Images of compelling dichotomies
by Susan Isabel Randall
A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF FINE
ARTS
Montana State University
© Copyright by Susan Isabel Randall (1982)
Abstract:
no abstract found in this volume STATEMENT OF PERMISSION TO COPY
In p r e s e n t i n g t h i s t h e s i s in p a r t i a l f u l f i l l m e n t o f the
requir em en ts f o r an advanced degree a t Montana S t a t e U n i v e r s i t y ,
I agree t h a t th e L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r
inspection.
I f u r t h e r agree t h a t permi ssi on f o r e x t e n s i v e
copying o f t h i s t h e s i s f o r s c h o l a r l y purposes may be gra n te d ,
by my major p r o f e s s o r , o r , in his a bse nc e, by the D i r e c t o r of
Libraries.
I t i s understood t h a t any copying, or p u b l i c a t i o n o f
t h i s t h e s i s f o r f i n a n c i a l gain s h a l l not be allowed w i t h o u t my
w r i t t e n p e r m is s i o n .
Si g n a tu r e
.
IMAGES OF COMPELLING DICHOTOMIES
by
SUSAN ISABEL RANDALL
A t h e s i s su bmitted in p a r t i a l f u l f i l l m e n t
o f t h e requir em en ts f o r th e degree
of
MASTER OF FINE ARTS
# # q r a t e Committee
Graauate Dean
MONTANA STATE UNIVERSITY
Bozeman, Montana
Jun e, 1982
ARTIST'S STATEMENT
I work w i t h i n a n a r r a t i v e format giv in g emphasis t o images
which a l l u d e to e x p l o s i v e c o n f l i c t s in l i f e .
The p i e c e s a r e
i n t r o s p e c t i v e and p e r s o n a l , o f t e n conveying a s t r a i n e d s i t u a t i o n
which le a v e s the viewer u n s e t t l e d .
P a i n t i n g , drawing, n a t u r a l f i b e r s , and n o n -f e rr o u s metals
work well w i t h i n the s c a l e o f t r a d i t i o n a l metal smithing t e c h ­
n iq u e s .
I b e l i e v e c o l o r i s very im p o r ta n t in each p i e c e .
Basic
p a t i n a s f o r metal have a l i m i t e d p a l e t t e ; in th e s e works t h e i r
q u a l i t i e s have been extended with o i l p a i n t s and p r i s m a - c o l o r s .
The c o l o r adds vib ra n c e and d e f i n i t i o n to the p i e c e s .
Super­
imposing p a i n t i n g and drawing over th e m e t a l l i c s u r f a c e causes
a v is u a l v i b r a t i o n which adds to th e un e a s in e ss o f the s i t u a t i o n .
My imagery i s o f t e n bound t o g e t h e r by barbed wire and o t h e r
l i n e a r el em ent s.
The enclo se d forms i n t e n s i f y the emotional
s i t u a t i o n and r e l a t e a c o n fi n in g boundary to th e
subject.
The
u n c o n t r o l l a b l e , e x p lo s i v e elements a r e p h y s i c a l l y imprisoned w i t h ­
in t h e s e wire d e l i n e a t i o n s .
The fragmented w a ll s and p la n es imply
both f r a g i l i t y and a r i p p i n g , v i o l e n t image.
seen in a l l th e works to varying d e g r e e s .
These two f o r c e s can be
The metal i s worked in a
way t h a t communicates f r a i l n e s s y e t a l s o r e f l e c t s a c u t t i n g harshness
I f e e l t h e s e v o l a t i l e elements a r e compelling and a s t r o n g dichotomy
w i t h i n each p i e c e .
LIST OF SLIDES
1.
Front h a l f o f G a ll e r y
2.
Back h a l f o f G a ll e r y
3.
Beyond P r o t e c t i v e S h ie ld s
4.
Beyond P r o t e c t i v e S h ie ld s
5.
Beyond P r o t e c t i v e S h i e l d s , Detail
6.
Winds o f Anxiety
7.
On th e Edge
8.
On the Edge
9.
The Watch
10.
Explosive Circumstances
11.
Explosive C irc um st anc es, Detail
12.
Last Chance.
13.
L a s t Chance, Detail
14.
L a s t Chance, Detail
15.
La st Chance Detail
16.
Room with a View
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