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Original drawing of Yuri Andropov on a ladder, painting a star with the letters "KGB" on top of the Kremlin.

Original drawing of Ronald Reagan looking at the sun which is labeled "for sale". Next to him is James G. Watt who is dressed as a painter and is holding a paintbrush and paint can.

What we perceive to be wilderness is in fact just a product: a physical manifestation of the force of wildness. Attempting to manufacture wilderness while bypassing this primary element (the force of wilderness) is why 'emulated wilds' often feel uncanny, fake. This thesis contrasts these forces, necessitating a new negotiation between people and the environment. The Kapiti Coast has seen substantial growth in the last 50 years, resulting in sprawling suburban and commercial development across the region. While areas of landscape close to the historic ecologies of the region remain, much of it has been lost around the town centre, where development has focused in recent decades. This thesis will explore historic representations of wilderness in picturesque and romanticist painting, drawing on both previous views of the wild, more modern interpretations as well as my own personal perceptions. The aim of this design-led research is to understand how to bring a sense of wilderness back into developed areas of the Kapiti Coast. In order to do this, I will explore how designing using digital painting can create a stronger sensory understanding of wilderness. I will use this medium of digital painting to explore what the picturesque means within the discipline of modern landscape architecture. Within the specific Kapiti Coast context, I will identify the elements of suburbia that are underperforming in the context of the larger landscape setting and finally establish a scenario-based methodology to explore site-specific definitions of wilderness within Kapiti.

"The foundation of this work explores how one can exercise forgiveness, and the come to acknowledge the innocence of the perpetrator of the harm done. Forty-nine portraits done in oil paint comprise a radical act of forgiving my father's physical and verbal abuse lasting twelve years from childhood through early adolescence. When I was fifteen, my father answered the call from God, committing himself to accept Christ as his personal savior and to preach the Word of God. Matthew 18:22: "21 Then Peter came to Jesus and asked, "Lord, how many times shall I forgive my brother who sins against me? Up to seven times?" 22 Jesus answered, "I tell you, not just seven times, but seventy-seven times!" As an adult, taking the inward, conscious steps to forgive my father, I questioned the practical application and usage of the scripture. From therefore decided to create my own version of forgiveness. This act was not intended to result in a final reconciliation, but rather was an exercise to explore the fragile human emotions and the complex dynamics of family abuse as they engage with issues of culture, parental control, and lack of love. I See Him In Me was an outward act or expression of compassion that affirmed innocence, both his and mine."--Abstract from author supplied metadata

"My thesis work consists of oil paintings, hybridized through the use of mixed media, each one individually representing a Sacred Conversation involving family members and individuals that have passed from life to death, as well as the celebration of life in the present. I see my painting as spiritual work in which I interpret and map out the past, present and future of my life. My work is autobiographical. This is reflected through the attention to the pictorial embodiment of my own ancestor worship and the state of my own family history within the United States, my visions and communications with the past, deceased spirits, as well as the visualization of the future make-up my life. The relationship I have with the photograph is a dialogue that takes place within the gaze. My pictorial or mirror gazing concentrates on the spirit attached to the image inside the photograph, vision or in this case, spirit window. This act of gazing allows the spirit to speak and articulate what is necessary for the vision to evolve in what I am creating. The communication starts before I actually stretch the canvas. The spiritual intuition comes as a complete vision and then in the process of creation evolves through the spirits and my own formal decisions and intuition. The dialogue takes place within the studio; the medium is oil paint. The communication comes through the action of painting and listening to the faint voices of the spirits that guide me. In the various branches of Vodun, one branch is Santeria, an African diaspora religion brought to the New World by African slaves, the ritual of ancestor worship occurs in the form of adoration, and in listening and watching for signs and miracles brought about by the ancestors who push us from behind, while the Orishas pull from the front, in order to guide us in our lives. My religious views stem from indigenous American and African spiritual beliefs. During slavery these beliefs and spiritual practices were concealed by a European cover or mask, to ensure their survival and continuation. My work appears on an array of different sized canvases and is both two dimensional to three dimensional. When I add three-dimensional elements, I use mixed media materials that may reference the composition. For instance, I may transform staples in the Santeria practice, such as tobacco, egg shells, seed beads or feathers by incorporating them into the painting, or may affix gold leaf in the tradition of Renaissance paintings, and these symbolic objects create a dialogue with spiritual dogma. I am a Hybrid of cultures and races and my work embodies that Hybridization."--Abstract from author supplied metadata.

This journal records the processes used in constructing the composition and transferring of the photograph onto the canvas. It follows, in roughly chronological order,the progress of each painting and the problems that were encountered, along with their solutions. A logical orientation of objects in space, naturalistic color combinations, and a coherent order of linear elements and flat planes are some of the problems that were dealt with and overcome. Also included in this journal are observations and ideas for future works in oil paint.

The nude and its setting can reflect man's relationship to the environment. Do artists want control, especially over the environment, as Matisse says? How will this technological control cause environmental changes that will change the genetic makeup and evolution of man himself? A figure should become part of its environment without removal or dominance from the setting for the most unified results in art. Man should seek this unity of self and environment and knowledge. I try to with art and hope my work will express this intent.

Banjo is five stringed, but is missing all strings. The neck and peghead are made of wood while the body of banjo is made of vellum. Multiple brackets surround the exterior. The vellum has been decorated in colored ink. The decorations appear as follows: There is a blue ring around the outer edge followed by a red ring within it. Within the red ring is a large "A." On either side of the "A" are two shields. One shield has "26 Inf." in red ink and is surrounded by a laurel crown. This indicates the United State's 26th Infantry. The other shield has a red colored "1" and is surrounded by a green laurel crown. This indicates the 1st Division. Additionally, "Shelby K Perry" and "Bought in Germany June 5, 1919" are written in the center of the vellum. On the reverse side of the banjo are the names of the people belonging to the 26th Infantry, 1st Division. Though some of the names are illegible, the readable names are: James Wright, Harry R. [last name illegible], Ray F [Turentin?] (1st Lt. 26th Inf.), Edward S. Hawkins, W.C. Sinmetz (2nd Lt. 26th Inf.), George N. Blair, Robert L Hicks (1st Leut 26th Inf.), Florence W Smith, Helen M [White?], Harry H. Johnson, Dayton Sackett (1st 26 Inf. U.S. Army), Isabel Trotter, Mary Adeline Craig, J Williams, and four other names that are illegible.

Helmet is likely made of steel, and is an example of a doughboy helmet, also called a Brodie helmet or M1917 Helmet. These were worn by the American Expeditionary Forces during World War I, in addition to troops from other countries. This helmet has been painted black, with a red, brown, and black cross pattern down the center. Two emblems made of fabric have also been applied to helmet; each has a golden Cross of Lorraine with the letters A and S on either side of the base of the cross, on a white background. These emblems signify the Advanced Sector, Service of Supply. Some fabric from the lining remains inside the helmet, and there is a leather chin strap attached to metal loops on either side.

Helmet is likely made of steel, and is an example of a doughboy helmet, also called a Brodie helmet or M1917 Helmet. These were worn by the American Expeditionary Forces during World War I, in addition to troops from other countries. This helmet has been painted red, green black, brown, and yellow in a mottled pattern in order to provide the wearer with camouflage. Only a small scrap of fabric remains of the lining that was once inside the helmet, and there are metal loops on either side for a chin strap.

The majority of the box is painted black, and made of wood that has become warped over time, preventing the hinged lid from closing properly. Carved on the lid of the box is a Cross of Lorraine within a shield that is painted with the red, white, and blue stripes of the French flag. Around the shield is a carved border, with the carved-out sections pained yellow and orange. The rest of the lid has been decorated with zig-zag, criss-cross, and chevron patterns painted orange, yellow, and green. On the underside is inscribed "UNRRA" and "1945". UNRRA likely stands for United Nations Relief and Rehabilitation Administration, an international relief agency active during World War II. There is also an abstract or unidentifiable image carved below these inscriptions.

The German cap is made of metal and has been painted.

Pin appears to be made of bone and has been carved in the shape of a rhinoceros, with a horn, ear, legs, and an elongated pointed tail forming the primary part of the pin. Two black dots have been painted on to resemble eyes. This may have been intended to function as a type of hair pin or tie pin.

Pin appears to be made of bone and has been carved in the shape of an alligator, with snout, four legs, and an elongated pointed tail forming the primary part of the pin. A criss-cross pattern has been carved into the top to resemble scales, and two black dots have been painted on to resemble eyes. This may have been intended to function as a type of hair pin or tie pin.

The bookmark is made of brass. There is a crest at the top of the bookmark commemorating the 1933 World's Fair. The crest has been painted and has the inscription, "1933 A century of progress Chicago". There are designs etched on the bookmark.

Container is made up of multiple artillery shell sections, which have been threaded at the edges, allowing them to be screwed together. The top and bottom sections both appear to be artillery shell bases, with notches made in the outer edges to create a decorative pattern. They may also have been painted to create their metallic gold color. When unscrewed, these sections reveal compartments on either end of the container. A large section on one end can also be unscrewed to reveal a third compartment in the middle.

The steins are made of porcelain. The steins have a lithophane in the bottom, common of quality steins of the time, and pewter lids. The steins have been painted with images that depict the regiment. The steins have a list of the names of the soldiers in the regiment. The lid on the first stein has two soldiers with a cannon, suggesting an artillery unit. The first stein also has the inscription, "Kanonendonner ist unser Gruss. In Mainz lernten wir uns kennen, in Frankfurt mussten wir uns trennen!". The lid on the second stein has a soldier with his rifle, suggesting infantry. The second stein also has the inscription, "Brüder stosst die Gläser an, hoch lebe der Reservemann."

Matchbox holder is made of polished metal, with an appliqué of what appears to be a devil on one side, with one leg crossed over the other. Above the devil is inscribed "103RD", with "M.G. B'N" below. On the other side of the holder is an appliqué of the diamond-shaped Yankee Division (26th Infantry Division) symbol, with a blue "YD" with letters intertwined. Underneath is a circular appliqué with a ring of blue around a ring of white around a red circle, with the letters "A.E.F" above two downward-pointing chevrons or arrows inscribed within.

Matchbox holder is made of dull metal, and its underside is rusted and slightly bent. Applied to the top side of the holder is a Cross of Lorraine, with the inscription, "SOUVENIR DE LORRAINE". Apart from its outer edges, the surface of the appliqué has been colored blue, either by painting or enameling. Four curved triangular openings have been cut out at the four corners of both the top and underside of the matchbox holder.

Shell is made of dull brass. The shell has flowers and the French and American flags painted on it. The inscriptions, "St. Mihiel Sept. 12th World War 1914-1918" and "11th month 11th day 11th hour" are also painted on the shell.