A paradox of simultaneous sincerity and humor, Making Sense of Nonsense attempts to identify deficient systems upon which we rely daily. Systems of logic, text, and visual language are all rife with flaws solely because their source--humankind--is irrevocably bound to error. This is not to say that these systems cannot be improved; on the contrary, a rigorous investigation of these systems allows one insight into their mechanics to the end that one endlessly questions the very foundation of the mode of communication being used. Materials and discarded objects such as vintage tools, automotive parts, spray paint, string, furniture, plastic, S&M ephemera, and glitter merge into unsteady structures that hint at new narratives of their functionality, or lack thereof.
Questioning realms of visual and verbal language, aesthetics, and functionality are fundamental to this exhibition as they are constantly discussed, edited, and revised by theorists, critics, artists, and the audience. This line of questioning permits my practice to be endless; allowing me to constantly shift and adjust to accommodate contemporaneity. Making Sense of Nonsense recognizes the process of attempting to solve a puzzle that cannot be solved, despite the illusion of resolution, which indicates that the answer is never absolute. Rather, it endlessly evolves.
","abstract_html":"<p>A paradox of simultaneous sincerity and humor, Making Sense of Nonsense attempts to identify deficient systems upon which we rely daily. Systems of logic, text, and visual language are all rife with flaws solely because their source--humankind--is irrevocably bound to error. This is not to say that these systems cannot be improved; on the contrary, a rigorous investigation of these systems allows one insight into their mechanics to the end that one endlessly questions the very foundation of the mode of communication being used. Materials and discarded objects such as vintage tools, automotive parts, spray paint, string, furniture, plastic, S&M ephemera, and glitter merge into unsteady structures that hint at new narratives of their functionality, or lack thereof. </p> <p>Questioning realms of visual and verbal language, aesthetics, and functionality are fundamental to this exhibition as they are constantly discussed, edited, and revised by theorists, critics, artists, and the audience. This line of questioning permits my practice to be endless; allowing me to constantly shift and adjust to accommodate contemporaneity. Making Sense of Nonsense recognizes the process of attempting to solve a puzzle that cannot be solved, despite the illusion of resolution, which indicates that the answer is never absolute. Rather, it endlessly evolves. </p>","abstract_has_math":false,"creators":["Boales, Parker"],"institution":null,"degree_name":"Master of Fine Arts in Art (MFA)","degree_level":"Thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":["Cirgin, Benjamin","Sytsma, Janine A."],"advisors":["Springer, Bethany L."],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017-05-01T07:00:00Z","date_published":"2017-05-01T07:00:00Z","updated_at":"2026-07-24T00:58:44Z","subjects":["Communication and the arts","Interactive Arts","Interdisciplinary Arts and Media","Sculpture"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarworks.uark.edu/etd/1961","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Cirgin, Benjamin","Sytsma, Janine A."]},{"key":"dc:contributor.advisor","label":"Advisor","values":["Springer, Bethany L."]},{"key":"dc:creator","label":"Author","values":["Boales, Parker"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2017"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2024-02-06T08:00:00Z"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Fine Arts in Art (MFA)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Communication and the arts","Interactive Arts","Interdisciplinary Arts and Media","Sculpture"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarworks.uark.edu/etd/1961"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["A paradox of simultaneous sincerity and humor, Making Sense of Nonsense attempts to identify deficient systems upon which we rely daily. Systems of logic, text, and visual language are all rife with flaws solely because their source--humankind--is irrevocably bound to error. This is not to say that these systems cannot be improved; on the contrary, a rigorous investigation of these systems allows one insight into their mechanics to the end that one endlessly questions the very foundation of the mode of communication being used. Materials and discarded objects such as vintage tools, automotive parts, spray paint, string, furniture, plastic, S&M ephemera, and glitter merge into unsteady structures that hint at new narratives of their functionality, or lack thereof.
Questioning realms of visual and verbal language, aesthetics, and functionality are fundamental to this exhibition as they are constantly discussed, edited, and revised by theorists, critics, artists, and the audience. This line of questioning permits my practice to be endless; allowing me to constantly shift and adjust to accommodate contemporaneity. Making Sense of Nonsense recognizes the process of attempting to solve a puzzle that cannot be solved, despite the illusion of resolution, which indicates that the answer is never absolute. Rather, it endlessly evolves.
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Questioning realms of visual and verbal language, aesthetics, and functionality are fundamental to this exhibition as they are constantly discussed, edited, and revised by theorists, critics, artists, and the audience. This line of questioning permits my practice to be endless; allowing me to constantly shift and adjust to accommodate contemporaneity. Making Sense of Nonsense recognizes the process of attempting to solve a puzzle that cannot be solved, despite the illusion of resolution, which indicates that the answer is never absolute. Rather, it endlessly evolves.
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