Master of Fine Arts (MFA)
The works in the “Intimate Immensities” series of landscape paintings function as “aporia,” or irresolvable contradictions. Using two aspects of Charles Sanders Peirce’s semiotic designations of the sign: the “icon” and “index,” these paintings function as both iconographic representations of mankind’s spiritual connection with nature and indexical relics of the creative process as ritual. The foundational view out of which the work emerges is grounded in the Kagyu lineage of Tibetan Vajrayana Buddhism. This thesis correlates Vajrayana Buddhism, ritual and the creative process, by explaining the parallels between ritual and the cognition that occurs during the creative process. To do this, the discussion uses the three-stages of ritual as theorized by Arnold Van Gennep: “separation,” “margin” and “aggregation,” Victor Turner’s terms: “structure,” “anti-structure” and “liminal” and the research into the creative process by educator and Ph.D, Nicole M. Gnedza. By fluctuating between the two ontological states of index and icon, the work resists stasis, however by representing a spiritual theme via both these means the work forms a cohesive whole.
Document Availability at the Time of Submission
Release the entire work immediately for access worldwide.
Wright, Jonathan Walker, "Intimate Immensities" (2016). LSU Master's Theses. 95.