Process as vacuum
Can one tool the mind by tapping into the creative psyche through conscious recognition to harvest an idea? This thesis considers surface, colour, form and subsequent internal and external volumes to examine peripheral considerations to form as a proponent of evaluative visual discourse. I argue the bowl epitomizes vulnerability as conceptual architecture—symbolic to an open hands/open mind pedagogy that will resolve in a final grasp of the seemingly unobtainable. This paper considers multiple iterations oscillating conscious to subconscious toolsets in an attempt to evaluate then reify iteration through a process as vacuum—a limitless creative outcome probability to a final exhibition. As form is [in(form)(ed)] it instills formation of a determined resolution one may or may not be forecast from the start. The malleability of clay has set the stage for my personal growth through acceptance of the new and thus perpetuates a greater chance of malleable conscious decision making. Surface treatment of a form through numerous disciplines will dictate the overall appearance and thus visual delivery of form/formless as content. Yet, the value of form is understood through observation. So, we must evaluate the internal and external properties of volume. This research is a conservative effort to maximize the creative potential of the marked participant, myself and a committee of three unrelated individuals to chime in added amplification to colour, light, sound, and form as said content.
Clay process, Retooling the mind, Open hands open mind pedagody, limitless creative outcome probability, evaluation of internal and external properties of volume, Shards, Reinterpretation of Journey as Bowl Form