Lenguaje vulgar
| dc.contributor.advisor | O'Malley, Ryan | |
| dc.contributor.advisor | Peña, Joe | |
| dc.contributor.author | Flores, Javier | |
| dc.contributor.committeeMember | Mercer, Kevin | |
| dc.date.accessioned | 2017-11-01T19:51:31Z | |
| dc.date.available | 2017-11-01T19:51:31Z | |
| dc.date.issued | 2017-05 | |
| dc.description | A thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS in STUDIO ART from Texas A&M University-Corpus Christi in Corpus Christi, Texas. | en_US |
| dc.description.abstract | As an art form, tattoo flash is traditionally comprised of generic illustrations for walk-in customers, but is also graphic imagery easily accessible to the artist, collector, and admirer. People’s choices of flash from a parlor’s walls generally hold specific symbolic representation, and in relation to other tattooed works on the body, begin to create personal narrative. This work expresses the tragedy of my paralysis at the age of nineteen due to a gunshot wound, and the trials, tribulations, and triumph that followed. These works convey the emotions I encountered when confronting my paralysis, and the overwhelming pitfall of depression, hatred, and shame I had to overcome in response to a reckless act of violence. While these realities linger deeper than any physical scar, I have found healing through family and friends, martial arts, and visual arts. Through arrangements of graphic objects depicting my cultural heritage, aesthetic interests, and personal influences, the public bears witness to representations they can recognize, and begin to complete the narrative. Despite the personal nature of the compositions, the individual elements, as with flash, become desirable images independently associated to the individual. This collective contract between imagery and viewer, along with the help of decoders emphasize the use of symbols in a contemporary visual language. | en_US |
| dc.description.college | College of Liberal Arts | en_US |
| dc.description.department | Art & Design | en_US |
| dc.format.extent | 52 pages. | en_US |
| dc.identifier.uri | http://hdl.handle.net/1969.6/5618 | |
| dc.language.iso | en_US | en_US |
| dc.rights | This material is made available for use in research, teaching, and private study, pursuant to U.S. Copyright law. The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used should be fully credited with its source. All rights are reserved and retained regardless of current or future development or laws that may apply to fair use standards. Permission for publication of this material, in part or in full, must be secured with the author and/or publisher. | en_US |
| dc.rights.holder | Flores, Javier | |
| dc.subject | Art Education | en_US |
| dc.subject | Arts | en_US |
| dc.subject | printmaking | en_US |
| dc.subject | studio art | en_US |
| dc.subject | Symbols | en_US |
| dc.subject | Visual Arts | en_US |
| dc.title | Lenguaje vulgar | en_US |
| dc.type | Text | en_US |
| dc.type.genre | Thesis | en_US |
| thesis.degree.discipline | Studio Art | en_US |
| thesis.degree.grantor | Texas A & M University--Corpus Christi | en_US |
| thesis.degree.level | Masters | en_US |
| thesis.degree.name | Master of Fine Arts | en_US |