Within this supporting paper, the artist discusses Generative Response, her Master of Fine Arts exhibition. This paper is a narrative of the artist's development, philosophies, and methodologies. Further, it illustrates how her work and development have been affected by studies in humanity, social activism, human responsibility, and environmental consciousness.
Generative Response communicated the artist's ideology of process as metaphor for living life, involving the viewer in an \"unfinished dialogue\" wherein works of art undergo processes translating their role as part of a generative cycle. Generative Response was composed of seven sculptural components called \"stations\" depicting the processes of growth, habitation, consumption, erosion, and filtration. Each station operated as a micro-ecology that embodied these processes by using water literally and/or metaphorically as an agent of change.
Materials included water from a local creek, found objects, glass, ceramics, copper, live organisms, and unique clay water filters.
","abstract_html":"<p>Within this supporting paper, the artist discusses <em>Generative Response</em>, her Master of Fine Arts exhibition. This paper is a narrative of the artist's development, philosophies, and methodologies. Further, it illustrates how her work and development have been affected by studies in humanity, social activism, human responsibility, and environmental consciousness.</p><p><em>Generative Response</em> communicated the artist's ideology of process as metaphor for living life, involving the viewer in an "unfinished dialogue" wherein works of art undergo processes translating their role as part of a generative cycle. <em>Generative Response</em> was composed of seven sculptural components called "stations" depicting the processes of growth, habitation, consumption, erosion, and filtration. Each station operated as a micro-ecology that embodied these processes by using water literally and/or metaphorically as an agent of change.</p><p>Materials included water from a local creek, found objects, glass, ceramics, copper, live organisms, and unique clay water filters.</p>","abstract_has_math":false,"creators":["Martin, Catherine Juanita"],"institution":null,"degree_name":"MFA (Master of Fine Arts)","degree_level":"Thesis - unrestricted","degree_discipline":"Art","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2008,"date_issued":"2008-05-03T07:00:00Z","date_published":"2008-05-03T07:00:00Z","updated_at":"2026-07-24T02:21:11Z","subjects":["sculpture","process","filtration","clay","eco-art","Art Practice","Arts and Humanities","Fine Arts"],"languages":[],"rights":["Copyright by the authors."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://dc.etsu.edu/etd/1925","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Martin, Catherine Juanita"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2008-05-03T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis - unrestricted"]},{"key":"thesis:degree_name","label":"Degree Name","values":["MFA (Master of Fine Arts)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["sculpture","process","filtration","clay","eco-art","Art Practice","Arts and Humanities","Fine Arts"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["Copyright by the authors."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://dc.etsu.edu/context/etd/article/3277/viewcontent/MartinC040708f.pdf","https://dc.etsu.edu/etd/1925"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Within this supporting paper, the artist discusses Generative Response, her Master of Fine Arts exhibition. This paper is a narrative of the artist's development, philosophies, and methodologies. Further, it illustrates how her work and development have been affected by studies in humanity, social activism, human responsibility, and environmental consciousness.
Generative Response communicated the artist's ideology of process as metaphor for living life, involving the viewer in an \"unfinished dialogue\" wherein works of art undergo processes translating their role as part of a generative cycle. Generative Response was composed of seven sculptural components called \"stations\" depicting the processes of growth, habitation, consumption, erosion, and filtration. Each station operated as a micro-ecology that embodied these processes by using water literally and/or metaphorically as an agent of change.
Materials included water from a local creek, found objects, glass, ceramics, copper, live organisms, and unique clay water filters.
"]},{"key":"dc:title","label":"Title","values":["Generative Response."]}]}],"canonical_facts":{"dc:creator":["Martin, Catherine Juanita"],"dc:date.issued":["2008-05-03T07:00:00Z"],"dc:description.abstract":["Within this supporting paper, the artist discusses Generative Response, her Master of Fine Arts exhibition. This paper is a narrative of the artist's development, philosophies, and methodologies. Further, it illustrates how her work and development have been affected by studies in humanity, social activism, human responsibility, and environmental consciousness.
Generative Response communicated the artist's ideology of process as metaphor for living life, involving the viewer in an \"unfinished dialogue\" wherein works of art undergo processes translating their role as part of a generative cycle. Generative Response was composed of seven sculptural components called \"stations\" depicting the processes of growth, habitation, consumption, erosion, and filtration. Each station operated as a micro-ecology that embodied these processes by using water literally and/or metaphorically as an agent of change.
Materials included water from a local creek, found objects, glass, ceramics, copper, live organisms, and unique clay water filters.
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