Carpenter, Gilbert

uncg

There are 45 item/s.

TitleDateViewsBrief Description
Sensation of being : new realism 1966 4 To be free and yet not to lose touch with reality, that is the drama of that epic figure who is variously called inventor, artist or poet. Days and nights, dark or brightly lit . . . renewed visions of forms and objects bathed in artificial light. Tr...
Light and shadows : an exhibit of twenty experimental paintings 1964 1 The subject matter for the paintings evolved in the spring of 1963. The general effect of the light in the small gymnasium in Rosenthal and the specific shadows of the shrubbery outside the building excited me. I made several painstakingly detailed d...
An exhibition of paintings 1964 2 The thesis is an exhibit of thirteen paintings dealing with the human figure and its surrounding space. This document is a record of the thesis exhibit held in the Weatherspoon Gallery May 10 through May 31, 1964. Statistical information about all th...
Remarks tangent to a thesis exhibition of paintings 1965 3 A dim persistant knowledge of perfected rhythms, of right relations, of suspended and magical unions demands my concern. I do not conceive of art as a counterpart of life, something exchangable for it. It is rather a hopeful activity which our mind o...
An exhibition of drawings and paintings in oil and mixed media 1965 2 This thesis is an exhibit of eight pen and ink drawings, eleven oil paintings on canvas and seven paintings in mixed media. The subject matter is derived from various aspects of nature. This document is a record of the thesis, an exhibit held in the ...
An explanation of five thesis paintings 1965 2 In this portion of my thesis I am attempting to speak objectively about five of my paintings: Self-Portrait with Rain Hat, Figures Three, Man at Table, Two Nudes, and Composition Jimmy. An explanation of the technical processes of the figure painting...
Explanation of my work 1965 2 The human figure is the primary motif of my work. For me it holds the potential of expressing all facets of the human attitude. The background has become a void from which the figures are emerging. This delineates and strengthens the structural qu...
Landscape and light 1965 6 This thesis, "Landscape and Light," is an introduction to twelve landscape paintings. Each painting is named for a month of the year, nine months being represented. There is a brief survey of paintings by the Limbourg brothers and Pieter Brueghel, wh...
An exhibition of paintings 1965 3 This document is a record of a thesis exhibition held in the Weatherspoon Gallery April 25 through May 15, 1965. The thesis is an exhibition of two pieces of sculpture and seventeen oil paintings chosen from among the works I have completed as a gr...
My painting 1966 3 Painting is a visual expression of my sense of life in existence as Man in Nature. I seek out ways to apply paint or materials which express an inner depth of harmony and serenity. I work for complete control, yet the painting must be free, spontaneo...
Painting experiences 1966 6 In a short paper of "seven or eight pages," what? One point generalized or a generalized development of my painting? The latter will serve better. Therefore, four things will become apparent: the experiences, a chronology, the vocabulary and some spe...
Introduction, technical information, catalogue, and reproductions 1966 2 The thesis presentation is comprised of an introduction, technical information, and a numerical cataloguing of fourteen polymer acrylic paintings. Transparent slides of all fourteen and photographic reproductions of seven of the paintings are include...
An exhibition of paintings, drawings and prints 1967 3 The thesis shows an effort to synthesize opposing forces (organic line-shape opposing geometric line-shape) and to reconcile these forces into a unity that is greater than its parts. The thesis, consisting of six paintings, three drawings, and seven ...
Exhibition of paintings 1968 2 My work is done consciously and purposefully by a definite method which is always open to reasonable criticism. Its direct result is a visual object. Because this object is purely and only visual, it neither suggests nor demands any literal explanati...
New ridges 1968 3 From the beginning my painting has been involved with natural forms -- trees, fields, mountains. For several years I have been interested in placing the paintings in nature, out of doors, where I painted most often. It seemed to me that they would be...
An exhibition of paintings 1968 2 In this group of thesis paintings, I have explored some relationships between geometric units and organic forms of the human figure. The compositions are based on certain historical works (e.g. Matisse, Botticelli) in which variety of shapes, use of ...
An exhibition of diagrams and models of constructions in plastic 1969 2 This thesis is a series of diagrams and models of constructions in textureless, colorless plastic that contrast oppositions of flexibility and rigidity, opaqueness and transparency, that are at once inherent in the plastic material, intrinsic to the ...
At my work 1969 2 In creating my ceramics, I could have used various instruments (eg: a potter's wheel). However, I felt challenged to rise above convenience. I felt my work should result from only a human being's five senses and Heulk, in a primitive way, a very prim...
Eleven landscape paintings 1970 3 The thesis is an exhibit of eleven landscape paintings dealing with images of the movements and forces of earth's nature. Nature has a very definite relationship to my work, but I also include man and man-made objects. The result is landscape portray...
An exhibition of sculpture 1970 3 My thesis exhibition is composed of three separate parts which are meant to form a thematic whole. The three parts — brass figure studies, ceramic still lifes, and plaster squeezed knees -- are intended to form a visual metaphor conveying certain ero...
Several works over the year 1970 3 A presentation of eight works, one invited, was exhibited in the Weatherspoon Gallery, University of North Carolina at Greensboro, from January 5 to 12, 1970. 35mm color slides representing the exhibit are on file at the University of North Carolina ...
Non-preconception 1971 2 Of the pieces exhibited, the canvas structures are the only originals. The remaining works are cast from stretched canvas constructions--some directly and some from molds taken from the constructions. A wooden frame was first constructed. These frame...
Myths : perceiving and ordering within high-intensity phenomena 1971 4 I remember once as a child coloring a nativity scene. My sister questioned why I had added a figure above the others. I answered only that it was God. She said there was no need to put Him in because He was understood to be there already. I explained...
The art of fantasy : etchings 1971 3 "Close your eyes in order to see first with the eyes of the spirit." This was the spiritualistic philosophy of nature as stated by the German Romantic, Friedrich Schelling, and this is the major source of inspiration in the series of etchings on fant...
Sky paintings 1972 2 Two important considerations in talking about my drawings and paintings are what may be called their material properties, existence as physical objects, and their non-material qualities; images, appearances, associations, connotations, etc., which ar...
Reflections of environmental images 1972 2 My thesis show consists of oil paintings of my neighborhood environment. I attempted to paint the residential landscape around me as it exists without adding to or taking away any of its objects. In no way did I try to consciously or deliberately int...
Wind and water work 1972 2 The following series of kinetic works was designed to use moving air (wind) and moving water as power sources and to establish limits of control over them, ranging from programmed movement to random movement. Balance is naturally a crucial factor in ...
Ceramic objects : containers and handpieces 1972 2 My thesis consists of ceramic objects made of stoneware and porcelain. I have been working with clay for three years and find myself becoming both more comfortable with and more excited by the possibilities of the material. In making clay objects, wh...
Stoneware and porcelain forms 1973 2 This is an exhibition of high fired stoneware and porcelain forms. Most of these forms were made on an electric potter's wheel, and are therefore derived from a cylinder. I feel that a cylinder is a strong basic form which gives an inherent structure...
Significant aspects of weaving an exhibit of woven tapis 1974 5 Like other arts, weaving originally had great ritual and practical significance in the hieratic structure of early cultures. If we had worn only leather skins all our lives, woolen cloth would seem wonderful to us. The Athenian, clothed in his woolen...
The essence of still life folds 1974 4 In a series of oil paintings and pencil drawings, I have intended to monumentalize folds in drapery and paper bags by increasing the size of the image to emphasize the landscape quality. Each image occupies a large part of the pictorial field. I wor...
Living clay 1973 3 Through working with clay for about three years, I have become aware of the nature of this material and its wonderful plastic response when handled with love and care. Originally deriving from many centuries past, clay is the most abundant, ubiquitou...
Color systems 1974 3 There are two seemingly opposite directions simultaneously present in this current work. One is an emotive, lyrical color; the other is a rigid and formal mathematical system. Color is particularly relevant to my work because its connotations exist a...
Seven figures 1974 2 My thesis show consists of seven figures, three in terra cotta, two in wax, and two in terra cotta and plaster. I work exclusively with human bodies, both male and female. I am interested in figures charged with mental and physical energy. For me, th...
An involvement with the dreaming face 1974 2 I am absorbed in the facial expressions of dreamers. The paradox would seem to be that while one rests, the face is still. Therefore, my emphasis on the readable expressions from a dreamer's face is wholly subjective, a fantasy on the head itself sep...
Steel structures 1975 3 The exhibition consists of a group of free-standing steel structures on which I have worked the past year. These begin as an idea for an expression of my experience; observing, imagining, and working with certain forms, objects, images, and materials...
A notion of human space 1975 3 The figure rests in a contrived situation—the intention being to emphasize relational elements between the model and the environment. The body of the figure either occupies much of the space of the picture plane or is cropped within the composition t...
Nineteen-hundred and seventy-three 1975 3 I create sculptured figures to correspond to an inner image of feeling, an inner image of myself. This inward image, seeking the surface of consciousness, I call my sense of form. And, I know that my yearning for the substantial images of the world I...
Nineteen-hundred and seventy-four 1975 4 For my work I use clay as the initial medium, laid up on armatures, or built in the hand if size permits. I choose clay because it is very plastic, reusable, fairly durable when fired; and molds can be taken from it for casting in more durable materi...
Walls and windows : Ixion revisited 1976 5 The style and the subject matter of these five paintings have roots in some of my earlier work. Since 1973, however, the development of the wall and window concept has been strongly influenced by courses I have taken and papers I have written. Signif...
A transcendental geometry 1976 3 Art and life should not be divorced. Art objects are objects in the real world. Yet, I cannot agree with recent artists, like Frank Stella, who believe that in a painting, "Only what can be seen there is there."1 A painting can have transcendent cont...
Incised tondos 1977 1 It is my intent to generate an intimate artist/viewer relationship through my work. Because I believe that small scale encourages intimacy, not one of my paintings is larger than fourteen inches in diameter. I find that intimacy is necessary in order...
Watercolor paintings : trees 1978 2 I am making drawings and paintings of parts of old oak trees. The subject is personal and autobiographical in some ways, cerebral and abstract in others. The four trees I am painting are close to my house. I have seen and studied their intersections ...
Six short films 1978 1 SIX SHORT FILMS 1. SPACE-TIME "SPACE-TIME" was my first experiment in time-lapse and slow motion photography. By double printing these effects, I altered time and space on the screen with these two extremes. The scale of the woman to the landscape is...
An interpretative essay concerning six works of art 1978 1 The exhibited thesis paintings are intended to communicate a maximum amount of information to the viewer as quickly as possible and then hold his attention. I hope to achieve this immediacy in the design by first organizing simplified analogous shape...