The small house that comprises my visual thesis, made of simple materials reclaimed from junk piles and old houses, was made as worship to the God who spoke the world into existence. This writing is a playful counterpart to my artwork. Water has an amazing ability to transpose itself fluidly across borders, from the atmosphere to the ground to the cells in your body. Its movement is defiant of divisions as it carries nutrients through layers of compost, from rotting biomass to new sprouts. My process of absorbing and using materials is inspired by this cycling. I am interested in treating humble materials as if they are extravagant, rendering the border between fine and common transparently. With a similar tone, this work seeks to craft a fluid movement between the reverence of sacred spaces and the imperfection that presents itself in the everyday. Glory is not too lofty a thing to be found in both. My hope is that walls will become transparent, borders will be softened by fog, and centrifugal motion will overpower rigid definitions of sacred and common, immense and intimate, complex and simple.

Library of Congress Subject Headings

Wood sculpture--Technique; Wood sculpture--Themes, motives; Found objects (Art); Sacred space in art; Polarity in art

Publication Date


Document Type


Department, Program, or Center

School of Art (CIAS)


Singer, Alan

Advisor/Committee Member

Sodervick, Zerbe


Note: imported from RIT’s Digital Media Library running on DSpace to RIT Scholar Works. Physical copy available through RIT's The Wallace Library at: NB1250 .S64 2011


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