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    Jones, Bonnie Lynne
    The "Egg and Rope Series" evolved as a synthesis of ideas, conscious and unconscious, molded into an expression through a conceptual and physical act, involving materials, space and time. My intention was to utilize two seemingly unrelated objects, th . . .
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    Trethewey, Mary Richardson
    I have chosen to work with clay and metal to fulfill a dream of warmth, grace, and simplicity which speaks to primary human emotions and reinforces that which we have in common with one another. Paradoxically, I have been conditioned by a highly speci . . .
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    Smith, Richard Michael
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    Ornitz, Marguerite
    PREFACE The continuum of time has been a constant preoccupation of humankind. The opening verse of Ecclesiastes reads: The earth abideth forever; and there is no new thing under the sun. Aristotle writes: Since the "now" is an end and a beginning of t . . .
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    Golchin, Frough
    The labors of vision create the view of a world in which persistence and change act as eternal antagonists. Changes are perceived as mere accidentals of underlying persistent identity, but perception also reveals constancy as the shortsighted look of . . .
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    Starr, David Whelpley
    The hardware associated with aerospace equipment has been treated largely from an illustrative point of view by most artists. The unique environment in which this material functions suggests an entirely different type of portrayal which is neither abs . . .
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    Wieseneck, Despina
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    Kaminsky, Kathleen
    The vagaries, the vicissitudes of my life, and of others, are the predominant ideologies of my art. I see the human condition as a serious middle-class inquisitive ego-centric humorous sensitive caring level-headed poorly disciplined disillusioned dem . . .
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    Splane, Robson Lindsay
    Through my graduate studies, my intent has been to broaden my field of experience in applied design, and to develop a methodology applicable to many forms of design. By my election to expand from Wood design to include Industrial design, I am not limi . . .