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ALIGHT AND ARISE
A PROJECT IN LIEW OF THESIS PRESENTED TO THE GRADUATE SCHOOL
OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF FINE ARTS
U NIVE RS ITY O F FLO RI DA
@ 2010 Kristin Schimik
To my grandmother, Dorothea "Omi" Gallowitsch Schimik
December 15, 1921 to March 23, 2009
I would like to express my gratitude to the faculty and staff in the School or Art and
Art History at the University of Florida for three years of their assistance, their questions,
and their persistence. Additionally I would I like to acknowledge my fellow graduate
students: the hardworking and dedicated peers with whom I have had the good fortune
to work alongside. Thanks to the generous efforts of several graduate, post-
baccalaureate, and undergraduate ceramics students, the compound demands of
constructing simultaneously highly detailed, large-scale work for this exhibition were
met. Most importantly, I want to extend special appreciation for the continued love and
support from my family.
TABLE OF CONTENTS
AC KNOWLE DG M ENTS ................. ................. 4.........
LIST OF FIGURES................. ...............
ABSTRACT ................. ................. 7........_....
1 INTRODUCTION ................. ................. 9........_....
2 DEEP TIME: FORM ALIGHTS................................. 10
Integral Theory and Holons................ ................ 10
Cosmology: the Alchemy of Star Fusion ................. ................. 11........_..
Integral Theory: the Four Quadrant System................... ................ 12
Ascension of Individual Human Consciousness and Collective Human Culture..... 13
3 THE CONTEMPORARY EFFORT TO ARISE ........._..... ...._... ........_.._.... 15
Ancient Sunlight..................... ...................... 15
Resource Extraction for Wealth Generation................ .............. 15
Mining of Source Materials and the Landscape ........._.._.. ....._.._ ........._..... 16
4 I NSTALLATI ON AESTH ETICS ........._...... ............... 18._._.. ..
Materials and Form Language ...._.._.._ ......_._. .....__. ............ 1
Spatial Dynamics ........._..... ...._... ..............._ 20...
Use of Line............ ...................... 20
5 INFLUENCES ........._..... ...._... ..............._ 33...
Artists ........._.._..... ....... ._ ..............._ 33....
Edward Burtynsky ................. ................. 33........ ....
Camille Rose Garcia ................. ................. 33........ ...
Rick Parsons ................. ................. 34........ ....
Thailand ................. ................. 34........ ....
6 CONCLUSION ................. ................. 35........ ...
LIST OF REFERENCES ................. ................. 36........ ...
BIOGRAPHICAL SKETCH ................. ................. 37........ ....
LIST OF FIGURES
4-1 Alight and Arise installation view of both sculptures............_.._. .........._.._. .. 22
4-2 Alight and Arise installation view two................ .................. 23
4-3 Detail of Legs. A) Both sculptures. B) Sculpture #1 ........._..._. .. ......._..._. .... 24
4-4 Alight and Arise sculpture #1 ......_.._._ .... ..._.. .......__...........2
4-5 Alight and Arise. A) Detail of coal slag. B) Sculpture #1 detail showing
scale relationship between coal slag and sterling silver stars.............._..._. ......... 26
4-6 Sculpture #2 detail showing coal slag, silver stars, luster layers. ........._..._....... 27
4-7 Metallic luster imagery detail of power lines. ........._..._.. ....._.. ............ 28
4-8 Detail of layering on sculpture #1. ........._.. ...._..... ...._.._ ..........2
4-9 Detail of luster layering on sculpture #1 ........._.._ .. ....... ......._..._.......3
4-106 Metallic luster imagery detail of tem ples. ....._._._ ..... ... .__ ........_...... 31
4-11 Landscape layering effect between both sculptures............_._. ........._._..... 32
Summary of Project in Lieu of Thesis Presented to the Graduate School
of the University of Florida in Partial Fulfillment of the
Requirements for the Degree of Master of Fine Arts
ALIGHT AND ARISE
Chair: Nan Smith
The 20th Century was a period of extensive human mapping of both exterior and
interior terrain. Science labored to record the observable cosmos: from the Earth's
surface, depths and atmosphere down to the sub-atomic particles of quantum physics
and broadly out to the farthest perceptible galaxies and stars. If we accept the basic
principle of Integral Theory, which states that the universe is composed of holons,
nested wholes each simultaneously a part of another whole; we can begin to conceive
of our location. Where are we, relative to the largest known and the smallest known
entities? What time is it for humanity, within the context of deep time?
Equally important to the cosmographical mapping of the objective external
environment is the charting of human consciousness. Individual awareness grows
through a series of stages, transcending and including the understanding from each
preceding stage. Similarly, collective culture proceeds through developmental stages;
technology and infrastructure facilitate flow and connection that accelerates the
development, moving from foraging, horticultural, agrarian, industrial, and on to
informational. Paired with the recognition of the process of evolution and the fact that
complexity is increasing through time, humanity now has the data to assimilate and
generate a revised and revitalized metanarrative'.
Alight and Arise, two large-scale ceramic sculptures, spatially display a
representation of deep time through layered and accumulated material. From the Big
Bang onward, form has settled out into space. The clay has been sculpted to suggest
black, meteoric rock, glittering with precious materials. The sculptures appear as
hybridized polyforms: part cloud, tooth, mountain, iceberg, muffin, stalagmite, and
geologic sample. Holons are suggested through a scale relationship between minute
glittering bits of rock-like slag functioning as mineral atomic earth, and small sterling
silver stars imbedded in the landscape at the top of the form.
The dark clay surface sets up the ground to contrast with two different horizontal
layers of metallic ghost imagery: one of human infrastructure and the other of sacred
arch itecture. These recognizable images of human presence are located near the tops
of the forms above the majority of layered material to suggest their recent development
within the context of deep time. Humanity's efforts to transcend and arise with collective
consciousness are illustrated by images of vertical building: utility towers and industrial
infrastructure of the existential worldview appear next to a layer of globally diverse
sacred architecture. As a sculptor, I want viewers to have a bodily experience of form
that expresses a sense of descending and ascending from a central convergence point.
SJean-Frangois Lyotard's terminology; used in a critique of the enlightenment paradigm in his work The
Postmodern Condition, University of Minnesota Press, 1984.
Where are we relative to the largest known and the smallest known entities? What
time is it for humanity within the context of deep time? Alight and Arise engages with
the intersection of the deep historical time of our 13-billion-year-old universe and the
contemporary predicament of humanity within that context. My sculptures spatially
describe the dual forces of matter descending into space within a still-expanding
universe and of life and humanity striving to evolve, ascend, and build ever upward
within that space. The architectural imagery depicted on the sculptures serves as a
metaphor for collective consciousness and its motion toward transcendence of the
DEEP TIME: FORM ALIGHTS
Integral Theory and Holons
Reality is composed neither of things nor processes, neither wholes nor
parts, but whole/parts, or holons all the way up, all the way down.
Ken Wilber, from A Brief History of Everything, (1 8)
Arthur Koestler generated the term holon in response to his recognition that
wholes or parts do not exist in an absolute sense. Rather, any whole can be broken
down into constituent parts, again and again, (cells comprised of molecules, atoms,
quarks) and each understood whole also nested inside of an even larger whole (Earth,
Solar System, Milky Way Galaxy, Local Super Cluster).
Currently an extraordinary amount of scientifically mapped information is
available regarding the known universe at the quantum scale, the cosmic scale, and
everything in between. The investigative process continues, yet the evidence and data
are now so overwhelming that most scientists agree as to the age of the Earth, the age
of the universe, and the fact that the universe is expanding.
Integral theorist Ken Wilber points out that holons emerge, favoring greater and
greater complexity overall ("Brief" 21-22). Life on our own planet has emerged and
evolved through time to become exquisitely sophisticated and interdependent. All
higher life forms are completely reliant on the health and integrity of the lower holons.
At the foundation, the existence of humanity relies upon the captured sunlight energy
contained within plants. This celestial energy is consumed directly as plant food or as a
source of the nutrients that sustain the animals in our diets. The plants' health has a
fundamental dependence on access to sustained sunlight energy in addition to the
viability of the organisms and microorganisms that reconstitute the soil in which the
plants are grown. Further complicating the system, many plants require pollinators for
fertilization in the form of insects, butterflies, bats and birds. Continued existence of
plants then depends on the health and integrity of the habitat, expanding outward to
include all the sustenance needs of the pollinators.
Though the trajectory moves toward greater complexity, the emergence of holons
is neither constant nor stable. Dinosaurs had similar environmental requirements as
humans, yet these forms dissolved and gave rise to other entities. The formal
development and progression of all holons is not fixed; dinosaurs and other extinct
animals have not reemerged on our planet. Likewise, humans may continue to upset
the ecological balance of the Earth through climate change and habitat destruction, to
the extent that life on the planet is reduced back down to more simple holons. These
primary holons may again give rise, but to something else. Stars and planets are also
born and then die. Stars, following the Great Radiance2, have been in the process of
forming and reforming, slowly creating more diverse materials over the 13-billion-year
history of the universe. Despite the death and dissolution of many holons, the overall
pattern of the cosmos is one of emergence of greater and greater complexity.
Cosmology: the Alchemy of Star Fusion
Stars begin with the combustion of hydrogen, the simplest element in the
universe, atomic number one with one proton. Through nuclear fusion inside the star,
heavier and more complex elements are generated, growing in atomic number and
mass, finally making out at iron, atomic number 26. These substances are literally
being born within the burning hearts of stars. Among these are key elements: the
2Barlow's terminology for the Big Bang; emphasis is on light rather than a bomb-like explosion.
carbon necessary for the formation of life, and the silicon needed for the formation of all
silicate rocks and minerals of Earth's crust. Elements beyond iron are not created by
the heat and power within the combusting star. Instead, these heavier and more
massive elements are generated by the phenomenal power of the supernova explosion.
When a crucial balance is upset within the fusing layers of elements in the star, this
explosion causes the star to collapse in on its core. Massive stars are layered like an
onion, burning hydrogen at the exterior, then carbon, oxygen, silicon: forging more
complex elements deeper within each layer. At the end of the line is iron. When it
ceases to fuse and combust, a shock wave generates a massive explosion with more
intensity than of all energy expended by our sun during its entire lifetime (Tolstikhin 77).
The death of the concentrated star-form is the birth of glowing stardust that contains
elements with an even higher complexity of structure. Herein is the origin of copper,
platinum, gold, and all other elements beyond iron. Each element in our bodies was
born in the heart of a star or generated in the spectacular radiant explosion that
occurred at the time of its death. Elements beyond iron, at number 26 on the periodic
table (with 26 protons) are much less common in the universe.
Despite the vast scale and immense complexity of the universe, all of its
substance and form settles out into just over one hundred chemical elements, mapped
in the Periodic Table. Together, they form the current manifestation of our solar system
and Earth; and create the foundation for life, consciousness and human culture.
Integral Theory: the Four Quadrant System
Maps are essential in order to grasp our spatial location within broader contexts.
The Periodic Table of the Elements is a recent navigational tool, pieced together in the
last two centuries, the data a continuance of the probing questions of alchemists. This
mapping system has been crucial to humanity's understanding of the physical universe
at a scale beneath the tangible. Exterior mapping of the tiniest atoms to the most
massive stars can only represent a partial reality. A principal aim of Integral Theory is
to assimilate and find congruence between the interior and exterior of holons. Integral
Theory creates an integrated map used to navigate the external and internal space of
holons in an evolving and living universe. The Four Quadrant System is the beginning
of a comprehensive map that strives to assimilate hard science with a "spectrum of
consciousness" comprising less concrete data, from psychology to mysticism ("Integral
Ascension of Individual Human Consciousness and Collective Human Culture
Consciousness exists in a spectrum that is also holonic in structure. Wilber
points out that each holon has both an exterior that is mappable by objective science,
and an interior that is knowable through interpretation and contemplation ("Brief" 68 -
69). We can easily objectively measure the development of a human child: in inches, in
quantity of food consumed, in tasks performed. The developing complexity of a child's
subjective space, or interior consciousness, similarly transforms: but we must interpret
these depths through engagement in inter-subjective space. An individual begins life
with a narcissistic and egocentric capacity. In time, the individual's consciousness
expands to include more and more within its identity. It moves from single self, to self
and family, to self and tribe; then to awareness of self and region, self and nation. An
increased awareness can possibly move onward to self and all of humanity, self and all
living beings; ultimately even to non-dual awareness where there is no longer a divide
between self-identity and the entire universe ("Brief" 129).
Consciousness tends to evolve through time to become more expansive at both
the individual and collective levels. Anthropologists have observed the relationship
among techo-economic base, infrastructure, and the corresponding worldview of the
culture. Just as the simple chemistry of the early universe gave rise to more complex
elements, our collective human consciousness is also growing, shifting dynamically and
increasing in complexity.
THE CONTEMPORARY EFFORT TO ARISE
We're all made out of sunlight, and everything we depend on is fueled by
sunlight. For hundreds of thousands of years we lived off of current local
sunlight. Then we discovered ancient sunlight, buried in the ground, and
began consuming it ..
Thom Hartmann, from The Last Hours ofAncient Sunlight, (84)
Hartmann and others recognize that life on Earth arises thanks to the energy from
our local star, the sun. Humanity has ignited a powerful wave of global growth with the
mass combustion of fossil fuels in the form of coal, oil, and gas. Along with this has
come unprecedented environmental destruction on the global scale. As humanity's
technological capabilities and infrastructure advance outward, Earth's global biodiversity
steeply declines. Extensive resource extraction results in a deterioration of
environmental quality. To humans, the Earth's age appears infinite yet the resources
available are acutely limited. Within the landscape, in nearly all places on the planet,
there exists evidence that humanity has harnessed natural resources. Mines, logging,
mountaintop removal, utility towers, processing plants, transportation infrastructure, and
satellites reflect technological advancements and global environmental decline.
Resource Extraction for Wealth Generation
Contemporary culture is characterized by ideology that supports the creation of
wealth through the expansion and development of virgin lands and the extraction of the
Earth's natural resources. In his book Re Wealth, author Storm Cunningham calls for a
massive correction of both our language and cultural logic to reflect the finitude of the
material wealth of the Earth. Non-regenerative source materials, such as metals, fossil
fuels, fossil aquifers, and fossil soil need to be distinguished from resources, such as
renewable forests and sustainable fisheries. Cunningham states: "While capitalism,
socialism, and communism differ significantly on how wealth is distributed, and on how
labor is managed, they all agree on how wealth is created. Each is a variation on a
single theme, permutations of a single model: dewealth." "It's a pioneering, sprawl-
based model, based on there always being fresh green fields over the horizon" (21). As
we round the bend toward a more expanded worldview, humanity must recognize that
our source materials and habitats are not only limited but currently in decline. Not only
are there no longer fresh green fields over the horizon, but the global water is dirtier
today than yesterday, fisheries are producing less than the decade before, and the ice
shields at the Earth's poles are reduced a bit more this year than last.
Mining of Source Mlaterials and the Landscape
Visually, mines offer a window into the deeper history of the earth. It is possible to
observe, sleeping beneath the surface, the layers of ancient sunlight once captured by
extinct plants, compressed and concentrated into the form of glittering, sparkling, black
coal. In other areas, where the Earth exposes some of the oldest rock, there are
shimmering purplish-black ores of banded iron formation. These ores were formed in
the time before the emergence of plants, when cyanobacteria instead collected and
concentrated iron. It is the most common metallic element of the universe. Incredibly
heavy and dense, remarkably iron is born from fusion inside stars. Additionally, there
are locations on the surface of Earth where metals more evolved and rare than iron are
mined from ancient impact craters. Foreign bodies collided with the Earth, displacing
the nickel and other heavy metals beneath the Earth's crust. These metals are born
from the brief but intense energy and radiance of a supernova explosion (Tolstikhin 77-
78). To visit a mine is to potentially be dazzled by beauty and mystery, while
simultaneously being horrified by the destruction of a landscape that once could support
Materials and Form Language
The installation consists of two large-scale floor sculptures; each perched
precariously atop delicate legs. Both large sculptures use the level space to feature an
illusory reflection of a changing landscape horizon when viewed in the round. The
installation is strongly suggestive of maps and earth forms but, upon examination, fine
and exquisite details are revealed (Figures 4-1 and 4-2).
The sculptures are constructed to resemble a range of natural, geologic, and
celestial forms. Each appears as a hybridized polyform: part cloud, stalactite, tooth,
mountain, iceberg, canyon, rock, map, spire, muffin, and geologic sample. Sculpting
the forms by tearing and building up layer upon layer of clay holds a similarity to actual
geologic processes and encourages the viewer to consider the contemporary
landscape. The sculptures are constructed primarily from clay with slag and stone
inclusions that reference deep geology and alchemy. The clay itself is a vitreous black
stoneware, high in manganese and iron. This composition corresponds to the more
common materials found throughout the universe and our own Earth. These are the
elements and metals created in the general processes of star fusion.
Small bands of metallic luster appear on the legs of the sculptures. These
lusters are made from actual copper, platinum, and gold and reference the rare highly
valued metals generated in the heat and power of the supernova explosion. Humanity
has shown a willingness to tolerate a great deal of environmental devastation in the
pursuit of these and other source materials. Visually, the metallic bands are all located
in areas of the legs that are weak points. The solid metallic areas in the legs set up a
relationship with the bands of ghost imagery of human infrastructure on the tops of the
sculptures to signify that everything humanity builds comes from a finite supply of
precious materials found within the Earth (Fiqures 4-3 and 4-4).
Coal slag, a byproduct of our energy production, is included in certain areas
within the clay wall. When fired, it bears a resemblance to stars glittering in the night sky
through a subtle palette of metallic colors. This is a result of a diverse representation of
metallic elements (both basic and advanced) from the periodic table that have been
concentrated from the original plants into the coal. Even though this palette is much
darker than actual stars, the coal slag does resemble the size and hue variation of stars
viewed with the naked eye. The effect of this is to allude to the holonic structure in all
things within our universe: the large in the small and the small in the large (Fiqure 4-5
The dark, purplish-black of the clay surface and matte, black-glazed areas set up
the background coloration of the sculpture. This ground contrasts with metallic ghost
imagery and objects which appear on its surface in bright and rainbow luster to convey
a certain ominous enchantment. Precisely detailed ghost images of industrial structures,
showing resource extraction and transport, reference human presence. The images are
scaled down relative to the total sculpture to signify the relatively short time humans
have existed in space. Furthermore, the impermanence of humanity is signified by the
use of two-dimensional images on the highly tactile, three-dimensional forms. These
recognizable images reflect the powerful mechanism of collective human activity on the
landscape. The ghost imagery is luminous and reflects the current state of humanity in
the convergence point between earth and sky (Fiqure 4-7).
The majority of the sculpture's mass hovers 4 feet above the ground or floor plane.
Each of the two works is elevated on three legs to a maximum height of 65 inches. This
height allows viewers to have a bodily and spatial experience with the work, relating to
the objects as equals rather than implements. It also offers the viewer close visual
contact with the layers of detailed ghost imagery near the top of each sculpture. The
majority of each sculpture is heavily textured up to a height of 58 inches. That textured
area represents the portion of landscape that exists below ground and the portion that
existed prior to the emergence of humanity. A bodily impression of being swimming or
floating next to the work is created by spatially locating the convergence point at heart
height for the average viewer (Figure 4-4).
Use of Line
Line is a key component of the sculptural design. Each sculpture was
constructed with undulating organic lines layered throughout the form. Cosmic and
geologic processes generate forms that exhibit an underlying geometry and pattern.
This patterning nearly always reflects the collection of surface and compositional
variety. The surfaces of the sculptures in Alight and Arise allude to a multitude of
geologic and cosmic processes. The straight lines on the works found only in the ghost
imagery reflect the purely geometric human-made tower forms for electric utility
infrastructure and oil extraction. Located above this rationallexistential layer are
concrete examples of sacred architecture found around the globe. These human-built
sacred towers are also overwhelmingly constructed with straight lines. Though the
secular and sacred tower images are miniscule details relative to the sculptures at
large, they function as an inversion of the tapered and pointed legs beneath the mass of
each form. Descending and settling out into space is matter and form, over the vast
expanse of the deep time scale. Meanwhile human consciousness, a relatively recent
development, strives to build its tiny towers ever upwards (Fiqures 4-8, 4-9, 4-10, 4-11).
Figure 4-1: Alight and Arise installation view of both sculptures.
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Figure 4-2. Alight and Arise installation view two.
Figure 4-3: Detail of Legs. A) Both sculptures. B) Sculpture #1.
Figure 4-4: Alight and Arise sculpture #1.
Figure 4-5: Alight and Arise. A) Detail of coal slag. B) Sculpture #1 detail showing
scale relationship between coal slag and sterling silver stars.
Figure 4-6: Sculpture #2 detail showing coal slag, silver stars, luster layers.
Figure 4-7: Metallic luster imagery detail of power lines.
Figure 4-8: Detail of layering on sculpture #1.
Figure 4-9: Detail of luster layering on sculpture #1.
' k ,,
Figure 4-10: Metallic luster imagery detail of temples.
Figure 4-11: Landscape layering effect between both sculptures.
Contemporary Canadian photographer Edward Burtynsky depicts landscapes
that result from large-scale human disruption of the Earth. In the late 1990's, I
experienced several of his photographs of the large mining complex in Sudbury,
Ontario. These images depict brilliant orange rivers of nickel tailings, flowing through
otherwise darkened landscapes due to chemical contamination near the Inco
superstack, one of the tallest chimneys in the world. (Inco Superstack, 2010)
Burtynsky's photographs reflect actual unaltered landscapes that largely go unseen by
the general public. Their power comes from a combination of stunningly beautiful
composition paired with the unsettling knowledge of one's personal involvement in the
human economic systems that results in such extraordinarily vast destruction and
Camille Rose Garcia
Camille Rose Garcia is a contemporary American painter who creates works in
Pop-Surrealist style. I developed an appreciation for several canvases from Tragic
Kingdom, a solo exhibition of Garcia's work at the San Jose Museum of Art in 2007. In
these works, Garcia selected a palette that was primarily black with areas of bright color
and metallics in order to generate jarring landscapes juxtaposing the glittering
innocence of Disney's candy-coated world with the unfortunate reality of environmental
destruction. Of particular interest was Garcia's pairing of glittering beauty and
darkness, with an underlying environmental emphasis.
The works of Rick Parsons, a contemporary American sculptor, who often uses
clay, steel, and salt, have also been influential. Parsons constructs material and spatial
systems employing a personal alchemy. The porous clay is used to absorb salt water,
which in turn corrodes the steel that it is placed in contact with. The chemical change
and alteration of materials is utilized to create spatial and tactile narratives focusing on
environmental contamination. Of particular interest to me was the relational alchemy
and interdependence between the materials in Parson's work.
The landscape and culture of Thailand were also strongly influential in the
aesthetics and content of Alight and Arise. Thailand is filled with temples that are
intricate, meticulously constructed and covered with gold; however they exist
surrounded by air that is absolutely filthy, hanging heavy with particulate pollution.I
spent several months in Thailand in 2003 and was fascinated by this contrast of glitter
and filth. The environmental disparity of the ancient tiled and gilded temples
surrounded by a thriving, messy, and vibrantly alive contemporary culture was striking.
My sculptures consider the mystery of where we are and where we are going
within the context of deep time. The viewers have an experience that is understood in
a physical and tactile sense. The sculptures in Alight and Arise function both bodily and
spatially, to provide those experiences. The forms are designed to allow for a sense of
elevated weight that is not entirely at rest, and to also provide a sense of ambiguity
regarding the material and its origins. This, coupled with the subtly glittering metallic
imagery accessed through motion, creates a space for viewers to shift contemplation
between the contemporary landscape and the vast expanse of geologic and deep time.
My installation poses three pertinent questions: Where does form originate?
What is truly of value to humanity? And can we move forward without ascending and
descending simultaneously? My sculptures are an act of mapping contemporary and
primordial landforms to suggest a broader cosmology.
LIST OF REFERENCES
Barlow, Connie. Green Space, Green Time: the way of science. New York: Copernicus,
Brown, Cynthia Stokes. Biq History: From the Big Banq to the Present. New York: The
New Press, 2007.
Cunningham, Storm. ReWealth. New York: McGraw-Hill, 2008.
Hartmann, Thom. The Last Hours of Ancient Sunliqht. New York: Three Rivers Press,
Haught, John F., ed. Science and Reliqion in Search of Cosmic Purpose. Washington:
Georgetown Univeristy Press, 2000.
Liebes, Sidney, Elisabet Sahtouris, & Brian Swimme. A Walk Throuqh Time: From
Stardust to Us. New York: John Wiley and Sons, Inc., 1998.
Luhr, James F., ed. Smithsonian Earth: The Definitive Visual Guide. New York: DK
Tolstikhin, Igor and Jan Kramers. The Evolution of Matter: From the Biq Banq to the
Present Day Earth. Cambridge: Cambridge University Press, 2008.
Wilber, Ken. A Brief History of Everythinq. Boston: Shambhala, 2000.
-. No Boundary: Eastern and Western Approaches to Personal Growth. Boston:
-. The Eye of Spirit. Boston: Shambhala, 1998.
-. The Inteqral Vision. Boston: Shambhala, 2007.
Wilber, Ken, Terry Patten, Adam Leonard, & Marco Morelli. Integral Life Practice.
Boston: Integral Books, 2008.
Kristin Schimik earned a BFA in sculpture from Northern Michigan University. She
has served two years as an Americorps volunteer, conducting watershed restoration
and community revitalization in Northern California. Schimik has been an Artist-in-
Residence at the Archie Bray Foundation for the Ceramic Arts and the Holter Museum
of Art in Montana, and at Umdang Ceramics of Thailand. Her work was recently
exhibited at the Museum of Fine Arts at Florida State University and at the Jingdezhen
Contemporary International Ceramics Exhibition in China. Schimik earned her MFA
from the University of Florida in 2010. For more information please visit
http://www. kristinschimik. com