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Date of Award
Master of Science (MS)
Dr. Joel C. Moss
A painters’ means of expression can never be dictated by any theory or set criteria. Working from personal needs, he is free to make use of any feasible entry in the pursuit of his desired expression. The early paintings or this thesis are essentially, compositions of pure color and form, free of intellectual connotations. In the course of time, however, there arose a need to incorporate elements of a stronger reality potential. The paintings represented here bear evidence to an evolution from the use of pure color-form to the inclusion of real materials, rendered objects of recognition, and photographic images as additional components of expression. Regarding the total, abstract, pulse of the painting as the primary concern, the new images and materials have not been used as central points of interest. They are hopefully, integral parts of the whole structure, working with the color-form attributes to complete the full drama. These entities sometimes appear intellectual or conceptual in character, but when used in the painting they become building blocks in the non-intellectual story of plastic form. Thus, the use of the image is similar to that of color. It is dictated by “felt” or intuitive needs, not intellectual decisions.
Copyright 1966 Don A. Bass
Bass, Don A., "Plastic Expression: Color, Image, Idea" (1966). Master's Theses. 961.