Degree Name

Master of Arts (MA)

Semester of Degree Completion

1980

Thesis Director

Garret W. DeRuiter

Abstract

The paper is concerned with my approach to metalsmithing which is directly correlated to my drawings; developing the two-dimensional plane and evolving into three-dimensional metal pieces. The lines of my drawings have become stimulus for my metal work; resolving into strong, linear, textural elements. I discuss three pieces which I have created and some drawings relating the transitions from paper to metal and metal to paper.

My references for these creatures are usually drawn from specific areas which have captured my interest. I have been considerably influenced by Early Irish, Celtic art and the Medieval French Grotesque art. The Celtic art suggested to me a certain primitive, yet curiously elaborate design quality in the creatures and symbols found throughout its books and metal pieces. The metal work is highly developed and assiduously crafted, The biblical drawings and paintings in the Celtic literature also reflect well crafted, aesthetically pleasing work. The Medieval French Grotesque art was exhibited mainly in the sculpture of the period. Great gargoyles and dragons were exquisitely and beautifully sculpted and were very horrid and grotesque creatures. The Celtic and French art are similar to my work with the marionettes which are two of the three pieces discussed in the paper. My marionettes described in the paper are whimsical and beautiful yet rather grotesque in nature. They are not a common art object. The marionettes have a fantasy style and have their roots in ancient artifacts.

All the pieces that are discussed in the paper; the Dragon, Necklace III, and the Unicorn have been fabricated from original, scale drawings. They are taken from the plane of the paper and placed in three-dimensional space.

In the paper other drawings are also discussed which have evolved simultaneously with my metal work. I have developed surface treatments on the drawings which are of similar textural surfaces, if not the same in some areas, as those executed on metal pieces. These drawings have taken full circle. They return to the two-dimensional area with a new three-dimensional viewpoint where I attack the surface of the paper and establish a new texture.

Scale drawings of each piece, the actual piece, and the texturally embellished drawings are the three areas developed in the paper on my work. A detailed description of each drawing and piece, also a discussion on the progression of the work to establish a finished piece is dealt with. This allows a more knowledgable viewpoint of the immediate correlation between my drawings and metal work.

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