Dormiens vigils (while sleeping, watch)

Dreams about a disappearing ecosystem and an increasing awareness of the fragile nature of our existence inspired the eighteen works in this exhibition. These works express a deepened concern through understanding of life and nature as fragile, precious and sacred. I have interpreted the gallery space as a "temenos," or sacred enclosure in the manner of a cathedral.

DORMIENS VIGILA (WHILE SLEEPING, WATCH) by Maryann S. Webster A thesis submitted to the faculty of the University of Utah in partial fulfillment of the requirements for the degree of Master of Fine Arts in Art Department of Art and Art History The University of Utah May 2001 Copyright © Maryann S. Webster 2001 All Rights Reserved THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS SUPERVISORY COMMITTEE APPROVAL of a thesis submi t ted bv Maryann S. Webster Thi s thesis has been read bv each memb e r of the following supervi sory commi t te e and bv majority vote has been fou n d to be satisfactory. =----------- --------------1--------------------- = w David Pendell 3 2! ■ oj . . _ ___________ R . D . Wilson g - 2 ( - 6 t ^ 7 Mary Francey T FINAL READING APPROVAL T o th e Gr a d u a t e Counci l of T h e University o f Utah: I have read the thesis o f __________________M a r y a n n S .__W e b s t e r _________ in its f inal ' form an d have fo u n d th at (1) its format , c i ta t ions , an d bib l iographic style are consi stent a n d accepta ble : its illustrative mate r ia l s in c luding f igures, tables, a n d cha r t s a r e in place: a n d - 3) the final ma n u s c r ip t is satisfactory to th e Supervi sory Commi t tee a n d is r e a d v for submi s sio n to the Gr a d u a t e School. THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS 3 - *>( ______________________ Date David P end e li Ch a irp e r so n . Supervisory Commi t te e A p p r o v e d for th e Major De p a r tme n t Kaiti Slater Cha irpe r son Ap p r o v e d fo r th e Gr a d u a t e Counci l PhYl 1 is Haskell Dean, College of Fine Arts ABSTRACT Dreams about a disappearing ecosystem and an increasing awareness of the fragile nature of our existence inspired the eighteen works in this exhibition. These works express a deepened concern through understanding of life and nature as fragile, precious and sacred. I have interpreted the gallery space as a "temenos," or sacred enclosure in the manner of a cathedral. TABLE OF CONTENTS ABSTRACT............................................................................................................................ iv ACKNOWLEDGEMENTS....................................................................................................vi DORMIENS VIGILA............................................................................................................. 1 The Ceramic Figures...................................................................................................1 Oil on Wood Panel Altarpiece...................................................................................2 Ceramic Tile Altarpiece............................................................................................. 4 Boxes / Reliquaries.....................................................................................................9 Basins / Platters.......................................................................................................... 11 LIST OF PRINTS....................................................................................................................16 PRINTS...................................................................................................................................19 BIBLIOGRAPHY .32 ACKNOWLEDGEMENTS I would like to thank my husband, Jim and my family, who continually gave me their time and support throughout the preparations for this body of work. I am very grateful to my committee for their time and energy spent on my behalf. Thank you David for knowing when to push me for more and better work. Thank you Sam for the tough questions and technical advice concerning my painting style. Thank you Mary for your good advice and unfailing belief in me. I also would like to extend many thanks to Brian Snapp for his thought-provoking critiques. My creative process has been enriched through the advice and support of my excellent teachers. DORMIENS VIGILA The works on the walls serve as altarpieces that instruct the viewer regarding dreams and concerns about life and nature. They function in the same didactic manner as medieval religious altarpieces. The five porcelain boxes are reliquaries containing porcelain constructions of nature objects. These boxes serve as symbolic vessels, enclosing that which is precious and is now gone. Similarly, cathedrals traditionally exhibit reliquaries containing body parts or other objects relating to the deaths of revered saints or martyrs. The six platters or basins representing mutant life in pools relate to holy water basins, also found in cathedrals. These "un-holy water" works are influenced by the works of Bernard Palissy, who cast nature forms in clay during the late sixteenth century. His works were also probably inspired by carved Italian Renaissance marble holy water fonts containing images of shells and other water creatures (Leonard N. Amico, Bernard Palissv. p. 97). The Ceramic Figures Sculptures of a male and female figure are placed at the entrance to the gallery and serve as gatekeepers to the "temenos." These figures also reflect and repeat the Adam and Eve figures in the large diptych across the space on the opposite wall. The male figure, ‘Spirit Trap,' is made of cone 6 sculpture clay covered in black Terra Sigillata. From a distance he appears to be Greco-Roman in style, with curly hair, and arms that appear to have been broken off. Another personage made of white clay with blue glass eyes peers out of the black figure's hollow eyes. This piece was inspired by the African Benin tribal spirit trap figures, which were made to resemble dead kings and are intended to hold their spirits after death. The female bust also at the entrance is called ‘Blue Past', and is covered with broken antique china, worn as a garment of regret. These are shards I kept whenever I accidentally broke a piece of this fragile antique ware. Applying them to the bust was a symbolic way of dealing with the guilt and loss from their breakage. This piece represents precious things in life which are lost or damaged and which can never be repaired. The fired bust was covered with the broken blue willow china using tile adhesive and grout. These pieces were important to me as human figure studies for the large Adam and Eve diptych paintings. Oil on Wood Panel Altarpiece The largest wall piece is called the ‘Mutant Garden diptych.' The Adam and Eve figures are each almost six feet long and two feet wide. These are greatly increased in scale from the small porcelain icon tiles I had been creating. I knew I would like eventually to create large murals in clay, so it was necessary to aquire experience in larger scale. Working on a large scale with oil on wood panel afforded an exploration that would have been technically impossible on one clay piece at that scale. Working in the flexible oil medium was a welcome change and it was a relief to note that the pieces in this allied medium would not crack or blow up in a kiln after they were painted, as had happened with some of the ceramic works. These were the first serious works I had undertaken in oil and I was feeling overwhelmed by the vast array of technical options available. I proceeded to replicate my previous china painting style, which was a simple, flat outlined figure with very slight modeling, and a simplified icon style. Adam and Eve represent the beginning of life and pure, untouched nature contained in the garden. In this instance, however, the animals around them are sickly or altered in some way. Behind the two large figures are seen a nuclear power plant and mushroom clouds of atomic bombs being dropped by B-29 planes in the sky. A portion of the tree of life between Adam and Eve is seen on the middle edge of each panel. In one comer an angel witnesses the precarious scene, while Adam and Eve seem unaware of the destruction taking place behind them. Most of the background is covered with 22 karat gold leaf and German metallic composition leaf, which is intended as a metaphor for radioactivity. This contrasts the use of gold leaf in icons and religious painting from the middle ages. When used in the background, gold leaf historically represented the holy light of heaven. Images of nuclear holocaust and contamination represent the contemporary apocalyptic threat of the past five decades. Apocalyptic thinking was also prominent around the years 1,000 and 1,500, when many people expected the world to be destroyed. I chose a painting style from a time period between those two eras to refer back to ancient apocalyptic fears. I was influenced by ideas among intellectuals of our century that our times are not that different from the middle ages. Carl Jung wrote in Psychology and Alchemy that "Today is the child of the Middle Ages and it cannot disown its parents" (p. 323). Umberto Eco also deals extensively with the postmodern obsession with the Middle Ages in his writings. In an essay called "The Return of the Middle Ages," he says, "....All the problems of the western world emerged in the Middle Ages....The Middle Ages are the root of all our contemporary 'hot' problems...." (p. 64-65). Like many of my works, this diptych was intended to draw the viewers in with aesthetic appeal and then un-nerve them with the content. Its inclusion in this exhibit was also intended as a backdrop to set the stage and provide a theme for the ceramic works. Ceramic Tile Altarpieces The small altarpiece, ‘Triumph of Nature', consists of three small porcelain panels painted with many fired layers of vitreous enamels. The panels were designed as one composition with angels on the two end panels turning the cranks of a mechanical universe in the center panel. The overall theme of nature threatened by a careless use of technology is continued through the reference to contamination of the atmosphere by internal combustion engines. The small flying figures at the top are depositing parts of automobile engines into a hopper which funnels them to the machinery of the mechanical universe. They are being recycled back to the four sacred elements of nature. The references to fire, air, earth, and water, are derived from medieval alchemy and medieval manuscripts, which were an important influence on my work. Carl Jung's book, Psychology and Alchemy, was particularly useful because he relates universal images, archetypes and dream symbolism to medieval alchemy. The haunting and surreal images used in the writings and illustrations of alchemists were a source of inspiration for many of my designs. Carl Jung's section entitled, "Individual Dream Symbolism in Relation to Alchemy" (p. 39), was very helpful in understanding my own dreams and how they relate to my imagery and to my life. There was an obvious connection between the alchemists and some of the images in surrealism. Many Surrealists such as Marcel Duchamp and Max Ernst were inspired by alchemy in the conception of their works. I began to adapt the alchemists' Latin motto, Dormiens Vigila, which means, "While sleeping, watch!", a phrase that became the title of the exhibition. I began to feel like an alchemist as I experimented technically with my clay and glaze formulas. The idea of working in a secret laboratory was familiar to me. As a small child I often played in my father's microbiology research laboratory, waiting for him to check the developing results of his scientific experiments for the government. He was so immersed in his scientific work that he often could not wait through the weekend to see what would happen, and we would often stop at his laboratory to and from family excursions. The four sacred elements of alchemy are also the four elements I was using in the ceramic process. The interplay of sacred fire, air, earth, and water in clay was also recognized by Japanese raku potters and for this reason, raku tea bowls were very symbolic when used in the Zen tea ceremony. The Zen tea ceremony emphasizes harmony between the elements and I began to feel that I had entered into a partnership with these four elements. I could do whatever possible to control the outcome of the ceramic materials, but there was always a surprise aspect to opening the kiln after the four elements had interacted. These elements work together on the clay by oxidation or reduction of air to change the colors, and by vitrification through fire. The forces of creation and destruction both act in the kiln as clay earth is transformed into a semblance of glass, and the destructive power of water evaporating too rapidly in the firing sometimes causes explosions in the ware. I began to experiment with gold and bronze luster, looking for ways to vary its texture and color over glazes and on bare clay. In alchemy, gold was an often misunderstood metaphor for the spiritual attainment of the philosopher's stone or eternal life. The formula for Meissen porcelain was accidentally stumbled upon in 1708 by the alchemist Boettger, who was imprisoned in a castle dungeon. He was imprisoned by the king of Poland for his failure to convert base metals into gold through alchemic formulas. The book The Arcanum by Janet Gleeson is a fascinating account o f this invention. Boettger's porcelain was an important discovery in Europe, since China had concealed its porcelain formulas from the world for centuries as a trade secret. This piece and all subsequent tiles in the ceramic altarpieces were made of Laguna's Hagi porcelain, and painted with Willoughby's china paints. Two porcelain altarpieces that were created together were the ‘Motherboard' and the ‘Cybermuse'. They are somewhat related because they both explore the idea of the mis-use of technology and its sometimes negative effects on the minds, bodies and spirits of humans. The porcelain tiles are enclosed by a framework with pointed gables often seen in early Renaissance Madonnas. The frameworks were made separately of unglazed stoneware and have a matte, marbled surface of sponged and painted underglazes. The porcelain portrait faces were painted with many fired layers of vitreous enamels. Both pieces also have assemblage elements of actual circuit boards, computer diodes and resistors. The ‘Motherboard' is an early icon style Madonna whose breasts are represented with painted circuitry lines that flow to her nipples. Her head scarf is bordered with jewel-like circuit board diodes. She is tenderly cradling a small, underdeveloped infant. The inspiration for this piece was a poem by Richard Brautigan entitled "All Watched Over by Machines of Loving Grace" in the book, The Pill versus the Springhill Mine Disaster ( p.l)„I wanted to present the sense of extreme helpless dependence by the tiny, fragile human on the ‘Motherboard' Madonna. We realize this dependence when computers are down. The ‘Cybermuse' is a beautiful female icon face with a penetrating gaze and gold luster circuitry for hair. The idea I wished to represent was the contemporary problem of substitution of computers for human contact and specifically for normal male-female relationships. The elaborate and fragile ceramic frame treatment for these two pieces was problematic and time-consuming since commercial frame options were too limited. I decided to try creating my own wood frames or environments surrounding my pieces. The ‘False Healer' wall piece evolved as four porcelain tiles with a cherry wood altar type frame around them. I also began using black Terra Sigillata in a sgraffito drawing technique. Sgraffito is an Italian term that means "scratched." The Terra Sigillata, which is the same formula used on the spirit trap, is primarily ball clay colored with manganese and cobalt. The clay is ball milled and allowed to settle, and the top portion is the Terra Sigillata. It is poured off to be used and the bottom portion is thrown away. The Terra Sigillata was applied to leather-hard porcelain tiles and burnished slightly. Delicate, white line drawings were then scratched into the black Terra Sigillata. This was a perfect technique for the skeleton images and the small symbols at the top. The central panel is a porcelain tile whose mixed white and clear glazes crawled and pulled away from the tile during the "alchemy" of the kiln firing. This was such a startling accident that I almost threw it away, but on second glance, the defective glaze began to resemble deteriorating flesh and I envisioned the profile of a head I was planning which could use that texture. I was learning to be open to exploiting the unexpected, accidental effects one sometimes has in ceramics. This open, experimental approach was also practiced in alchemy. This wall piece is intended to deal with the effects of a sick environment on human health, as well as the deterioration of health with time, despite the search for a cure. It occurred to me sometime after the age of eighteen that the tom cartilage of my knee would never be the same and I was, after all, mortal and deteriorating. Thus, there is no cure for mortality, in spite of our search. To emphasize that point I placed I-ching coins, used by Asian healers, on the sides of the panels. Mexican milagro charms for healing eyes are at the frame's corners. Images of some of the body parts representing the five senses and the heart and lungs are drawn in square sections at the top. These are parts that may need healing. Prozac capsules, sleeping pills, and pain killers are also drawn in sgraffito. Bottles of snake oil remedies also appear at the top. The snake was a symbol of Hermes, or Mercury, a prominent figure in alchemy whose snakes appear on the medical caduceus symbol. With all of these cures around, the patient in the center still appears to be sick because he is mortal. The stylistic effect of this piece is somewhat less refined than the other pieces to enhance the folk-healing imagery» I was using commercial Willoughby's china paints in multiple-fired layers, but they were quite opaque. I was looking for a more transparent color that could be used at very low temperatures. I began experimenting with Russell Coates' version of very old, traditional Japanese overglaze enamel, which can fire as low as china paint. This is found in John Gibson's Contemporary Pottery Decoration. (p.l46)sAfter some calculating, I discovered the correct lead borax frit was number 4385. I adjusted the colorants and substituted alginate powder for boiled seaweed, a rare commodity in Salt Lake City. I then had a good transparent, very low fire enamel which would flux well from cone 018 to cone 4. I solved my concerns with lead use in these low-fire glazes by using the lead bisilicate and lead frit. These bind the lead to silica and make it a safer, more inert and less toxic substance to work with. This was an interesting way to add transparent color to some of the white sgraffito images. The green and blue also became very useful in the mottled glaze experiments on the insides of the porcelain boxes. Boxes / Reliquaries On a recent trip to Europe I became fascinated with the reliquaries in St. Mark's Cathedral in Venice. There was a certain mystery to the idea of enclosure. The vessels' precious exteriors inspire curiosity and anticipation about their contents. These five boxes were subsequently conceived as reliquaries for lost nature, and they led to some very effective explorations. The technical difficulties of the lidded box form in porcelain was something I had been struggling with for some time. The hard, translucent porcelain clay bodies seemed to be attractive materials for a lidded container. The superior functional ability of harder porcelain over white earthenware was obvious. Firing porcelain to cone 10 seemed too high a temperature for a box form to endure, so I attempted to pour box molds of commercial cone 6 porcelain slip, which was designed mainly for dolls and small figurines. There was excessive warping in the firing and only one out o f five was usable. I then tried making hand built boxes of cone 5 Hagi porcelain. The warping was reduced, but the hand-building was time-consuming and all the boxes cracked in the comers where the slabs were joined. By filling the cracks with calcined clay and glaze, they were usable, but I was searching for a better way. I found a mid-range Grolleg porcelain slip formula for cone 5-6 and mixed and ball milled it. After many experiments with casting the new box forms, I was able to produce a porcelain box form quite rapidly. The geometric regularity of the box and lid were contrasted by hand-sculpted handles and feet that related to the narrative to be painted on the box. It became obvious that boxes should contain a secret or surprise, so I began to design them as reliquaries for lost nature, or extinct species. The ‘Lost Garden' and ‘Lost Nature' reliquaries repeated the images of Adam and Eve on the ends of the boxes, again continuing the symbolic threat to the pure and natural state of the garden. The outer surfaces of the boxes were painted with the same china painting technique as the tiles on the altarpieces. The insides were glazed with various mottled colors of low-fire glazes and the Japanese formula enamels I had developed. I discovered that the lower firing vitreous enamels would combine with the cone 06 commercial glazes in interesting ways to create a marble pattern. I molded small leaf and twig forms of porcelain for the inside of the ‘Lost Garden Reliquary', and a small gold lustered snake for the ‘Lost Nature Reliquary'. These tiny objects were embedded in the glazes at the bottom of the boxes. The ‘Lost Sea Reliquary' has images on the lid that refer to the past nuclear testing on the ocean . There are colorful fishes on the box, and the interior has tiny porcelain fish bones embedded in mottled, pale green glazes. I encountered numerous observations that the white, bare porcelain needed to be seen more on this piece, and this rang true to my own sense, thus influencing an abrupt change in the plan of the painting. Instead of covering the porcelain with gold lustre, I left the background of this box mostly white. I felt the porcelain needed to show on more pieces, so the ‘Insect Spirit Reliquary' was also left with a mostly white background. Insects are hovering around thorny branches with tiny new spring leaves. Porcelain insect wings and bodies with gold luster are embedded in the glazes inside this box and the ‘Moth Spirit Reliquary'. Because the moth imagery suggested night or dusk, as well as death, I thought it required a darker back-ground. Gold lustre was applied in an extremely thin layer, that caused the gold to turn purple, with only slight flashes of metallic areas. This seemed to lend a worn or aged appearance to the ‘Moth Spirit Reliquary'. I was interested in the news from a local radio report that Monsanto's genetically modified com and other genetically modified products were causing great alarm among some farmers, biologists, and environmentalists. An experiment was conducted at Cornell University in which monarch butterfly larvae were fed pollen from genetically modified Bt com. Half the butterfly larvae had died after four days. After completing the two boxes relating to the death of beautiful insects, I saw this phrase from Federico Garcia Lorca, "Another day we'll witness the resurrection of dried butterflies...." (p. 65, Poet in New York). Basins/Platters The theme of lost or damaged nature was continued on the Palissy style basins. The natural life contained in the basins has been irreparably altered by human carelessness and apathy. These basins represent microcosms of the more universal degradation of what once was pristine and sacred. The Garden of Eden is a prime example of the purest sacred garden. Ancient Islamic gardens influenced later European gardens, both of which were metaphors for earthly paradise. In Psychology and Alchemy (p. 118), Carl Jung discussed the symbolic significance of the garden as a "temenos." In Islamic and Early Christian architecture a fountain, or source of "living water" was found in the center. This influenced the placement of the basins in the center of the gallery space. Bernard Palissy worked with cast nature images in clay during the late Renaissance in France. I began to collect and cast in plaster a wide variety of nature objects to be altered and reinterpreted. There was a lot of guilt one day when I got a hold of a live gecko in Mexico. Fascinated by its form and texture, I turned it over in my hand and saw its transparent white underbelly with the red liver and tiny blue, pulsating heart. I put it in the freezer for a short while and then brought it out to cast its form in plaster. The tiny heart under the transparent skin was still. We humans are all part of the problem. I decided from that moment on to cast only plastic animals. However, shells and seaweed, and even June bugs and crabs seemed to engender no guilt in the casting. Palissy had embedded objects into clay or plaster and then cast a basin (or what we today would call a platter) with these textures on it. Larger relief forms of animals were added onto this background later. I decided to alter the animals as "mutants" of nature gone awry. I did not expect the effect of the central mutant figures to be humorous, but the feeling from them was like they were creatures from a bad Japanese horror movie. I began to think of the largest platter, ‘Shallow Edge of the Gene Pool' as sort of a three-dimensional cartoon. Cast baby com vegetables were mutated into genetically modified, aggressive little corn monsters. I imagined they had been bred by corn-pollinated tomato plants whose genes in reality were spliced onto fish genes. The large, two-headed, two-tailed fish with crab claws was undulating in the center of a kelp ring, with one of the corn creatures and a snakish snail creature, each snarling at one of the heads. The more shallow ‘Mutant Tide Pool I' and the ‘Mutant Puddle' resemble the original Palissy works more, but I eventually felt I needed to make the animals rise off the basin forms in a more dynamic way. I experimented with this idea on ‘Mutant Gene Pool'. The progression of higher relief can be noticed on ‘Genetically Modified Tide Pool' which is glazed with a cone 10 celadon. The high-fire celadon on porcelainous clay produced a more elegant, Asian effect. All of the objects here were sculpted and bisque fired separately, then fused together in the glaze firing. This eliminated the problematic cracks between the forms and the platter in the bisque stage. I used this technique on the later platters, such as the ‘Mutant Tide Pool II'. This piece has a three­headed porcelain snake with gold luster in the center of a ring of kelp. Low-fire celadon glaze and Japanese vitreous enamel were experimentally combined at cone 4 and they created surprising flashes of grey, aqua, green and celadon on the glaze of the background platter form. Some of the smaller shell forms were glued on later. Porcelainous stoneware was used for the bases of these works, but some of the small creatures and the shells especially needed to be made of porcelain because of its close resemblance to actual shell surfaces. I was not the first to make this observation, as Marco Polo called these exotic Chinese clay wares "porcellane," the term for a sea shell used as currency in the Orient (The Arcanum, p. 50). All of Europe was amazed by the beauty of Marco Polo's "porcellane" brought from his visit to Ming dynasty China in the fifteenth century. True Asian porcelain is the product of the fusion of china clay,or kaolin, with feldspar, at very high temperatures ("World Ceramics, p. 10). European potters tried to create porcelain by mixing ground sea shells with glass and other substances. It is interesting to note that sea shells and porcelain both contain calcium. For whatever reason, the translucent porcelain shells with vitreous enamels and glazes are almost indistinguishable from real shells. This helped make the illusion of actual nature objects more effective. The authentic textures, even on the fictitious "mutant" creatures were an important device to draw the viewers in visually and then to turn their attention to the content and the real concerns behind the humor and the metaphors. We continue to have a serious problem with pollution of the atmosphere, water, earth, and, according to some biologists, even with gene pools. The resulting effect on human health and that of the surrounding biosphere remains yet to be seen. We, as individuals of developed civilizations, refuse to acknowledge that our lifestyle exceeds the earth's ability to continue to sustain us. Collectively we fail to recognize that when the earth, a living thing, becomes ill, we also will suffer serious consequences. One purpose for creating the altarpieces, reliquaries, and basins was to satisfy the anxiety of my dreams. I saw my dream self running through tunnels of soundly sleeping people, trying desperately to awaken them to the precarious conditions only a few could see. Another reason was to satisfy an unquenchable need for experimentation. There is always something new to try in a medium as complex as ceramics. Pushing the boundaries of the materials and elements can be very interesting, even if the effects are 15 sometimes disastrous. In viewing the entire exhibition in the context of the gallery, the various bodies of work can be more easily analyzed for determining a future direction. I learned I do not want to sculpt any more life-size figures, although they were an important learning experience. At this point I feel I will continue working on tiles, perhaps in a larger format. The boxes will need to evolve, perhaps by bringing more three-dimensional forms onto the outside surfaces of the lids and feet. The platters have many more exciting possibilities that need to be explored. Future works will most likely continue to be in porcelain with vitreous enamels. I am anxious to meet these objectives and undertake further exploration. I anticipate each new day in the studio with renewed curiosity. LIST OF PRINTS 17 1. Mutant Garden Diptych Oil on wood panel 66"x 52" 2000 2. Triumph of Nature Porcelain 18" x 21" x 2" 1999 3. Motherboard IV Porcelain 18" x 21" x 2" 1999 4. Cybermuse Porcelain and stoneware 17" x 15" x 4" 1999 5. False Healer Porcelain, wood 24" x 19" x 5" 2001 6. Lost Garden Reliquary Porcelain 8" x 12" x 5" 2000 7. Lost Nature Reliquary 8 1/2" x 12" x 5" 2001 8. Lost Sea Reliquary 8" x 12" x 5" 2001 9. Insect Spirit Reliquary Porcelain 8" x 12" x 5" 2001 18 10. Moth Spirit Reliquary Porcelain 9" x 12" x 5" 2001 11. Shallow Edge of the Gene Pool Porcelain and porcelainous stoneware 20" x 23" x 8" 2001 12. Genetically Modified Tide Pool 12" x 14" x 41/2" 2001 PRINTS 20 1. Mutant Garden Diptych Oil on Wood Panel 2000 21 2. Triumph of Nature Porcelain 1999 22 3. Motherboard IV Porcelain and Stoneware 1999 23 4. Cybermuse Porcelain and stoneware 1999 24 5. False Healer Porcelain, wood 2001 25 6. Lost Garden Reliquary Porcelain 2000 26 7. Lost Nature Reliquary Porcelain 2000 27 8. Lost Sea Reliquary Porcelain 2001 28 9. Insect Spirit Reliquary Porcelain 2001 29 10. Moth Spirit Reliquary Porcelain 2001 11. Shallow Edge of the Gene Pool Porcelain and porcelainous stoneware 2001 31 12. Genetically Modified Tide Pool Porcelainous stoneware 2001 BIBLIOGRAPHY Amico, Leonard N. Bernard Palissv. In Search of Earthly Paradise. Paris, New York: Flammarion, 1996. Brautigan, Richard. Trout Fishing in America. Boston: Houghton Mifflin, 1989. -----, The Pill Versus the Springhill Mine Disaster. Boston: Houghton Mifflin, 1989. ---- , In Watermelon Sugar. Boston: Houghton Mifflin, 1989. Ceramics Monthly. Professional Publications, Inc. Columbus, Ohio. March, 1991. February, 1993 Charleston, Robert J. ed. World Ceramics. London: Hamlyn Publishing Group, 1968. Feinberg, Harold S. ed. Simon and Schuster's Guide to Shells. American Museum of Natural History. New York: Simon and Schuster, 1980. Garcia Lorca, Federico. Poet in New York. Trans. Greg Simon, Steven F. White. New York: Noonday Press, 1998. Gibson, John. Contemporary Pottery Decoration. Radnor, Pennsylvania: Chilton Book Company, 1987. Gleeson, Janet. The Arcanum. New York: Warner Books, 1998. Jung, Carl Gustav. Psychology and Alchemy, second ed. trans. R.F.C. Hall. Bollingen Series XX. Princeton University Press, 1968. Manners, Errol. Ceramics Source Book. London: Collins and Brown Limited, 1990.