Sculpture and drawings by Marilyn Hurn Mohr
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts
Montana State University
© Copyright by Marilyn Hurn Mohr (1985)
Abstract:
My images come from two sources: the inner world of dreams and the outer world of nature. I use metaphor, sensuous appeal, and formal relationships to achieve meaning.
Organic forms are the source of the metaphors I use: plant and animal forms refer to ideas of growth; transformation, infinite variation, and cycles of change. I want to combine the organic references with ideas of integration, security, and alienation. A single humansized sculpture speaks of the simultaneous alienation and yearning to come together in our human consciousness, of knowledge of our separateness coupled with the capability to bridge the space of our aloneness. "Pockets," a group of separate yet similar pieces, can represent security and strength in numbers or the celebration of variety achieved by natural process.
Sensuous appeal comes directly from the surface, color, and form of my sculpture. Through materials and the very process I employ, I hope to share my "sense of touch" and thus, on another level, my care and sensitivity in touching, interacting with the world around me. I am searching for a responsive quality in my work, a place between action and passivity. This quality is like a growing spiral where initial thoughts or feelings evoke the unique ideas and emotions of each viewer.
I find much of my imagery to be healing. Dream images such as budding plant forms are positive, evoking hope of things to come. Ovens are warm places for transformation. The rift of sexism can begin to be healed with strong, upright, yet open forms free of machismo and horizontal forms no longer passive, but activated by color, line, or gesture.
It is important to me how the volume of the inside and outside relate to the supporting structure. The interior space in the pieces suggests a private, Spiritual place containing emotions, dreams, thoughts, and inner realities. The outer surfaces refer to the more tangible side of ourselves that we present to the world which, like skin, are protective of underlying parts and may hide or hint of that which lies within.
The openings to inside spaces are protected by implied or actual barriers. While the supporting structures of some of the pieces are clearly visible, others are concealed below the external skin. These structures represent that which is eternal and constant, like the building blocks of subatomic structure, the "Golden Rule," or our basic human needs. By revealing supporting structure or interior volume, I am acknowledging their importance and giving recognition to a beauty which is often hidden from sight.
I am attracted to depth of surface on three levels. Visually, the play of dark and light is elusive and rich.
Tactilely, my hands feel compelled to explore the varied surfaces created. Intellectually, the shadows and recessed areas create mysterious dark places which beckon my natural impulse to explore the unknown.
The charcoal drawings offer me a more immediate process for the exploration of ideas and often lead to future sculpture pieces. In drawing, my imagination is given free rein to create a world free of the restrictions of gravity.

My art process has been one of integration. Socially, it is a challenge to be able to clearly share my art with others. Physically, the materials with which I work are sensuously appealing. Intellectually, the creative process itself is awing and I am humbled by the infinite paths which can be taken in solving problems. Art fosters my personal spiritual and psychological development and in so doing causes me to confront who I am.

SCULPTURE AND DRAWINGS by
Mari Iyn Hurn Mohr
A t h e s i s submi tted in p a r t i a l f u l f i l l m e n t o f t h e requi rement s f o r t he degree o f
Master o f F i ne Ar ts
MONTANA STATE UNIVERSITY
Bozeman, Montana
August 1985

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Approval o f a t h e s i s submi tted by
M a r i l y n Hurn Mohr
T hi s t h e s i s has been read by each member o f the a u t h o r ' s graduat e committee and has been found t o be s a t i s f a c t o r y reg ar di ng c o n t e n t ,
Eng l is h usage, f o r m a t , c i t a t i o n s , b i b l i o g r a p h i c s t y l e , and c on si s te n c y , and is ready f o r submission t o t he C ol l eg e o f Graduate S t u d i e s .
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Approved f o r t he Major Department
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Date
Date
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Approved f o r t he C ol l eg e o f Graduate Studi es m r
Graduate Dean

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STATEMENT OF PERMISSION TO USE
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 t he requi rement s f o r a m a s t e r ' s 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 t he L i b r a r y s h a l l make i t a v a i l a b l e t o borrowers under r u l e s o f the
L i b r a r y . B r i e f q u o t a t i o n s from t h i s paper a r e a l l o w a b l e w i t h o u t s pec ia l p e r m i s s i o n , provi ded t h a t a c c u r a t e acknowledgement o f source is made.
Permission f o r e x t e n s i v e q u o t a t i o n from o r r e p r od u c t io n o f t h i s paper may be grant ed by my major p r o f e s s o r , o r in h i s absence, by t he
Dean o f L i b r a r i e s when, in t he o p i n i o n o f e i t h e r , the proposed use o f t he m a t e r i a l is f o r s c h o l a r l y purposes. Any copying o r use o f the m a t e r i a l in t h i s paper f o r f i n a n c i a l g ai n s h a l l not be al lowe d w i t h o u t my w r i t t e n pe rmi ss io n .

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ARTIST'S STATEMENT
My images come from two sources: t he i nner worl d o f dreams and t he o u t e r worl d o f n a t u r e . I use metaphor, sensuous a p p e a l , and formal r e l a t i o n s h i p s t o a c h i ev e meaning.
Organic forms a r e t he source o f t he metaphors I use: p l a n t and animal forms r e f e r t o ideas o f growth; t r a n s f o r m a t i o n , i n f i n i t e v a r i a ­ t i o n , and c y c le s o f change. I want t o combine the o r g a n i c r e f er en c es w i t h ideas o f i n t e g r a t i o n , s e c u r i t y , and a l i e n a t i o n . A s i n g l e human­ s i ze d s c u l p t u r e speaks o f t he simul taneous a l i e n a t i o n and y ear ni ng to come t o g e t h e r in our human consci ousness, o f knowledge o f our s e p a r a t e ­ ness coupled w i t h t he c a p a b i l i t y t o b r i d g e t he space o f our aloneness.
" P o c k e t s , " a group o f s e p a r a t e y e t s i m i l a r p i e c e s , can r e pr es e n t s e c u r i t y and s t r e n g t h in numbers o r t he c e l e b r a t i o n o f v a r i e t y achieved by n a t u r a l process.
Sensuous appeal comes d i r e c t l y from t he s u r f a c e , c o l o r , and form o f my s c u l p t u r e . Through m a t e r i a l s and t he v er y process I employ, I hope t o share my "sense o f touch" and t h u s , on a not her l e v e l , my care and s e n s i t i v i t y in t o u c h i n g , i n t e r a c t i n g w i t h the world around me. I am s ear chi ng f o r a r esponsi ve q u a l i t y in my work, a pl ace between a c t i o n and p a s s i v i t y . T hi s q u a l i t y is l i k e a growing s p i r a l where i n i t i a l thoughts o r f e e l i n g s evoke t he unique ideas and emotions o f each v i e w e r .
I f i n d much o f my imagery t o be h e a l i n g . Dream images such as budding p l a n t forms a r e p o s i t i v e , evoki ng hope o f t h i n g s t o come. Ovens

2 a r e warm p l aces f o r t r a n s f o r m a t i o n . The r i f t o f sexism can begin t o be healed w i t h s t r o n g , u p r i g h t , y e t open forms f r e e o f machismo and h o r i z o n t a l forms no l onger p a s s i v e , but a c t i v a t e d by c o l o r , l i n e , or g e s t u r e .
I t is i mport ant t o me how t he volume o f t he i n s i d e and o u t s i d e r e l a t e t o t he supp o r ti ng s t r u c t u r e . The i n t e r i o r space in t he pieces suggests a p r i v a t e , S p i r i t u a l p l ac e c o n t a i n i n g emot i ons, dreams, t h o u g ht s, and i nner r e a l i t i e s . The o u t e r su r fa ce s r e f e r t o t he more t a n g i b l e s i d e o f o u r s e l v e s t h a t we p r ese nt t o t he worl d wh i ch, l i k e s k i n , a r e p r o t e c t i v e o f u n d e r l y i n g p a r t s and may hi de o r h i n t o f t h a t which l i e s w i t h i n . The openings t o i n s i d e spaces a r e p r o t e c t e d by i mpl ied o r a c t u a l b a r r i e r s . Whi l e t he s up p o r t i ng s t r u c t u r e s o f some o f t he p i eces a r e c l e a r l y v i s i b l e , o t h e r s a r e concealed below t he e x t e r n a l s k i n . These s t r u c t u r e s r e pr e s e n t t h a t which is e t e r n a l and c o n s t a n t , l i k e t he b u i l d i n g bl ocks o f subatomic s t r u c t u r e , the "Golden R u l e , " or our b a s i c human needs. By r e v e a l i n g s up p o r t i n g s t r u c t u r e o r i n t e r i o r volume, I am acknowledging t h e i r importance and g i v i n g r e c o g n i t i o n t o a beauty which is o f t e n hidden from s i g h t .
I am a t t r a c t e d t o depth o f s u r f a c e on t h r e e l e v e l s . V i s u a l l y , the p l a y o f dar k and l i g h t is e l u s i v e and r i c h . T a c t i l e l y , my hands f e e l compelled t o e x p l o r e t he v a r i e d s u r f ac e s c r e a t e d . I n t e l l e c t u a l l y , the shadows and recessed areas c r e a t e my st er ious dark p l aces which beckon my n a t u r a l impulse t o e x p l o r e t he unknown.
The charcoal drawings o f f e r me a more immediate process f o r the e x p l o r a t i o n o f ideas and o f t e n lead t o f u t u r e s c u l p t u r e p i e c e s . In

3 d r a wi n g, my i ma gi n at i o n is gi ven f r e e r e i n t o c r e a t e a wor ld f r e e o f the r e s t r i c t i o n s o f g r a v i t y .
My a r t process has been one o f i n t e g r a t i o n . S o c i a l l y , i t is a c h a l l e n g e t o be a b l e t o c l e a r l y share my a r t w i t h o t h e r s . P h y s i c a l l y , t he m a t e r i a l s w i t h which I work a r e sensuously a p p e a l i n g . I n t e l l e c t ­ u a l l y , t he c r e a t i v e process i t s e l f is awing and I am humbled by the i n f i n i t e paths which can be taken in s o l v i n g problems. A r t f o s t e r s my personal s p i r i t u a l and p s yc h ol o gi c al development and in so doing causes me t o c o n f r o n t who I am.

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LIST OF SLIDES
1. "They Bloom Once a Year"
1985
2 9 i " x 4 U "
2. "Root Woman Looking Forward"
1985
4 U " x 2 9 i "
3. "Hope R e t ur n i n g"
1985
4 U " x 2 9 ± "
4. "Armor f o r the H e a r t "
1984
4 H " x 2 9 ± "
5. U n t i t l e d
1984
4 l i " x 2 9 i "
6 . U n t i t l e d
1984
4 l i " x 2 9 i "
7. " T r e e Hol di ng Up t he Sky"
1985
4 l i " x 2 9 i "
8. "Cocoon"
1984
72"x27" x27"
9. " I n c u b a t i o n Pl ace"
1985
53"x33" x24"
10. "Rooted"
1985
68"x28" x20"
11. " T r e e Person"
1985
84" x 54" x 48"

12. "Uprooted"
1985
90"x28"xl6"
13« "E-motion"
1985
34"x36"x32"
14. "Pockets"
1985
8 4"x70" x19"

MCWTANA state univ ersity lib r ar ies
3 762 1001 5025 7