{"id":{"repo_id":"uwo","oai_identifier":"oai:uwo.scholaris.ca:20.500.14721/35028"},"canonical_url":"https://search.dev.ndltd.org/etd/uwo/oai:uwo.scholaris.ca:20.500.14721/35028","repository":{"repo_id":"uwo","name":"Western University","base_url":"https://uwo.scholaris.ca/server/oai/request"},"display":{"title":"What Lies Behind: Speculations on the Real and the Willful","abstract":"This integrated article thesis has three distinct chapters. Chapter One is an extended artist statement within which the following research questions are extrapolated: In what ways can an art practice question both the limitations of human-centered knowledge and issues of ‘the real’? What roles do both abstraction and representation play within this kind of artistic practice? Descriptions and analyses of my artwork are provided throughout this chapter. Chapter Two is comprised of visual documentation of the artwork I made during my MFA candidacy, accompanied by brief descriptions of each piece. Chapter Three is a case study on the work of San Franciscan artist Trisha Donnelly. I playfully propose that Donnelly’s art has a life of its own, independent of the will that made it. I explain how her artwork invites anthrodecentric interpretation by illustrating its autonomous characteristics through the lenses of autopoiesis and panpsychism.","abstract_html":"This integrated article thesis has three distinct chapters. Chapter One is an extended artist statement within which the following research questions are extrapolated: In what ways can an art practice question both the limitations of human-centered knowledge and issues of ‘the real’? What roles do both abstraction and representation play within this kind of artistic practice? Descriptions and analyses of my artwork are provided throughout this chapter. Chapter Two is comprised of visual documentation of the artwork I made during my MFA candidacy, accompanied by brief descriptions of each piece. Chapter Three is a case study on the work of San Franciscan artist Trisha Donnelly. I playfully propose that Donnelly’s art has a life of its own, independent of the will that made it. I explain how her artwork invites anthrodecentric interpretation by illustrating its autonomous characteristics through the lenses of autopoiesis and panpsychism.","abstract_has_math":false,"creators":["Hobot, Barbara"],"institution":"The University of Western Ontario","degree_name":"MFA","degree_level":null,"degree_discipline":"Visual Arts","degree_department":null,"school":null,"contributors":[],"advisors":["Kelly Jazvac"],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-08-20","date_published":"2014-08-20","updated_at":"2026-07-27T21:56:11Z","subjects":["Abstraction","Anthrodecentrism","Autopoiesis","Faux painting","Nothingness","The Real"],"languages":["en_ca"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/20.500.14721/35028","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Kelly Jazvac"]},{"key":"dc:creator","label":"Author","values":["Hobot, Barbara"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-07-10T20:34:44Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-07-10T20:34:44Z"]},{"key":"dc:date.issued","label":"Date","values":["2014-08-20"]},{"key":"dc:publisher","label":"Institution","values":["The University of Western Ontario"]},{"key":"dc:type","label":"Dc Type","values":["thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Visual Arts"]},{"key":"thesis:degree_name","label":"Degree Name","values":["MFA"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Abstraction","Anthrodecentrism","Autopoiesis","Faux painting","Nothingness","The Real"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en_ca"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/20.500.14721/35028"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The thesis cover page in the PDF document includes references to Western University’s previous institutional repository platform, known as Scholarship@Western, and links to that platform (beginning with ir.lib.uwo.ca). In citing or referring to this thesis, use the DOI or handle from this page instead. Sample citation: Author name, \"Thesis title.\" (Year). Western University Open Repository. https://doi.org/10.71858/123456."]},{"key":"dc:description.abstract","label":"Abstract","values":["This integrated article thesis has three distinct chapters. Chapter One is an extended artist statement within which the following research questions are extrapolated: In what ways can an art practice question both the limitations of human-centered knowledge and issues of ‘the real’? What roles do both abstraction and representation play within this kind of artistic practice? Descriptions and analyses of my artwork are provided throughout this chapter. Chapter Two is comprised of visual documentation of the artwork I made during my MFA candidacy, accompanied by brief descriptions of each piece. Chapter Three is a case study on the work of San Franciscan artist Trisha Donnelly. I playfully propose that Donnelly’s art has a life of its own, independent of the will that made it. I explain how her artwork invites anthrodecentric interpretation by illustrating its autonomous characteristics through the lenses of autopoiesis and panpsychism."]},{"key":"dc:title","label":"Title","values":["What Lies Behind: Speculations on the Real and the Willful"]}]}],"canonical_facts":{"dc:contributor.advisor":["Kelly Jazvac"],"dc:creator":["Hobot, Barbara"],"dc:date.accessioned":["2025-07-10T20:34:44Z"],"dc:date.available":["2025-07-10T20:34:44Z"],"dc:date.issued":["2014-08-20"],"dc:description":["The thesis cover page in the PDF document includes references to Western University’s previous institutional repository platform, known as Scholarship@Western, and links to that platform (beginning with ir.lib.uwo.ca). In citing or referring to this thesis, use the DOI or handle from this page instead. Sample citation: Author name, \"Thesis title.\" (Year). Western University Open Repository. https://doi.org/10.71858/123456."],"dc:description.abstract":["This integrated article thesis has three distinct chapters. Chapter One is an extended artist statement within which the following research questions are extrapolated: In what ways can an art practice question both the limitations of human-centered knowledge and issues of ‘the real’? What roles do both abstraction and representation play within this kind of artistic practice? Descriptions and analyses of my artwork are provided throughout this chapter. Chapter Two is comprised of visual documentation of the artwork I made during my MFA candidacy, accompanied by brief descriptions of each piece. Chapter Three is a case study on the work of San Franciscan artist Trisha Donnelly. I playfully propose that Donnelly’s art has a life of its own, independent of the will that made it. 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