{"id":79,"date":"2014-07-30T16:22:46","date_gmt":"2014-07-30T16:22:46","guid":{"rendered":"http:\/\/sheasnow.com\/?p=79"},"modified":"2017-01-09T19:42:12","modified_gmt":"2017-01-09T19:42:12","slug":"mfa-thesis_spring-2014","status":"publish","type":"post","link":"http:\/\/sheasnow.com\/?p=79","title":{"rendered":"MFA Thesis_Spring 2014"},"content":{"rendered":"

Liberating Imagination: The Creative Process<\/strong><\/h2>\n

Introduction<\/strong><\/p>\n

I invent nontraditional instruments and unconventional methods for creating art, derived from\u00a0elements that celebrate liberties and activities that express a freedom of life found within them.\u00a0Most everyone has his or her own set of actions and essentials that let one accent personal freedoms.\u00a0Things like taking an evening stroll by the river, simply being in the great outdoors, cycling, playing\u00a0music, having a beer with a friend at a favorite bar, shooting fireworks on Independence Day, enjoying\u00a0an invigorating lunch with someone special, and barbecuing in the back yard with friends can all be\u00a0considered excitements within my own freedom of choice and love for life.<\/p>\n

I focus on processes that render results of happiness and contentment to those who enjoy them.\u00a0I explore these alternative processes and convert them into imaginative ways for making visual art.\u00a0This exploration balances my creative passion and ultimately restores it from years of client-based\u00a0shared authorships endured under the commands of commercial art where the processes of making\u00a0mass produced art can have a tendency to be restraining and have a factory-like production line for its\u00a0artists. With a preconceived goal of the end product and being more concerned on achieving results of\u00a0mass consumerism, this type of art has less concern for the artists\u2019 freedom in the process of creating\u00a0such art.<\/p>\n

This is not anti-commercial art or an attempt to denounce my love and passion for design and\u00a0illustration itself. This thesis work focuses on supporting the freedoms of my own imagination and\u00a0choice through personal artistic exploration, which in turn liberates and facilitates what it truly means\u00a0to be creative.<\/p>\n

Historical and Theoretical Foundations<\/strong><\/p>\n

Artists of this concern should begin with critical theories that explain reasons why one may\u00a0choose this path for a thesis study and end with the aesthetic theories of artistic processes that coincide\u00a0with the efforts and results of how they might free their imagination from the co-authorships of\u00a0commercialized art.<\/p>\n

One should start with theories that have initiated a need for separation and departure from the\u00a0confines of commercial art and its shared authorship. Marxist theory on Commoditization, in this case,\u00a0of art, is a critical theory model for adding value-form or commodity to an object (Leitch 14-15); this is\u00a0where commercial art is activated and utilized by businesses to help add value to their product(s) and\u00a0situates an unavoidable shared authorship between an artist and his creations and the client\u2019s requests.<\/p>\n

These types of shared authorships will make some artists realize that their own personal goals\u00a0and talents have become a series laden with commands and constraints; it is within this type of\u00a0repressiveness and oppressions why one can painfully make this deduction: a commercial artist can\u00a0choose his own liberation as a conceptual framework for an academic thesis.<\/p>\n

Now to position the processes of how such artists would create art in response to a newfound\u00a0creative freedom and apply the theoretical and aesthetic foundations of this thesis\u2014being mindful not\u00a0to completely commit to any one of the following movements or artists\u2019 theories in their entirety\u00a0because, if this happens, the graduate\u2019s work will regress to creative confinement.<\/p>\n

The primary theory that this liberated artist finds when orchestrating the nontraditional materials\u00a0and unconventional methods is the Chinese philosophy of Taoism and its theory of Wu Wei\u2014a creative\u00a0quietude, better known as \u201cthe art of letting-be\u201d (theeast.org). This artist finds Taoism, or more\u00a0specifically Wu Wei, encouraging by letting go of and unlearning the preconceived knowledge of the\u00a0analytical, socio-economic control in commoditized art where every aspect of the creative process has\u00a0regulated and expected outcomes, letting the creations come to fruition essentially on their own by just\u00a0letting things happen. In doing so, the artist frees himself of the multitude of issues in the
\ncommercialized art world of socially pre-established value-form and will then know what it means to\u00a0be truly creative.<\/p>\n

Now one can next respectfully deconstruct and reconstruct the cultural movements of Surrealism\u00a0and Abstract Expressionism. This thesis is in accordance with the technical and psychological methods\u00a0of the Surrealist movement, in that the surrealists had developed techniques and methods that liberate\u00a0the imagination and explore the unexpected. The student of this discourse also borrows techniques and\u00a0aesthetic characteristics of Abstract Expressionism, so that the artifact shows no objectivity, no realism\u00a0or any instantly recognizable images. These elements of technique and method from the artists in both\u00a0genres leave their residuals declared as mere artifacts with their aesthetics a last priority and having a\u00a0undeclared value-form. The artist welcomes these contrasts to the commercial art industry where\u00a0everything is consciously thought out before it is created, and where the final product has top priority\u00a0due to its preconceived value-form.<\/p>\n

There are Surrealism and Abstract Expressionism aesthetics, techniques and methods that\u00a0coincide with this work. Surautomatism is the practice of taking the surrealist creative production of\u00a0automatism and pushing it to its most absurd limits by adding an element of hazard. This creative\u00a0process takes the automatic drawing techniques produced by any artistic means and pushes them to a\u00a0level of rigorously applied scientific procedures (icr.ro). These techniques leave randomness in the\u00a0aesthetics that can be embellished with imagination by both the artist and the viewer. The techniques\u00a0and methods used in Abstract Expressionism are congruent with the Surrealist ones in that there are\u00a0prerequisites of automatism and unexpectedness, but the aesthetics, materials, and methods to which\u00a0they apply pigment tend to be much broader.<\/p>\n

There is artistic freedom in the fact that there is no standard look in abstract art and in each artist\u2019s\u00a0being able to express himself in his own unbound way, utilizing the abstract expressionist aesthetic\u00a0concept of the All-over painting. This concept allows the artist to consider the formats\u2019 edges as being\u00a0equal with the final visual not having any indication of the correct positioning of the work. The abstract\u00a0expressionist method of Action Painting situates a premise for the physical act of creating art from\u00a0instruments made from enthusiasms found in life (artlex.com).<\/p>\n

With this innocent departure from the commands of commercial art and with the imaginative\u00a0practices and unexpected techniques of the Surrealist and Abstract Expressionists in mind, one\u00a0approaches these creations with a sense of orchestrating a visual symphony, with time spent outside the\u00a0studio, unbridled from rule and expectations, not initially concerning one\u2019s self with the end results by\u00a0following an artistic Wu Wei and choosing media and instruments that conduct abstract and surprising\u00a0outcomes. A hazardous medium like that of fireworks (colored smoke bombs, sparklers, spinners, and\u00a0snakes) is something that can help develop abstraction and color values. As a basis of his or her\u00a0graduate work, this Surautomatism of such a medium will give the desired feeling of letting go of\u00a0control, and merely giving a personal choice of artistic guidance to the aesthetics through the use of the\u00a0fireworks. This graduate can use various Spinners and Snakes (i.e., fireworks) as an alternate means for\u00a0conducting irreproducible and automatic marks of beautiful linear quality. The artist can explore the use\u00a0of invigorating media like foods and seeds (ice, split peas, rice, lentils, spaghetti, fettuccini, beans, and\u00a0grass seed) and various found elements to help create Automatism in the process as well as create\u00a0texture. The local grocery store down the street, the fireworks stand out on the highway at the edge of\u00a0town, and the outside environment in which the artist exists all have now become the art supply stores.\u00a0The feeling of not having to spend huge amounts of money on the next software upgrade, latest\u00a0computer, and printing of such mass art is a relief of the financial stress one has when dealing with the\u00a0commercial art industry. It is gratifying for the graduate artist to know that, within this thesis process,
\nhe does not have to spend hours behind the computer at a desk or in a studio under artificial light, but\u00a0instead outside in the fresh air and in the natural light of the sun. The artist does not have to abide by\u00a0the advertising rules and make client initiated edits to his creations, thus leaving the final value-form\u00a0and orientation open for a personal application. It is now an art that is true to the artist and not tainted\u00a0by the consumerist world around him in which a commercial artist has become so accustomed; each\u00a0piece of art is conceptually resolved after the moment the artist lights the fuse and steps away allowing
\nthe medium to naturally record its impression. For the viewer, audience, or critic to only apply\u00a0cognitive visual analysis to this is to not grasp the concept in its entirety, negating the holistic beauty of\u00a0the work.<\/p>\n

World history has recorded and archived these cultural movements of Taoism and its concept of\u00a0Wu Wei, Surrealism, and Abstract Expressionism. The Philosophy of Taoism and Wu Wei, date back\u00a0to 4th century BC. Taoism is fundamentally based in the classic Chinese text Laozi. Tao (pronounced\u00a0\u201cDow\u201d) is a Chinese concept that signifies way or path. Its traditional philosophy implies the way that\u00a0nature and the universe work. The true Tao cannot not be spoken or defined, only experienced, due to\u00a0the ineffable qualities it is considered to have. The classic Chinese text Laozi (or Lao Tzu) was written\u00a0by the sage with the corresponding name, Lao Tzu, meaning \u201cOld Master.\u201d The text often referred to as\u00a0the Tao Te Ching (pronounced \u201cDow De Jing\u201d) contains the philosophies of Taoism and Wu Wei and\u00a0has been translated by many scholars throughout the years (taoistarts.net). One translation that supports\u00a0this thesis work, aids in the art of letting-be, and helps conquer ones fear of the unknown or unexpected\u00a0is stated as: \u201cThe Sage is occupied with the unspoken and acts without effort. Teaching without\u00a0verbosity, producing without possessing, creating without regard to result, claiming nothing, the Sage\u00a0has nothing to lose (theeast.org).\u201d<\/p>\n

Surrealism was officially founded in Paris around 1924. After WWI it developed into a
\nresponse to excessive rational thought and bourgeois principles that the artists of that region believed\u00a0brought the war upon them. The leader of this Surrealist movement, Andr\u00e9 Breton (1896\u20131966) defines\u00a0it in his manifesto accordingly: \u201cPure psychic automatism by which it is intended to express, either\u00a0verbally or in writing, the true function of thought. Thought dictated in the absence of all control\u00a0exerted by reason, and outside all aesthetic or moral preoccupations (tcf.ua.edu).\u201d<\/p>\n

With Surrealism as its predecessor, Abstract Expressionism was established in New York\u00a0around 1946 as an American movement after WWII. It first appeared in Germany in 1919 as German\u00a0Expressionism then later resurfaced in America. This was an artistic development that had a particular\u00a0emphasis on the creative, spontaneous act. It was an intuitive technique that produced a non-formal\u00a0work chiefly improvisational, unpremeditated, and apparently random. Abstract Expressionist Vostanik\u00a0Manoog Adoyan (also known as Arshille Gorky 1904\u20131948) best describes it as follows: \u201cAbstraction\u00a0allows man to see with his mind what he cannot physically see with his eyes . . . Abstract art enables\u00a0the artist to perceive beyond the tangible, to extract the infinite out of the finite. It is the emancipation\u00a0of the mind. It is an explosion into unknown areas (artlex.com).\u201d<\/p>\n

There are artists and theorists that validate the historical evidence of the Surrealist\u00a0methodologies, and Abstract Expressionism aesthetics that set the precedence for this thesis of\u00a0creatively orchestrating traces of human excitements. One of the most enthusiastic surrealists about\u00a0\u201cAutomatism\u201d or \u201cAutomatic Drawing\u201d was Andr\u00e9 Masson (1896\u20131987); his drawings called\u00a0Automatic Drawing (Fig. 1) and Femme Allegories (Fig. 2) show the consequences of this technique.\u00a0The Romanian Surrealist theorists, poets and artists Gherasim Luca (1913\u20131994) and Dolfi Trost\u00a0(1916\u20131966) published a statement in 1945 about “Surautomatism.\u201d The statement published in the\u00a0Dialectique de la Dialectique says: \u201cWe resumed the issue of knowledge through image (Trost, The\u00a0Navigable Profile), by establishing a net distinction between the images produced with artistic means\u00a0and those due to scientific techniques, strictly applied, such as acts of hazard and automatism. By\u00a0pushing automatism to its most concrete and absurd limits (surautomatism, the simulacrum-talisman),\u00a0by uninterruptedly objectifying hazard and forcing it to give up its rare item quality originated in the\u00a0discovery of the object found (the object objectively offered, entoptic graphomania), we drive away the\u00a0unbearable idea of not being able to capture it at all time (icr.ro).\u201d<\/p>\n

Jackson Pollack (1912\u20131956) was the most notable Abstract Expressionist that dealt with the\u00a0methods of \u201cAction Painting\u201d and \u201cAll-over Painting.\u201d His paintings called Full Fathom Five (Fig. 3)\u00a0and Number 8 (Fig. 4) make clear use of such technique and aesthetic. Pollock offers insight to his\u00a0process: “Having the canvas on the floor I feel nearer, more a part of the painting. This way I can walk\u00a0around it, work from all four sides and be in the painting, similar to the Indian sand painters of the\u00a0West. Sometimes I use a brush but often prefer using a stick. Sometimes I pour the paint straight out of\u00a0the can. I like to use a dripping fluid paint. I also use sand, broken glass, pebbles, string, nails, or other
\nforeign matter (nga.gov).”<\/p>\n

Contemporary Context<\/strong><\/p>\n

This concept is largely influenced by the genre of Process Art, an open and modern form of\u00a0contemporary art that began in the mid 1960s. The most important influences of this genre are its\u00a0emphasis on the creative processes and actions in time taking precedence over the outcome; and the\u00a0liberating qualities from the use of nontraditional materials and unconventional methods to conduct\u00a0actions that record irregular and erratic arrangements, random occurrences, and improvisations\u00a0(guggenheim.org). Again, the student, or postmodernist, utilizing this thesis, must deconstruct and\u00a0reconstruct contemporary movements and only adapt elements that seem to be most fitting to his\u00a0process and not adhere every aspect of each movement to his work.<\/p>\n

The visual notes make mention of the Process Art genre because its core meaning is in the\u00a0process of noting actions and elements of stimulated human life and the final residual being a historical\u00a0composition of that symphony. It is not a description of a stylized body of work, but a method in which\u00a0one thinks about how to actually orchestrate, conduct, and record the stimulations. With emphasis\u00a0being on the recording of elated life and freeing one\u2019s imagination and creativity from the shared\u00a0authorships and expectedness of client-based art, it situates the efforts as being both psychologically\u00a0and physically process oriented. Through a personal psychological process, he frees himself from the\u00a0propositional constraints of commercial art by letting personal inspiration and freedom of choice drive\u00a0his ambitions to be creative. He is exulted in a process that physically frees him from the environment\u00a0of expected techniques and materials used in commercial art.<\/p>\n

There are a few artists that correlate to this thesis work who also draw attention to these\u00a0techniques and methods of Process Art and are in close proximity to this thesis\u2019 concept. These are\u00a0Rosemarie Fiore, Cai Guo-Qiang, and Tim Knowles, who have, at their core, processes that are of\u00a0equal or more importance than that of their final results. Rosemarie Fiore (born 1972) has a wonderful\u00a0grasp on the importance of the artistic processes and inventing instruments to make art. Her processes\u00a0are varied, from the use of Pinball machines games, amusement park rides, and fireworks. While the\u00a0use of Fireworks in her Smoke Paintings may reflect its aesthetics, it is her use of Pinball games and\u00a0Amusement Park rides that complement this thesis concept the most. Her unconventional use of the\u00a0Evel Knievel Pinball machine as a method to record the exhilarating passage of time while playing a\u00a0game is captured in her pieces aptly named Evel Knievel Pinball Paintings (Fig. 5 and 5a). Her\u00a0residuals called Good-Time Mix Machine: Scrambler Drawings (Fig. 6 and 6a) are another great\u00a0example of her unconventional methods of noting the thrilling moments of human life from the use of\u00a0an amusement park ride. Another contemporary artist that has a focus on recording time and process is\u00a0Cai Guo-Qiang (born 1957). His work is more conceptually based in reflecting issues in his personal\u00a0heritage than the stimulations and freedoms of the human life in general, but his project called Project\u00a0for Extraterrestrials No.10 (Fig. 7) where he lit a six-mile long fuse, that took approximately 15\u00a0minutes to burn in its entirety, is a great example of highlighting the artistic process and recording\u00a0actions in time with less of a concern for its final results. His gunpowder works like the one called Test\u00a0With Toy Fireworks (Fig. 8) promote a spontaneity that confronts the suppressive and controlled social\u00a0climate of his native land, China, and reflects the efforts of this thesis concept of the departure from the\u00a0controlled and oppressive conditions of commercial art. This same gunpowder drawing fits\u00a0aesthetically with the records of this concept as well. Tim Knowles (born 1969) is an artist that makes\u00a0process-oriented notes that have methods that denote elements of freedom of the artistic process and are\u00a0not concerned with their aesthetic outcomes, thus, reflecting the art of letting things happen; his Tree\u00a0Drawings (Fig. 9 and 9a) wonderfully represent this and relate to the unconventional processes\u00a0orchestrated in this thesis where the artist relies on the process of the materials and Wu Wei to conduct
\nhis symphony of marks, color values and textures.<\/p>\n

The Work\u00a0<\/strong><\/p>\n

Choice, Release, Adventure, and Emancipation are a series of works done through the\u00a0experience of using an emancipated imagination and recording abstract compositions with\u00a0nontraditional materials and unconventional methods. Without any rigid idea of the end results, coauthorship\u00a0with a client or demands from commoditization, they were composed within the art making\u00a0process during a particular moment in time. Each piece in this series was created while immersed in the\u00a0exciting moment of shooting fireworks and invigorating methods of smoking used during barbecuing;\u00a0created outside in the fresh air away from the computer and confines of the studio. The nuances of the\u00a0unexpectedness of this process and these materials not only drove the artist to continue to make these\u00a0pieces of art, but also to layer, build, and push the basics in aesthetics until its creator felt it was\u00a0visually satisfying and successful.<\/p>\n

The core concept of this thesis stops the moment that the materials have finished their exciting\u00a0adventure. The artist relied on the Wu Wei to let the materials do as they may and did not try to\u00a0completely understand the technique of trying to apply them. This state of letting things happen is\u00a0beautifully liberating to the artist\u2019s creativity. Arranging them side-by-side in a series allows them to\u00a0compliment each other\u2019s individuality as the viewer investigates them.<\/p>\n

Artist Statement<\/strong><\/p>\n

I orchestrated each piece as a collaboration of nontraditional materials and unconventional\u00a0methods derived from activities and elements that can express independence and support life within\u00a0it. In this series, I have re-contextualized the residual effects of shooting fireworks along with a\u00a0particular smoking method used for barbecuing and converted them into inventive instruments to\u00a0conduct a visual symphony of marks, color values, and textures with which I intuitively compose\u00a0abstract aesthetics. These aesthetic notes result from creative processes done outside of the studio\u00a0and away from the computer. This shift is an innocent departure from years of shared authorships\u00a0and conventional processes that I have endured under the commands of commercial or client-based\u00a0art. The great outdoors and the sun have now become my studio and light source. The fireworks\u00a0stand at the edge of town and local grocery stores have now become my art supply stores. I feel this\u00a0unique approach liberates my imagination and its creations, which enables me to explore my art\u00a0spontaneously with a welcomed sense of personal artistic freedom.<\/p>\n

Materials and Process<\/strong><\/p>\n

All four pieces where orchestrated outside and on the ground. Each document is 4.5ft by 7.5ft,\u00a0recorded on Fabriano Artistico paper. Choice (Fig. 10) was created using the residual effects of\u00a0lighting multiple fireworks like that of Colored Smoke Bombs (Yellow, Orange and Magenta),\u00a0Spinners, and Snakes. Textures and random patterns were created using dried foods (Split Green\u00a0Peas, Fettuccini, and Rice). Release (Fig. 11) was created with the residual effects of lighting only\u00a0the fireworks called Spinners. Adventure (Fig. 12) was created with the residual effects of lighting\u00a0Colored Smoke Bombs (Yellow, Orange and Magenta and Blue) and Spinners. Its textures and\u00a0random patterns were created using dried foods like that of Pasta, Assorted Beans, and Rice.\u00a0Emancipation (Fig. 13) was created with the residual effects of lighting Spinners and over forty\u00a0Colored Smoke Bombs (Yellow, Orange, Magenta and Blue). In all instances, the Smoke Bombs
\nwhere sealed under a plastic drop cloth and lit to smoke the art, which resembles a certain method\u00a0of smoking barbeque. Letting the wind and humidity react with the smoke resulted beautiful marks\u00a0and color values. The dried foods where dropped from above and allowed to fall to the surface and\u00a0bounce around to their final stopping place. The Spinners were placed and lit in a particular area but\u00a0were delightfully spontaneous in which direction they would end up making their mark. The Snakes\u00a0were lit and then pushed along the surface with a stick.<\/p>\n

Conclusion\u00a0<\/strong><\/p>\n

The process of allowing the designation of wall space at Nesin Hyde Gallery to come to me\u00a0without any forced or preconceived desire fits with the theories of Wu Wei. Displaying each piece,\u00a0suspended from the wall and frameless, fits with the liberation ideology, as they seem to be floating\u00a0free from confinements and support the contemporary art genre through this presentation. Although\u00a0they are arranged in, as I feel, their strongest compositional orientation the space would allow. Each\u00a0painting visually records and maintains support of the abstract methods and concepts. I feel that this\u00a0series successfully presents the collaborations of nontraditional materials and unconventional\u00a0methods derived from activities and elements that can express independence and promote life\u00a0within them. This process successfully liberates my imagination, with its residuals offering the\u00a0viewer\u2019s imagination a freedom to explore.<\/p>\n

Bibliography<\/strong><\/p>\n

Leitch, Vincent B.. “introduction.” The Norton anthology of theory
\nand criticism. 2nd ed. New York [u.a.: Norton, 2010. 14-15. Print.<\/p>\n

“Wu wei”, an important concept of Taoism, that involves knowing when to act and when not to act | The East.” The East. n.p., 30 Oct. 2010. Web. 27 Feb. 2014. <http:\/\/www.theeast.org\/?p=716>.<\/p>\n

“Taoism And The Taoist Arts.” Taoism & The Taoist Arts. n.p., n.d. Web. 27 Feb. 2014. <http:\/\/www.taoistarts.net\/taoism.html#his>.<\/p>\n

“First Surrealist Manifesto.” First Surrealist Manifesto. n.p., n.d. Web. 27 Feb. 2014. <http:\/\/www.tcf.ua.edu\/Classes\/Jbutler\/T340\/<\/p>\n

Luca, Gherasim, and Dolfi Trost. “The Dialectic Of Dialectic.” Institutul Cultural Roman. n.p., n.d. Web. 3 Mar. 2014. <http:\/\/www.icr.ro\/bucharest\/the-romanian-avant-garde-03-1999\/the-dialectic-of-dialectic.html>.<\/p>\n

“ArtLex Art Dictionary.” ArtLex Art Dictionary. Michael Delahunt, n.d. Web. 3 Mar. 2014. <http:\/\/www.artlex.com\/>.<\/p>\n

Moore, Barbara, and Donna Mann. “NGA pollock feature process3.” NGA pollock feature process3. n.p., n.d. Web. 3 Mar. 2014. <http:\/\/www.nga.gov\/feature\/pollock\/process3qt.shtm<\/p>\n

“Guggenheim.” Collection Online. N.p., n.d. Web. 5 Mar. 2014. <http:\/\/www.guggenheim.org\/new-york\/collections\/collection-online\/movements\/195233\/description>.<\/p>\n

Appendix<\/strong><\/p>\n

Slides of Historical and Contemporary Artists\u2019 Theory<\/strong><\/p>\n

\"Masson_AutomaticDrawing_1924sm\"
\n<\/a>Figure 1<\/strong>. Automatic Drawing, Masson<\/p>\n

\"Masson_FemmeAllegories_1925sm\"
\n<\/a>Figure 2<\/strong>. Femme Allegories, Masson<\/p>\n

\"Pollock_FullFathomFive_1947sm\"
\n<\/a>Figure 3<\/strong>. Full Fathom Five, Pollock<\/p>\n

\"Pollock_Number8_1949sm\"<\/a>
\nFigure 4<\/strong>. Number 8, Pollock<\/p>\n

\"EvelKenievelPinballPaintings\"<\/a>
\n<\/a>Figure 5<\/strong>. Evel Kenievel Pinball Paintings, Fiore<\/p>\n

\"EvelKenievelPinballPaintings2\"
\n<\/a><\/strong>Figure 5a<\/strong>. Evel Kenievel Pinball Paintings, Fiore<\/p>\n

\"ScramblerDrawings2\"
\n<\/a>Figure 6<\/strong>. Scrambler Drawings, Fiore<\/p>\n

\"ScramblerDrawings\"
\n<\/a>Figure 6a<\/strong>. Scrambler Drawings, Fiore<\/p>\n

\"Project<\/a>
\nFigure 7<\/strong>. Project for Extraterrestrials No.10, Guo-Qiang<\/p>\n

\"Test
\n<\/a>Figure 8<\/strong>. Test With Toy Fireworks, Guo-Qiang<\/p>\n

\"treedrawings_diptych2\"<\/a>
\nFigure 9<\/strong>. Tree Drawings, Knowles<\/p>\n

\"treedrawings_diptych\"<\/a>
\nFigure 9a<\/strong>. Tree Drawings, Knowles<\/p>\n

Photographs of Thesis Work<\/strong><\/p>\n

\"Thesis
\n<\/a>Figure 10<\/strong>. Choice, Snow<\/p>\n

\"Thesis<\/a>
\nFigure 11<\/strong>. Release, Snow<\/p>\n

\"Thesis<\/a>
\nFigure 12<\/strong>. Adventure, Snow<\/p>\n

\"Thesis<\/a>
\nFigure 13<\/strong>. Emancipation, Snow<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Liberating Imagination: The Creative Process Introduction I invent nontraditional instruments and unconventional methods for creating art, derived from\u00a0elements that celebrate liberties and activities that express a freedom of life found within them.\u00a0Most everyone has his or her own set of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"_links":{"self":[{"href":"http:\/\/sheasnow.com\/index.php?rest_route=\/wp\/v2\/posts\/79"}],"collection":[{"href":"http:\/\/sheasnow.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/sheasnow.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/sheasnow.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/sheasnow.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=79"}],"version-history":[{"count":12,"href":"http:\/\/sheasnow.com\/index.php?rest_route=\/wp\/v2\/posts\/79\/revisions"}],"predecessor-version":[{"id":89,"href":"http:\/\/sheasnow.com\/index.php?rest_route=\/wp\/v2\/posts\/79\/revisions\/89"}],"wp:attachment":[{"href":"http:\/\/sheasnow.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=79"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/sheasnow.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=79"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/sheasnow.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=79"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}