter through it. I began the same process using another fruit, until I had all
three completed.
traditional practice, is constantly challenged by new ideas, technologies, societal
currents, and people. I believe it is my role to continue this tradition and introduce
my interpretation of the disciple that is painting.
In this series titled “What Our Bountiful Mother Earth Has Given Us”, I
explore topics of materiality, sacrifice, and the relationship between artists, laborers,
and the Earth. I began this investigation with an adoration for fruit- the signal of a
successful harvest, the budding of fertile land. To capture this organic abundance, I
decided to use the actual pulp of the fruit to depict it. The sacrificial act of using the
flesh of the fruit created an artifact that strives to be, in the end, greater than the
sum of its’ parts. At its’ core, painting is the alchemy of combining natural elements.
To do so, I began by sourcing as much of my chosen fruit as possible,
specifically choosing fruits that require the labor of migrant farm workers in
California. I experimented with using tools such as a blender or food processor to
crush the fruit, but ultimately decided that using my hands and feet to pulverize the
fruit to a paintable pulp allowed me to experience being a component in the process.
Next, I reduced the liquid content by boiling it down to concentrated medium,
adding salt as a preservative measure. Testing out heavy canvases and thin
starched cottons, I eventually chose the lightest fabric I could find, cheesecloth, to
allow the medium to carry the weight of the piece, rather than the support. I
suspended this fabric between two easels and began painting my pulp concoction
onto both sides in multiple layers, allowing it to dry in between. I repeated this
process multiple times until the cloth became stiff and only a small amount of light
could filter through it. I began the same process using another fruit, until I had all
three completed.
ContributorsFraga, Mckenna A (Author) / Schoebel, Henry (Thesis director) / Susan, Beiner (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05