Lines in space
by Nancy Bales Nordtvedt
A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF APPLIED
ART
Montana State University
© Copyright by Nancy Bales Nordtvedt (1978)
Abstract:
The human body, its forms, connective structures, stresses, changes of direction and movement are
influential in my work. Consciously and intuitively my compulsion is to reflect the body's shapes in
metal forms. These pieces have a natural relationship with the body's curves, angles, planar strength
and shifting surfaces.
My technical involvement includes the use of traditional techniques of blacksmithing and forging as
they can be applied to the design of contemporary jewelry and metal forms.
There is an excitement in utilizing contrasts in material, steel and copper against the richness of colored
silk, ivory and fine silver. These are symbols of utility and durability, hard and cold, juxtaposed against
symbols of elegance and fragility, soft, colorful and richly lustrous.
The formal aspects of lines drawn in space represent paths of movement, rhythm and form. Asymmetry
produces visual tension and linear involvement which surrounds and encloses space, creating negative
areas that play against one another.
I have combined these elements, and by limiting my materials and techniques, explored and expanded
the artistic possibilities within, a small area of metal smithing. Montana State University
School of Art, Haynes Hall
May 22 through June 2,1978
Thesis Exhibition
METALSMITH
NANCY NORDTVEDT
STATEMENT OF PERMISSION TO COPY
In p r e s e n t i n g t h i s
thesis
in p a r t i a l
f u l f i l l m e n t o f the re q u ire ­
ments f o r an advanced d e g r e e a t Montana S t a t e U n i v e r s i t y ,
that
the L ib ra ry
shall
make i t
fre e ly a vailab le
for
I a g re e
inspection.
f u r t h e r a g r e e t h a t p e r m i s s i o n f o r e x t e n s i v e copyi ng o f t h i s
for
I
■
s c h o l a r l y purposes may be g r a n t e d by my m a j o r p r o f e s s o r ,
his absence,
by t h e D i r e c t o r o f L i b r a r i e s .
any co pyi ng o r p u b l i c a t i o n o f t h i s
n o t be a l l o w e d w i t h o u t my w r i t t e n
Signature
It
thesis fo r
I
thesis
or,
in
is u n de rs t o od t h a t
financial
permission. ■
gain
shall
LINES
IN SPACE
by
NANCY BALES NORDTVEDT
A t h e s i s s u b m i t t e d in p a r t i a l f u l f i l l m e n t
o f t h e r e q u i r e m e n t s f o r t h e degr ee
of
MASTER OF APPLIED ART
Approved:
I
Ifa Ppperson / G^aTijiate Cjommittee
/J A T ) . f t .
Head, M a j o r Depar t ment
. Graduat e. Bean
MONTANA STATE UNIVERSITY
Bozeman, Montana
June, 1978
Iii
ACKNOWLEDGEMENT
I w i s h t o e x p r es s my g r a t i t u d e
ard H e l z e r ,
and
ing.
K y l e Hanton and R i c k Pope.
i n s i g h t was e s s e n t i a l
I woul d a l s o
to the a r t
lik e
facu lty,
e s p e c i a l l y Rich­
T h e i r s u p p o r t , encouragement
t o t h e d evel op men t o f my i deas and my work.
t o t h a n k Pat G i l b e r t
f o r h e r h e l p and u n d e r s t a n d ­
iv
ARTI ST' S STATEMENT
The human body,
of d irection
and
its
forms, connective s tr u c tu r e s ,
and movement a r e
i n t u i t i v e l y my compul si on
m et a l
forms.
t h e b o d y ' s shapes
o f b l a c k s m i t h i n g and f o r g i n g as t h e y can be a p p l i e d
There
i s an e x c i t e m e n t
in u t i l i z i n g
contrasts
These a r e symbols o f u t i l i t y
t o t h e desi gn
in m a t e r i a l ,
s ilk ,
lustrous.
The f o r m al
aspects o f
ment , rhythm and f o r m.
l i n e s drawn
steel
i v o r y and f i n e
and d u r a b i l i t y ,
j u x t a p o s e d a g a i n s t symbols o f e l e g a n c e and f r a g i l i t y ,
and r i c h l y
techniques
f o rm s .
and copper a g a i n s t t h e r i c h n e s s o f c o l o r e d
silv e r.
surfaces. •
i n c l u d e s t h e use o f t r a d i t i o n a l ,
o f c o n t e m p o r a r y j e w e l r y and met al
in
r e la t io n s h ip w ith the
a n g l e s , - p l a n a r s t r e n g t h and s h i f t i n g
involvement
changes
in my w o rk. • C o n s c i o u s l y
is t o r e f l e c t
These p i e c e s have a n a t u r a l
body's curv e s ,
Myltechnical
in flu en tial
stresses,
hard and c o l d ,
soft,
colorful
in space r e p r e s e n t p a t h s o f move­
Asymmetry produces v i s u a l
i n v o l v e m e n t whi ch s u r r o un ds and e n c l o s e s s p a ce ,
t e n s i o n and l i n e a r
creating negative
a r e a s t h a t p l a y a g a i n s t one a n o t h e r .
I have combined t h e s e e l e m e n t s ,
techniques,
a smal l
and by l i m i t i n g my m a t e r i a l s and
e x p l o r e d and expanded t h e a r t i s t i c
a r e a o f m et a l s m i t h i n g .
p o s s i b i l i t i e s within,
V
v
;
.
SLIDES.
T.
P i c n i c Fo rk
Stee^,
2.
Shoulder F ibula
Copper and s t e r l i n g
3.
Shoulder Fibula
Vi ew 2
4.
Neckpiece
I
Copper and s t e r l i n g ' s i l v e r
5 . 1 Neckpiece
II
Mild
6.
Neckpiece
II I
Copper and s i l k
7.
Knife
. 8;
Anklet
C opper ,
9.
Bracelet
Copper and s i l k
1 0.
Bracelet
V i ew .2.
11.
Fibula
I
S teel,
12.
Fibula
II
Steel
13;
Knife
14 .
B a c c h a n a l i an
Mask F l a s k
S terling
BacchanpTj an"
Mask F l a s k
Vi ew 2
16.
Knife
Hi gh carbon s t e e l
17*
Neckpiece
18 .
HeadpzI e c e
19.
W aistlet
I
Steel
20.
W aIstlet
II
Copper and s i l k
15.
I
fine
steel
s i l v e r and copper
silv e r
and s i l k
Hi gh carbon s t e e l , i v o r y . a n d
Il
IV
s i I ver
i v o r y and f i n e
s i Iver
i v o r y and s i l k
i v o r y and s i l k
and s i l k
Hi gh carbon s t e e l ,
IIl
fine
silver,
steel
and s t e r l i n g
Copper and s i l k
S teel,
c o t t o n and s i l k
and s i l k
and s i l k
silver
Y*!". *
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MONTANA STATE UNIVERSITY LIBRARIES