Please use this identifier to cite or link to this item:
|M.F.A._N25.H3_468_uh.pdf||Version for UH users||3.52 MB||Adobe PDF||View/Open|
|M.F.A._N25.H3_468_r.pdf||Version for non-UH users. Copying/Printing is not permitted||3.52 MB||Adobe PDF||View/Open|
|Issue Date:||Dec 2006|
|Abstract:||In a traditional art historical attitude one distinguishes between two main aspects of a work; its form and its content Although these are often discussed In isolation from one another, there is somewhat general agreement that in good artworks, they are successfully fused together. and that it is merely the demands of language that require them to be distinguished in formal discussion. In this regard. semantics can be as corruptive and misleading as they can enlightening. The very thought of an artist's statement is-at the very least-of a suspicious nature. For if in fact the artist can fully define his/her work, I believe the work itself runs the likelihood of being rendered counterfeit. A work of art. like the dream construct, is a translation of our deepest inner necessities. a blind struggle to bring the visceral language of our most hidden heart into the light of form, regardless of whether the work is objective or nonobjective. It is dreaming while awake, and as such, impervious to the complete understanding of consciousness. Once the artist has approximated a translation of the dreaming self into a fact of work, any attempt to consciously come to terms with It by formal explanation becomes nothing more than analytical groping. Although the purpose of this thesis is an attempt to explore and support the formal, historical and technical aspects of the 6 multi-paneled paintings Involved in the Hybrid Semantix exhibit (November 12-22, 2006) held at the University of Hawai'i at Manoa's Commons Gallery, ultimately, the psychic narrative is left up to the viewer.|
|Description:||Thesis (M.F.A.)--University of Hawaii at Manoa, 2006.|
|Pages/Duration:||iv, 52 leaves|
|Rights:||All UHM dissertations and theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission from the copyright owner.|
|Appears in Collections:||M.F.A. - Art|
Please contact email@example.com if you need this content in an alternative format.
Items in ScholarSpace are protected by copyright, with all rights reserved, unless otherwise indicated.