DOCSLIB.ORG

A Thesis Submitted to the Faculty of the Sculpture Department in Partial

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Thesis Submitted to the Faculty of the Sculpture Department in Partial A Thesis Submitted to the Faculty of the Sculpture Department In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Sculpture at Savannah College of Art and Design William Makepeace Atlanta © November, 2020 Chris Rothermel, Committee Chair Martha Whittington, Committee Member Stephen Bodnar, Committee Member Acknowledgements I would like to thank Paula Wallace and the dedicated team of staff and Professors at SCAD. Special thanks and appreciation go to Chris Rothermel, Martha Whittington, and Stephen Bodnar. I have befitted from their wisdom, creativity, and craftsmanship. Additional thanks go to Walker Jernigan and the other staff at the Atlanta Sculpture Studio for maintaining equipment and helping me hone my skills. Table of Contents List of Images 1 Abstract 2 Creativity and Situational Awareness 3 Make Art – Make Love – Make Peace 5 Genuine Gesture and Technique 9 Shoot – Move Communicate: Attention in Action 14 Repurpose to Refocus Attention 19 Beauty 21 Proletariat Playground 26 Flattening the Curve and COVID 31 Conclusion 37 Bibliography 38 List of Images Figure 1: William Makepeace, THINK, 2018, bronze, 7.5” x 11.5” 10 Figure 2: William Makepeace, LIE, 2019, steel, 3’ x 3.5’ x 7’ 13 Figure 3: William Makepeace, Communication, 2018, Iron, 18”x30” 16 Figure 4: William Makepeace, Direction, 2018, cedar, 7” x 37” 17 Figure 5: William Makepeace, Toxic Hero, 2018, fabricated steel, 8”x54” 18 Figure 6: William Makepeace, DEPENDENCY, 2019, steel, mixed media, 2’ x 2’ x 2.5’ 20 Figure 7: William Makepeace, A Beauty, 2019, steel, mixed media, 2’ x 2’ x 2.5’ 23 Figure 8: William Makepeace, KEY to Success, 2019, fabricated steel, 2.5’x 3.5’x5.5’ 25 Figure 9: William Makepeace, E-RACING Time, 2020, resin and foam, 2.5’x3.5’ 28 Figure 10: William Makepeace, Pascal’s Wager, 2020, Russian pine, 8”x6’x6’ 30 Figure 11: William Makepeace, Gravity Suspended, 2020, steel, 72.5” x 22.5” x .25” 34 Figure 12: William Makepeace, SKIN, 2020, rope, poplar wood, English Ivy 36 1 Abstract ATTENTION William Makepeace November 2020 Attention is a condition of readiness involving a selective narrowing or focusing of consciousness and receptivity. My ATTENTION is the connectivity of a collective continuum expressed with a genuine gesture in respect to time, memory, place, and identity. Each moment yields a conceptual, heightened awareness that invokes a cerebral dialogue of immanence. Creating recognizable objects that command attention while subtly extracting societal significance has been a natural process of inquiry for me. My thesis will explore these concepts through a visual portfolio of my body of work, in conjunction with personal narrative. Current criticism and traditional critical theorists have been researched and intertwined to contextualize my pieces within a contemporary and historical framework. I sculpt in order to promote open and authentic discourse uninhibited by the limitations of imposed social norms and the noise of media. I intend my sculpture to elicit questions that are free from judgment and societal hierarchies. I am a sculptor whose accidental purpose is process driven from the start to the foregone conclusion. As an artist, I enjoy forging and fabricating recognizable, insightful objects that invoke cerebral dialogue. My body of work includes forged steel, cast bronze, carved wood, and assemblages from found or repurposed objects. I sculpt in order to foster an open and honest dialogue, one that is free from the constraints of social norms and the noise of media. KEYWORDS: intentionality, fabricate, repurpose, attention, cerebral dialogue, genuine gesture 2 Creativity and Situational Awareness Originally from Sanford, North Carolina, my family owned and operated a custom millwork company from the 1880’s to 1981. My only experience in woodworking as a boy, when I was seven years old, was having to make my own paddle after church one Sunday at Makepeace Millwork. It was an exercise not in making art, but in obedience instead. I subsequently did not gain an affinity towards craftsmanship until recently. Retired from the United States Marine Corps and financial industry, I was at a crossroads two years ago when I began my Master’s studies at SCAD. With no prior hands-on art experience, I knew I wanted to engage my intellect to create. I have always been creative, but not in the sense of making art. My creativity had been in my ability to make broad connections, asking difficult questions in order to solve problems. Resolution through critical thinking, I was a creator of ideas. Beginning with a Contemporary Art class, I began learning a brand new language that, although foreign at the time, unlocked an unexplored region of my brain. I learned to use my hands to make connections and foster dialogue. I sculpt in order to promote open and authentic discourse uninhibited by the limitations of imposed social norms and the noise of media. Attention is a condition of readiness involving a selective narrowing or focusing of consciousness and receptivity. As an artist, I stand at attention, standing ready to observe and communicate. I intend my sculpture to elicit questions that are free from judgment and societal hierarchies. I am not seeking external validation. I work from an internal perspective focused on what is important and worthy to me, who I am, and what I believe. With strength, fortitude and internal self-acceptance, I don’t strive to change the external. In turn, I am free from the bondage of 3 collective judgment. Steve jobs likened creativity, not as genius, but in terms of valuing perspective and connectivity: Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn't really do it, they just saw something. It seemed obvious to them after a while. That's because they were able to connect experiences they've had and synthesize new things. And the reason they were able to do that was that they've had more experiences or they have thought more about their experiences than other people. Unfortunately, that's too rare a commodity. A lot of people in our industry haven't had very diverse experiences. So they don't have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one's understanding of the human experience, the better design we will have.1 Like Jobs describes, I want to connect life experiences in my work to bring attention to questions. My work does not try to define answers, but seeks to explore the WHY. My journey as a sculptor began with being open to the value of creativity. SCAD has provided me with a roadmap. Installation artist, Robert Irwin met his students at a baseline of their beginning.2 My baseline included an expansive breadth of world experiences and the advantage of age. Through hands-on classes, theoretical instruction, internships and real-time application, I learned the HOW. Although at points I felt tethered to a curriculum, my explorations led me to broaden my horizons. By making real-world connections between objects and ideas, I command attention in my work. By being situationally aware, the gesture and intention of my work is genuine. 1 Steve jobs: “Steve Jobs: The Next Insanely Great Thing” Wired. 2.1.1996 interview by Gary Wolf https://www.wired.com/1996/02/jobs-2/ . Accessed 1 October, 2020. 2 Weschler, 124 4 Make Art – Make Love – Make Peace "The main thing is to be moved, to love, to hope, to tremble, to live. Be a man before being an artist!" - Auguste Rodin3 My artwork is a product of everything that I am as a man, and a human being. A lifetime of experience as a veteran, a businessman, a leader and a father, informs all aspects of my creativity. I am a sculptor whose accidental purpose is process driven from the start to the foregone conclusion. All I know is what I can do, and all I can do is know it all. I take solace in doing and not thinking about what has been done. My work is for play when my mind is at work. I seek not to lead or follow the crowd of theoretical thought but rather to be the avenue in which the viewer may travel. My body of work affords freedom of thought untethered to pervading social norms while challenging one's capacity to be attentive and apply reason. My ancestors were manufacturers, in the business of making essential goods – food, shelter, and clothing. My art is a continuation of this legacy in that my pieces intend to be representative of what is vital. Making art for me is about becoming, about discovering what’s inside of me, and being changed by the process. It’s not about the opinions of others, but about the growth of my own soul. In a 2006 open letter to a group of high school students, celebrated author Kurt Vonnegut challenged them to unlock their own creative process: "Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what's inside you, to 3 Rodin, 70 5 make your soul grow." 4 In my art, I am not seeking external validation. Like Vonnegut, I want to dissect and embrace the creative process through active participation, and like Auguste Rodin, “I invent nothing – I rediscover instead.” California artist, Robert Irwin (born 1928), is among the most significant American artists and theoreticians working today and is renowned for his innovative site-conditioned artworks that explore the effects of light through interventions in space and architecture.
Load more

Recommended publications
  • John Lowe Family Circle
    THE ANCESTORS OF THE JOHN LOWE FAMILY CIRCLE AND THEIR DESCENDANTS FITCHBURG PRINTED BY THE SENTINEL PRINTING COMPANY 1901 INTRODUCTION. Previous to the year 1891 our family had held a pic­ nic on the Fourth of July for twenty years or more, but the Fourth of July, 1890, it was suggested· that we form what vvas named " The John Lowe Family Circle." The record of the action taken at that time is as follows: FITCHBURG, July 5, 1890. For the better promotion and preservation of our family interests, together with a view to holding an annual gathering, we, the sons and daughters of John Lowe, believing that these ends will be better accom­ plished hy an organization, hereby subscribe to the fol­ lowing, viz.: The organization shall be called the "JOHN LO¥lE :FAMILY," and the original officers shall be: President, Waldo. Secretary, Ellen. Treasurer, "I..,ulu." Committee of Research, Edna, Herbert .. and David; and the above officers are expected to submit a constitu- tion and by-laws to a gathering to be held the coming winter. Arthur H. Lo\\re, Albert N. Lowe, Annie P. Lowe, Emma P. Lowe, Mary V. Lowe, Ira A. Lowe, Herbert G. Lowe, Annie S. Lowe, 4 I ntroducti'on. • Waldo H. Lowe, J. E. Putnam, Mary L. Lowe, L. W. Merriam, Orin M. Lowe, Ellen M. L. Merriam, Florence Webber Lowe, David Lowe, Lewis M. Lowe, Harriet L. Lowe, " Lulu " W. Lowe. Samuel H. Lowe, George R. Lowe, John A. Lowe, Mary E. Lowe, Marian A·. Lowe, Frank E. Lowe, Ezra J. Riggs, Edna Lowe Putnam, Ida L.
    [Show full text]
  • Vol. 3, Spring 2001
    The University of Iowa School of ArtNEWSLETTER &History Volume 3 Spring/Summer 2001 Art Greetings Warm greetings from the School of Art and Adams, who taught contemporary African Art History! After one of the coldest and art with us this spring will be joining us from harshest winters on record here we as an assistant professor of art history this enjoyed a magnificent spring (although we fall. Over the next few weeks we expect Dorothy are all keeping an eye on the river which to add a faculty member in graphic design is getting higher every day). As the and several visitors in art and art history Johnson, spring semester draws to a close we are for the next academic year. looking forward to the M.F.A. show in the Director Museum of Art and are still enjoying the Growth & Development faculty show at the Museum which is one The School continues to grow every year. of the largest and most diverse we have The numbers of our faculty members seen. This year, thanks to the generosity increase as we try to keep up with ever- of the College, the Vice President for growing enrollments at the undergraduate Research and the University Foundation, and graduate levels. This year we have we are going to have a catalogue of the well over 700 undergraduate majors and faculty exhibit in full color. over 200 graduate students. In addition, we serve thousands of non-majors, espe- Farewells cially in our General Education classes in This is also the time of year for farewells.
    [Show full text]
  • Long, Long Ago / by Clara C. Lenroot
    Library of Congress Long, long ago / by Clara C. Lenroot Clara C. Lenroot Long, Long Ago by Mrs. Clara C lough . Lenroot Badger-Printing-Co. Appleton, Wisconsin PRINTED IN U. S. A. 1929 To my dear sister Bertha, who shares most of these memories with me, they are affectionately dedicated. THE LITTLE GIRL I USED TO BE The little girl I used to be Has come to-day to visit me. She wears her Sunday dress again — Merino, trimmed with gay delaine; Bare neck and shoulders, bare arms, too, Short sleeves caught up with knots of blue; Cunning black shoes, and stockings white, And ruffled pantelettes in sight. Her hair, ‘round Mother's finger curled, Looks “natural” for all the world! The little girl I used to be! So wistfully she looks at me! O, poignant is my heart's regret That ever I have failed her! yet, Something of her has come with me Along the years that used to be! I pray that when ‘tis time to go Away from all the life we know To the new life, where, free from sin, As little children we begin, This little girl I used to be Will still be here to go with me! —C. C. L. 1 LONG, LONG AGO Tell me the tales that to me were so dear, Long, long ago; long, long ago. Sing me the songs I delighted to hear, Long, long ago, long ago. F. H. Bayley HUDSON Long, long ago / by Clara C. Lenroot http://www.loc.gov/resource/lhbum.09423 Library of Congress In the year 1861 there lived in a little backwoods town of Wisconsin a family with which this narrative has much to do.
    [Show full text]
  • ENGLISH OPINIONS on the FRENCH REVOLUTION by W. T. WAGONER Presented to the Faculty of the Graduate School of the University Of
    ENGLISH OPINIONS ON THE FRENCH REVOLUTION By W. T. WAGONER Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2009 Copyright © by W.T. Wagoner 2008 All Rights Reserved ACKNOWLEDGEMENTS I would like to thank the University of Texas at Arlington for employing the faculty and providing the facilities that made my education such a memorable experience. I would like to give a special note of appreciation to the professors of my committee, Dr. Reinhardt, Dr. Cawthon and Dr.Narrett who have shown extraordinary patience and kindness in helping me find my voice and confidence during this process. I appreciate my family and friends who tolerated both my mood swings and my forgetfulness as I thought about events hundreds of years ago. I would like to thank my mother. You encouraged me that there was more to life than flooring. To my wife, Rae, I want to thank you for loving me and keeping me centered. Finally, to my daughter Miranda, you are the reason I have undertaken this journey. December 20, 2008 iii ABSTRACT ENGLISH WORDS ON THE FRENCH REVOLUTION W.T. WAGONER, M.A. The University of Texas at Arlington, 2008 Supervising Professor: Steven Reinhardt Just as the French Revolution changed the French political landscape, it also affected other European countries such as England. Both pro-revolutionaries and anti-revolutionaries argued in the public forums the merits of the events in France.
    [Show full text]
  • A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges
    University of Miami Law Review Volume 40 Number 4 Article 3 5-1-1986 Justice Diffused: A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges James G. Wilson Follow this and additional works at: https://repository.law.miami.edu/umlr Recommended Citation James G. Wilson, Justice Diffused: A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges, 40 U. Miami L. Rev. 913 (1986) Available at: https://repository.law.miami.edu/umlr/vol40/iss4/3 This Article is brought to you for free and open access by the Journals at University of Miami School of Law Institutional Repository. It has been accepted for inclusion in University of Miami Law Review by an authorized editor of University of Miami School of Law Institutional Repository. For more information, please contact [email protected]. Justice Diffused: A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges JAMES G. WILSON* The author evaluates the constitutionaljurisprudence ofjudges Posner, Bork, Easterbrook, Scalia, and Winter by contrastingtheir views with the political theory of noted conservative Edmund Burke. These judges' conception of politics, legitimacy, separation ofpowers, and tyranny differ significantlyfrom Burke's views, thereby raising questions about the nature of these jurists' conservatism. On June 17, 1986, after this article went to press, Chief Justice Burger resignedfrom the Supreme Court. President Reagan nomi- nated Justice Rehnquist as the sixteenth Chief Justice, and Judge Scalia as Justice Rehnquist's successor. I. INTRODUCTION ....................................................... 913 II. THE COMPLEX POLITICS OF EDMUND BURKE ............................ 917 A .
    [Show full text]
  • Commencement Friday, May 31, 2019
    THE CITY COLLEGE OF NEW YORK COMMENCEMENT FRIDAY, MAY 31, 2019 THE CITY UNIVERSITY OF NEW YORK Commencement Friday, May 31, 2019, 9:30 a.m. South Campus Great Lawn Presiding Vince Boudreau President, The City College of New York Academic Procession Interim Provost Tony Liss Gustavo Cepeda President, Undergraduate Student Government Emmanuel Adu Poku Executive Chair, Graduate Student Council Associate Dean Ardie Walser The Grove School of Engineering PhD Graduates Dean Mary Erina Driscoll The School of Education Elsie Nicole Figueroa and Erin N. White Dean Gilda Barabino The Grove School of Engineering Ahalya Sanjiv and Yashoma Boodhan Dean Juan Carlos Mercado The Division of Interdisciplinary Studies at the Center for Worker Education Denise Carter-Mataboge and Julie Orelien Interim Dean Gordon A. Gebert The Bernard and Anne Spitzer School of Architecture Diaa Hassan and Maria Katrina Duran Director Hillary Brown Sustainability in the Urban Environment Nicolas Maxfield and Jose Firpo Interim Dean V. Parameswaran Nair The Division of Science Valeria Grajales and John Supino Interim Dean Erica Friedman The Sophie Davis Program in Biomedical Education in the CUNY School of Medicine We are grateful for the Yardelis Maria Diaz and Charlene Kotei Dean Erec Koch generous support of Sy The Division of Humanities and the Arts and Laurie Sternberg Rafael A. Samanez and Aurora Soriano Dean Andrew Rich for their sponsorship of Colin Powell School for Civic and Global Leadership this year’s Commencement. Oneika N. Pryce, David Dam and Bryan Guichardo Academic Procession Faculty Presentation of Candidates Division of Interdisciplinary Studies at the Center for Worker Education .......Juan Carlos Mercado (continued) Reunion Classes 1949, 1959, 1968, 1969 and 1979.
    [Show full text]
  • Origins of Modernism in French Romantic Sculpture
    2011 Florence Quideau ALL RIGHTS RESERVED ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE: DAVID D’ANGERS, DANTAN-JEUNE, DAUMIER AND PRÉAULT. by FLORENCE QUIDEAU A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Dr. Susan Sidlauskas and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey January, 2011 ABSTRACT OF THE DISSERTATION ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE: DAVID D’ANGERS, DANTAN-JEUNE, DAUMIER AND PRÉAULT. By FLORENCE QUIDEAU Dissertation Director: Professor Susan Sidlauskas This dissertation repositions the place of four Romantic artists within the current discussion of Modern sculpture. Today, Jean-Baptiste Carpeaux has displaced Auguste Rodin’s paramount place as the first Modern sculptor. The dynamism, suppleness, truthful movements, appropriate gestures, and accuracy of Carpeaux’s sculptures are considered the epitome of Modernist sculpture. This analysis argues that the portrait- busts and sculpted caricatures of Jean-Pierre Dantan (called Dantan-Jeune), Pierre-Jean David (called David d’Angers), Auguste Préault, and Honoré Daumier exemplified audacious artistic changes made thirty years before Carpeaux. These four artists showed a distinct rejection of formal portraiture and the values of artistic decorum by creating an
    [Show full text]
  • Filipino Fortitude: Towards a Contextual Yet Critical Social Virtue Ethics
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by eScholarship@BC Filipino Fortitude: Towards a Contextual yet Critical Social Virtue Ethics Author: Monica Jalandoni Persistent link: http://hdl.handle.net/2345/bc-ir:104928 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author, with all rights reserved, unless otherwise noted. Boston College The Graduate School of Arts and Sciences Department of Theology FILIPINO FORTITUDE Towards a Contextual yet Critical Social Virtue Ethics a dissertation by MONICA JALANDONI submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2015 © copyright by MONICA JALANDONI 2015 Abstract Filipino Fortitude: Towards a Contextual yet Critical Social Virtue Ethics Monica Jalandoni James F. Keenan, S.J., Director The dissertation will contribute not only to an appreciation and critical evaluation of fortitude in the Philippine context, but has a wider significance for the practice of virtue ethics. The thesis is that (a) virtue must be analyzed contextually, in specific social contexts, as well as (b) in dependence upon the Aristotelian-Thomistic tradition of the virtues, that (c) social virtue as well as individual virtue exists, and that (d) this social, contextual, Aristotelian-Thomistic approach to virtue provides a basis for a social-ethical critical evaluation and prescription for particular societies. If virtue ethics is to generate sound social normative claims, its argument needs to be based not merely upon the classical tradition, but also on a socially, historically and culturally aware analysis of the way virtues are fleshed out in context.
    [Show full text]
  • Hugh Walpole Fortitude
    HUGH WALPOLE FORTITUDE 2008 – All rights reserved Non commercial use permitted FORTITUDE by Hugh Walpole To Charles Maude The best of friends and the most honest of critics CONTENTS BOOK I: SCAW HOUSE I INTRODUCTION TO COURAGE II HOW THE WESTCOTT FAMILY SAT UP FOR PETER III OF THE DARK SHOP OF ZACHARY TAN, AND OF THE DECISIONS THAT THE PEOPLE IN SCAW HOUSE CAME TO CONCERNING PETER IV IN WHICH "DAWSON'S," AS THE GATE OF LIFE, IS PROVED A DISAPPOINTMENT V DAWSON'S, THE GATE INTO HELL VI A LOOKING-GLASS, A SILVER MATCH-BOX, A GLASS OF WHISKY, AND VOX POPULI VII PRIDE OF LIFE VIII PETER AND HIS MOTHER IX THE THREE WESTCOTTS X SUNLIGHT, LIMELIGHT, DAYLIGHT XI ALL KINDS OF FOG IN THE CHARING CROSS ROAD XII BROCKETT'S: ITS CHARACTERS AND ESPECIALLY MRS. BROCKETT BOOK II: THE BOOKSHOP I "REUBEN HALLARD" II THE MAN ON THE LION III ROYAL PERSONAGES ARE COMING IV A LITTLE DUST V A NARROW STREET VI THE WORLD AND BUCKET LANE VII DEVIL'S MARCH VIII STEPHEN'S CHAPTER BOOK III: THE ROUNDABOUT I NO. 72, CHEYNE WALK II A CHAPTER ABOUT SUCCESS: HOW TO WIN IT, HOW TO KEEP IT--WITH A NOTE AT THE END FROM HENRY GALLEON III THE ENCOUNTER IV THE ROUNDABOUT V THE IN-BETWEENS VI BIRTH OF THE HEIR VII DECLARATION OF HAPPINESS VIII BLINDS DOWN IX WILD MEN X ROCKING THE ROUNDABOUT XI WHY? XII A WOMAN CALLED ROSE BENNETT XIII "MORTIMER STANT" XIV PETER BUYS A PRESENT XV MR. WESTCOTT SENIOR CALLS CHECKMATE BOOK IV: SCAW HOUSE I THE SEA II SCAW HOUSE III NORAH MONOGUE IV THE GREY HILL BOOK I SCAW HOUSE CHAPTER I INTRODUCTION TO COURAGE I "'Tisn't life that matters! 'Tis the courage you bring to it" ..
    [Show full text]
  • COLORS Even the Colors Can Have Special Meaning in a "Family Crest
    COLORS Even the colors can have special meaning in a "family crest" or coat of arms: Gold (Or) Generosity and elevation of the mind Silver or White Peace and sincerity (Argent) Red (Gules) Warrior or martyr; Military strength and magnanimity Blue (Azure) Truth and loyalty Green (Vert) Hope, joy, and loyalty in love Black (Sable) Constancy or grief Purple (Purpure) Royal majesty, sovereignty, and justice Orange (Tawny or Worthy ambition Tenne) Maroon (Sanguine Patient in battle, and yet victorious or Murray) FURS The mere fact that a shield or crest contains furs suggests a mark of dignity. Usually the fur coat of the weasel is represented. Ermine White with black spots. Erminois Gold with black spots. Ermines Black with white spots. Pean Black with gold spots. Vair Blue and white bell-shaped objects. Heraldic Lines and Ordinaries: Clouds or air Nebuly Line Sea or water Wavy Line Engrailed Line Earth or land Earth or land Invected Line Indented Line Fire Dancette Line Water Difficulties that have been encountered Raguly Line Embattled Line Walls of a fortress or town (also, fire) Acacia Branch or Leaves Eternal and affectionate remembrance Acanthus Leaves Admiration of the arts Acorn Antiquity and strength. Agricultural Tools Labouring in the earth and (See also Scythe and depending upon Sickle) providence Alisaunder (Similar to Peace and/or Laurel) triumph. Allerion (Mythical Strength of will creature, similar to an and authority of eagle, but without beak mind or claws) Anchor Hope; religious steadfastness Angelica Inspiration Angels
    [Show full text]
  • 201920192019 Graduatesgraduatesgraduates OFOFOF THETHETHE MESAMESAMESA
    CATECATECATE 201920192019 GraduatesGraduatesGraduates OFOFOF THETHETHE MESAMESAMESA Sept144258_OFC_Bleed.indd 4 2019 Cate Graduate 1 Booklet 2019_Final.indd 1 9/4/199/5/19 8:328:20 PM SeptSept 4 42019 2019 Cate Cate Graduate Graduate Booklet Booklet 2019_Final.indd 2019_Final.indd 1 1 9/4/199/4/19 8:32 8:32 PM PM *HONORS | **HIGH HONORS | ***HIGHEST HONORS Sept 4 2019 Cate Graduate Booklet 2019_Final.indd 2 9/4/19 8:32 PM Cate is small by design, so students here are known well by faculty, administrators, and fellow students long before they graduate. In a Commencement tradition, Headmaster Ben Williams gathers observations, teacher and advisor comments, and campus lore to craft a “literary snapshot” of each senior. Read aloud during the ceremony, these citations speak to the depth and breadth of the Cate community. ANDREW A. LULU B. Texas A&M University, Galveston Tulane University Drew is a soft-spoken powerhouse. He arrived on the Just the name tells you what you need to know Mesa from Katy, Texas with a highlight reel of his play about Lulu. She is a melody of resonant sounds, an on the football eld and the kind of commitment endearing and unique mix of consonants and vowels, and resolve that makes people great. at greatness an expression of distinctness, a true Lulu. Said one came quickly on the gridiron. An All-CIF player in faculty member, “It’s impossible to be unhappy three of his four seasons, he proved to be a powerful when she is around.” But Lulu isn’t simply sunshine.
    [Show full text]
  • Interpretation As Art
    Toropov Thesis 1 Interpretation as Art: A Collection and Examination of Ekphrastic Poetry A Thesis Presented to The Honors Tutorial College Ohio University In Partial Fulfillment Of the Requirements for Graduation With the degree of Bachelor of the Arts in English By Stephen Toropov April 2015 Toropov Thesis 2 Contents Critical Introduction……………………………………………………………………………..3 Bibliography...…………………………………………………………………………………..23 Interpretation as Art: A Collection of Ekphrastic Poems…………………………………....26 Ekphrasis…………………………………………………………………………………27 The Raft of the Medusa Crosses the Channel to London………………………………...28 Triptych I: Sales………………………………………………………………………….32 Triptych II: Sublime……………………………………………………………………...35 Triptych III: Surreal……………………………………………………………………...38 Riace B…………………………………………………………………………………...41 Calder’s Planets………………………………………………………………………….44 The Empire Strikes Back: In the Carbonite Chamber…………………………………...48 Hologram………………………………………………………………………………...51 Who Killed Laura Palmer………………………………………………………………..55 Out in the Yard…………………………………………………………………………...57 The Terror of Mechagodzilla…………………………………………………………….61 Memories of the Pergamon………………………………………………………………64 Memories of the Peabody Essex Museum………………………………………………..68 Memories of Seeg………………………………………………………………………...71 Replicants………………………………………………………………………………...74 Alpha Nocturne…………………………………………………………………………..76 Scribe B…………………………………………………………………………………..80 Appendix: Referenced Poems………………………………………………………………….87 Toropov Thesis 3 Critical Introduction Introduction My thesis project consists of
    [Show full text]