Arthttp://hdl.handle.net/10211.3/10211.4_142024-03-29T09:30:02Z2024-03-29T09:30:02Zclandestine: conversations with a shadowBlackwell, Hopehttp://hdl.handle.net/10211.3/2141202019-11-07T22:21:56Z2019-11-07T00:00:00Zclandestine: conversations with a shadow
Blackwell, Hope
In my thesis exhibition, clandestine: conversations with a shadow, I render elements of my psyche to act as a window for the outside world, exploring the psychological concept of the shadow self. The concept of the shadow self, is a psychological archetype suggested in research conducted by psychologist Carl. The shadow self is understood to be the repressed unconscious of an individual that can manifest in feelings or thoughts that contradicts the character of an individual. The research of Jung was the foundation for this exhibition alongside my personal experience with the loss of my father. This exhibition consists of projected still images and videos that attempt to bring the shadow self and the exploration of loss out of the subconscious and into the physical world. I use lens-based media to record my body as the primary subject for this work. The gallery installation is meant to become the physical representation of my mind, where the shadow lives, creating an environment where viewers can encounter something that normally is not seen.
2019-11-07T00:00:00ZWhite Saracens, black Muslims, and brown Hafsids: imaginations of the "Saracen Prince" in Les Grandes Chroniques de France (Royal MS 16 G VI)Narayanan, Tirumular Chandrasekaranhttp://hdl.handle.net/10211.3/2134202019-10-11T22:11:18Z2019-09-23T00:00:00ZWhite Saracens, black Muslims, and brown Hafsids: imaginations of the "Saracen Prince" in Les Grandes Chroniques de France (Royal MS 16 G VI)
Narayanan, Tirumular Chandrasekaran
This project seeks to examine the various depictions of so called “Saracens” in London, British Library MS Royal 16 G VI (1332-1350), made for the future French king, Jean II “le Bon.” The political moment, including the Hundred Years War, which surrounded the production of this Grandes Chroniques de France, only highlights the text’s purpose as a symbol of royal legitimacy. Following the death of Louis IX during the eighth crusade and the lukewarm success of the ninth, the crusades came to a lull. Nonetheless, crusade remained an important part of French cultural history, quickly turning into legend, as evinced by the manuscript itself. The manuscript repeatedly depicts “crusade narratives” presenting “Saracens” in various, dynamic, and conflicting ways; they exhibit a plethora of skin colors, hair, costume, weaponry, and even behaviors. The soldiers of Al-Mansur appear white and in Christian armor but defile Santiago de Compostela via defecation, the Tunisian Saracens alone appear shoeless, Agolant the Moor appears black while Marsile and Baligant, representatives of Baghdad present as white. How can contemporary scholars account for the degrees of difference between these depictions within one text? This thesis will explore possible explanations through visual, textual, ethnographic, and socio-political analysis. To this extent, the thesis will give special attention to “Saracen” kings, lords, and knights as the representatives of their people juxtaposed against the Princes of Christendom.
2019-09-23T00:00:00ZNo quiero que se vayaEsquivel, Tonantzinhttp://hdl.handle.net/10211.3/2132752019-10-11T22:11:18Z2019-09-16T00:00:00ZNo quiero que se vaya
Esquivel, Tonantzin
No Quiero Que Se Vaya is an exhibition of seven oil paintings depicting por-traits and agricultural imagery. The project began with representing Northern California’s central valley agricultural environment based on the artist’s personal experience of being raised and living as a farmer. The project began with gathering images of the environ-ment and using photography as a tool to reassemble the artist’s memories, followed by turning them into multilayered oil paintings. The paintings became a technical exploration of combining abstract and rep-resentational styles of painting. Research was completed in order to understand contemporary Chicano art with an emphasis on agriculture. No Quiero Que Se Vaya is intended to give the audience an inside view of life as a Mexican-American farmer’s daughter, and giving voice to a group of people who are often suppressed in society.
2019-09-16T00:00:00ZSoul: dioramaGibbons, Ryan Skylarhttp://hdl.handle.net/10211.3/2002062019-10-11T22:11:18Z2018-02-21T00:00:00ZSoul: diorama
Gibbons, Ryan Skylar
Soul: Diorama Exhibition 2017 Johannes-Gutenberg University, Mainz,
Germany, is a sculptural installation made up of idiosyncratic imagery, processes, and
compositions of my art making practice. The work speaks to the idea of the place it was
made and stands as a self-portrait of the artist through the manipulated and appropriated
German iconography, the Ampelmännchen. The written portion of the Masters’ project
explores a cross-discipline investigation and conceptualization of the processes and imagery.
Art is a place where the mystics of philosophy and observation of science may collaborate to
influence the pursuit of research and final compositional decisions in exhibition. Within the
cerebral state, I envisioned the mechanics of particle physics of light and color in the world
around us. Cerebral visions of these underlying physics of the everyday led to the surreal
paradoxical environment that is Soul: Diorama. I hypothesized on how to create illusionary
three-dimensional spaces: Soul: Diorama, Before illusionary effects are achieved by
restricting the viewers perspective and applying forced perspective practices of painting to
three-dimensional small-scale dioramas. Soul: Diorama, After illusionary effects are the result of screen printed images of light activated ink and programmed LED lights that create
a primary hologram reaction.
2018-02-21T00:00:00Z