schreyer honors college department of arts and
TRANSCRIPT
THE PENNSYLVANIA STATE UNIVERSITY
SCHREYER HONORS COLLEGE
DEPARTMENT OF ARTS AND ARCHITECTURE
ALL-DAY HAPPY HOUR
ABIGAIL R. BOSLEY
SPRING 2015
A thesis
submitted in partial fulfillment
of the requirements
for a baccalaureate degree
in Integrative Arts
with honors in Integrative Arts
Reviewed and approved* by the following:
Shannon Goff
Assistant Professor of Art, School of Visual Arts
Thesis Supervisor
Janet Hartranft
Program Coordinator of Integrative Arts,
Assistant Professor, School of Visual Arts
Honors Adviser
* Signatures are on file in the Schreyer Honors College.
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ABSTRACT
I have always been obsessed with creating art that has the power to make viewers feel a
certain emotion. For my thesis, I had an exhibition of my art works that, overall, made viewers
feel a great sense of happiness. The show was made up of primarily sculptural work, some
large-scale pieces, and many small-scale pieces. Though most of the pieces reflected this mood,
some used this happy and cute aesthetic to tell a much darker story. I also included a service
portion to the show to help raise money and awareness to the importance of adopting shelter
pets. My work deals primarily with animal subjects and I have a strong belief in this cause. I
wanted to further my art show by using it as a tool to raise money that I was able to donate to a
local animal shelter. For the paper component, I introduce some inspirations that I have had,
discuss some of the more powerful pieces I have created, and recount how the exhibition turned
out and how the service portion went. All-Day Happy Hour is about celebrating everyone’s story
and just enjoying life! Why would you want to be happy for just one hour when you can
celebrate all day?
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TABLE OF CONTENTS
LIST OF FIGURES ..................................................................................................... iii
ACKNOWLEDGEMENTS ......................................................................................... v
Chapter 1 Introduction ................................................................................................. 1
Chapter 2 Inspiration.................................................................................................... 3
Chapter 3 Explanations of Major Works and Their Themes ....................................... 18
Natural Causes ...................................................................................................... 18 Gutsy ..................................................................................................................... 21 Virtuous Wolves ................................................................................................... 24 Three Dragons ...................................................................................................... 27 Fiesta Animals ...................................................................................................... 30 Sylvie, la Moufette ................................................................................................ 34 Noose Pup ............................................................................................................. 36
Chapter 4 “All-Day Happy Hour” ............................................................................... 39
Reaction to “All-Day Happy Hour” ..................................................................... 49 Service Portion ...................................................................................................... 50
Chapter 5 Final Thoughts............................................................................................. 52
BIBLIOGRAPHY ........................................................................................................ 53
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LIST OF FIGURES
Figure 1 - Mr. Toad's Wild Ride (Lee, Nolte, Raddon, Winters, 2012). ................................. 4
Figure 2 - Mr. Toad's Wild Ride (Lee, Nolte, Raddon, Winters, 2012) .................................. 5
Figure 3 - Snow White's Adventures (Lee, Nolte, Raddon, Winters, 2012) ............................ 6
Figure 4 - Snow White's Adventures (Lee, Nolte, Raddon, Winters, 2012) ............................ 6
Figure 5 - America Sings (Fritz, 2010) .................................................................................... 7
Figure 6 - Splash Mountain ("Splash Mountain,” 2014) ......................................................... 8
Figure 7 - The Haunted Mansion (HBG2, 2012) ..................................................................... 10
Figure 8 - Five Nights at Freddy's (Cawthon, 2014) ................................................................ 11
Figure 9 - Five Nights at Freddy's (Cawthon, 2014) ................................................................ 12
Figure 10 - Five Nights at Freddy's (Cawthon, 2014) .............................................................. 13
Figure 11 - Gamer ("Gamer," 2013) ........................................................................................ 14
Figure 12 - Gamer ("Gamer," 2013) ........................................................................................ 15
Figure 13 - Kitaro of the Graveyard (Mizuki, 2013) ............................................................... 16
Figure 14 - Kitaro anime, called ‘GeGeGe no Kitaro,’ from the 1968 & 2007 adaptations,
(“Gegege no Kitaro,” 2015) ............................................................................................. 17
Figure 15 - Kitaro of the Graveyard ("The City of Fish and Kitaro - Sakaiminato Guide for
Sightseeing," 2015) .......................................................................................................... 17
Figure 16 - Natural Causes ...................................................................................................... 18
Figure 17 - Natural Causes ...................................................................................................... 19
Figure 18 - Natural Causes ...................................................................................................... 20
Figure 19 - Gutsy ..................................................................................................................... 21
Figure 20 - Gutsy ..................................................................................................................... 23
Figure 21 - Virtuous Wolves .................................................................................................... 24
Figure 22 - Virtuous Wolves (detail of Temperantia) .............................................................. 25
Figure 23 - Three Dragons ....................................................................................................... 27
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Figure 24 - Three Dragons (details of each dragon) ................................................................ 28
Figure 25 - Fiesta Animal "Gem" ............................................................................................ 29
Figure 26 - Fiesta Animal "Pokey" .......................................................................................... 30
Figure 27 - An Alebrije done by Vito Gil Santiago Hernández (FOFA, 2015) ....................... 31
Figure 28 - Fiesta Animal "Tiger God" (shown in regular light and in black light) ................ 32
Figure 29 - Fiesta Animal "Candy Swampy" ........................................................................... 33
Figure 30 - Sylvie la Moufette ................................................................................................. 34
Figure 31 - Sylvie la Moufette (concept sketch and sketch showing the technique used for the
arms)................................................................................................................................. 35
Figure 32 - Noose Pup (shown under a black light)................................................................. 36
Figure 33 - Noose Pup (shown in normal lighting) ................................................................. 37
Figure 34 - The Title Banners that read “Abby Bosley’s All Day Happy Hour, A Senior Honors
Thesis Exhibition” ............................................................................................................ 39
Figure 35 - Mr. Toad's Wild Ride Attraction Poster (Handke, Hunt, 2012) ............................ 40
Figure 36 - Poster Design 1 (done in a pixel art style)............................................................. 42
Figure 37 - Poster Designs 2 and 3 .......................................................................................... 43
Figure 38 - Postcard Designs (front and back) ........................................................................ 44
Figure 39 - Cupcakes and Drinks set out for Opening Jamboree ............................................ 45
Figure 40 - Shelf from All Day Happy Hour ........................................................................... 46
Figure 41 - Shelf from All Day Happy Hour ........................................................................... 46
Figure 42 - All Day Happy Hour ............................................................................................. 47
Figure 43 - All Day Happy Hour ............................................................................................. 47
Figure 44 - Five Little Sheep (Spruce, Ivy, Marigold, Clover, and Thistle) and a Painted "Galaxy
Deer" Shoulder Blade Sit on Painted Clementine Boxes in All Day Happy Hour .......... 48
Figure 45 - All Day Happy Hour ............................................................................................. 49
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ACKNOWLEDGEMENTS
My senior thesis show was truly an adventure and a huge effort to pull together; while I
tapped into energy within myself to create all the art work showcased, I could not have
successfully pulled it off without the help of many others: Suzie Elder and Laura Robinson of the
theatre department here at Penn State were the two professors who really helped me find light in
a dark semester. When I felt lost, these two women inspired me in their classes and took me
under their wings to get me back on track. Shannon Goff of the sculpture and ceramic
departments at Penn State took their place the next semester, and was the first art teacher to
really tell me my work had worth and that she believed in my ideas. She inspired me to go forth
and create some of the most ambitious works I have ever made. Janet Hartranft, the advisor for
the Integrative Arts program, helped work with me to create a curriculum that met my needs. I
want to thank parents, Deanna and Jack, for supporting me always and nurturing my artistic
talents and ideals throughout my childhood and beyond. My adopted cat, Wendy Darling, served
as inspiration for the service parts of this project, as my love for her and the incredible recovery
she made after we had adopted her opened my eyes to the importance of adopting shelter pets
and gave me the voice with which to share that message. Final thanks go to the creators,
directors, artists, and other team members that created all of the movies, attractions, video
games, and more that inspired me to create my own space for my own world. Thank you!
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Chapter 1
Introduction
Everything in life happens for a reason. When I initially was admitted into Schreyer
Honors College here at Penn State, I could only imagine what my scholarly journey would bring.
From my first day on campus, my mind began a battle I can only describe as ‘what I wanted to
do’ versus ‘what other people wanted me to do.’ One can argue this is a very universal struggle
to anyone growing into themselves. I found it most true in my art. When I began my career as
an artist (as a child) I made work that made me happy. Conveniently enough, my happy work
made others happy as well. I grew older, my mind matured a bit, and I found myself always
going back to the same happy art as a way to recharge, the same way one practicing yoga can
always go back to child’s pose when they need a second to relax. It was not until I began my
career as a “serious” artist (one that attends a university and chooses to study art) that suddenly
other artists began to look down on my artwork, simply because they considered the smiling
animals “cute.” Apparently, cute was not and could not be considered art. Perhaps the safer
decision would have been to back down, which I initially tried. I made art for class that simply
met the requirements of the assignment and nothing more. “Art” became an empty chore, and
yet, I came back to my own space and made my happy animals. Eventually I had a sort of
revelation– why should my personal art not be considered “art”? And then the second question:
if my works were not art, then how could I make them art? I had a knack for using my animals
to create a feeling of joy in the viewer, but was it possible to use the same animals to create more
emotions? I began to take my animals down a different path. I kept the same, smiling subjects,
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but changed the situations they were put in and the stories they told, and suddenly, fellow
students began raving about them. A happy dog was normal, a sad boy with a noose was
expected, yet a happy dog with a noose was surprising (to make reference to the piece Noose
Pup) and considered very successful; a cute animal attracted attention, yet the situation it was in
greatly contrasted and raised many more, interesting questions: why is he so happy to be playing
with something so sinister and triggering? Why does this combination make us feel uneasy?
What does it ultimately mean? When I began to combine the sweet and sour, I found success
and purpose and knew this direction was the correct one to finally be noticed in the art world.
However, I was not the first and certainly would not be the last to combine adorable and creepy.
I began to research other like-minded artists, video games, television shows, etc.
Around the same time I began to feel that my art needed to have another reason to exist
beyond looking good, a purpose that was able to benefit others. I decided that, for my
exhibition, I would use it as a fundraiser to collect money and supplies to donate to an animal
shelter. While it may seem unfitting and a bit random, I believe my art has more purpose than
simply sitting in a gallery and I wanted to raise money that I could then donate to a cause that I
believe so strongly in. If my creations can benefit a higher cause, I will be fulfilled and my
animals will have put on the most successful show I could have hoped for.
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Chapter 2
Inspiration
As an artist, the world around me is where I find the most inspiration and I am constantly
exposed to artists, conventional or otherwise, that help give me ideas. Most of my inspirations
are taken from sources that most would find childish, including cartoons, theme park rides, and
video games. If I become invested in some certain title or form of media, its influences find their
way into my work somehow or another, either subtle or more apparent as is more common in this
era of “remix art.” I tend to gravitate towards examples that can effectively use these
traditionally ‘childish’ art forms to create a story with both lighthearted and scarier or darker
elements.
I must begin, of course, with some of the older Disney attractions; ones that remain in the
original Disneyland Park in California, but had to be removed from Florida’s Walt Disney World
because they were considered too scary. My two favorite examples of these terrifying attractions
are Mr. Toad’s Wild Ride, and Snow White’s Adventures. Both used the trust viewers had with
these already beloved Disney characters to lure riders into experiences that were surprisingly
dark. In Mr. Toad’s Wild Ride (which opened in 1971), riders “take a motorcar to nowhere in
particular,” though more accurately, the riders end up dead in the dead and in the underworld.
Riders board a small car and are driven through the frantic scenes of Mr. Toad’s joyride (Figure
1): the weasels ransacking his mansion; the policemen urging Mr. Toad to drive safely; members
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Figure 1 - Mr. Toad's Wild Ride (Lee, Nolte, Raddon, Winters, 2012).
of the estate frozen in pure terror as the car barrels down the halls of Toad Manor; even bringing
riders through a courtroom scene where a judge loudly yells, “Guilty!” After a jailbreak, Toad’s
crazy car drives itself down the tracks as an oncoming train shines its light and blows its whistle,
and after an explosion, riders are surrounded by fire, tiny, giggling devils, and a large, laughing
Satan (Figure 2)– all before the doors open and cast members escort riders off the car to load it
for another ride (Lee, Nolte, Raddon, Winters, 2012). Many children, not expecting a scene that
never appeared in the original story or film, were terrified, and even some older riders had to be
escorted off the ride in tears. While ultimately, pure fear may not have been what the Disney
Company was after, the Imagineers (what Disney Company calls their designers and creators)
who designed the ride created an ingenious experience that mystified many and still does to this
day. One unique element was that there were two different tracks the rider could be subjected to
that would take them on different paths through the story, both ending with the devils. This was
done so that if friends or family members rode the ride on separate cars and tried to recount their
experiences, the routes would not match up and it would create a sense of unease that both went
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on the same ride but had different paths. This made the ride truly seem wild. The Imagineer
who came up with the idea, Rolly Crump, said of it, “I was playing with people’s heads on it,
that’s why I wanted two different stories” (Lee, Nolte, Raddon, Winters, 2012).
Figure 2 - Mr. Toad's Wild Ride (Lee, Nolte, Raddon, Winters, 2012)
The attraction created a sense of confusion, panic, even hopelessness– the steering wheels could
be turned but it never effected the course of the car– to create a Disney experience like no other.
Well, except perhaps for another ride that also ended in the demise of its main character,
completely unlike its original movie and story.
Snow White’s Adventures also opened in 1971 (the ride was later renamed to the more
appropriate Snow White’s Scary Adventures in 1998). It was a similar dark ride experience that
put the riders in the main character’s shoes but did not follow the path people expected, instead
subjecting guests to a “non-stop parade of intimidating horrors” (Sundberg, 2012). The evil
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Figure 3 - Snow White's Adventures (Lee, Nolte, Raddon, Winters, 2012)
queen (in the form of the wicked witch (Figure 3)) harassed the riders and cackled as she chased
them through the scenes, accompanied by cawing vultures, trees with angry faces, and alligators
that jumped up to snap at any car passing by (Figure 4). Even when the ride car reached the
dwarves’ house, and their silly yodeling song could be heard, it created such dissonance to the
frightening scenery as the dwarves’ house seemed to have watching eyes carved into every
corner.
Figure 4 - Snow White's Adventures (Lee, Nolte, Raddon, Winters, 2012)
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After making it as far as the dwarves’ mine, the last scene viewers experiences was the witch
dropping a large gem on the car from a passage above, strobe lights flash, and then the doors
open up and riders are back at the loading platform (Lee, Nolte, Raddon, Winters, 2012). What
was the obsession with such scary, unexpected stories during this time? Many children left
screaming on this ride as well, but for many there was a fascination with an unexplainable, dark
story featuring the characters they knew and loved. The thrills were enough to keep older riders
coming back, and the cute characters were enough to lure new riders in, curious as to how these
beloved cartoons could possibly be in such dire situations. While the original rides only remain
in California’s Disneyland today, the memories and stories of these rides haunt fans all over the
world. The idea of mixing cute characters with horribly morbid tales was one that strangely
fascinated me as well and kept me obsessed with keeping their stories alive, though the
attractions had been shut down in the park where I first experienced them.
Figure 5 - America Sings (Fritz, 2010)
Other Disney attractions exist that are not as outright scary but inspire me just as much.
The characters in America Sings, a ride that is no longer in any park, were phenomenal. Artist
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Marc Davis created solid, visually appealing, informative animal characters that each told a
complete story in the few verses they sang. Laura Robinson, a theatre professor here at Penn
State, told me that as a costume or character designer, the goal is to, in one second, convey
exactly someone’s character the minute they appear onstage, something Davis’s animals
definitely excel at (Figure 5). Splash Mountain does a wonderful job of translating a story to an
attraction, telling a complete, satisfying story in as little as four well-constructed scenes within
the mountain: Br’er Rabbit wants to run away and Br’er Fox and Br’er Bear want to Catch him;
Br’er Fox and Br’er Bear finally trick and catch Br’er Rabbit; Br’er Rabbit uses his wit to
escape; and the animals celebrate his return and Br’er Bear and Br’er Fox are punished. As the
dialogue states, none of the animals learn their lesson (despite Br’er Rabbit telling Mr. Bluebird
that he does), which is why the story is and always will be repeated– literally repeated in the
form of the looping ride, and repeated in every story that these characters appear in (Figure 6).
Figure 6 - Splash Mountain ("Splash Mountain,” 2014)
Because the log flumes are constantly moving through the scene, the designers had to create a
compelling scene that could be understood in just the few seconds the viewer is there. No long
monologues or long backstory can fit into the short span of the scene, but rather, each line sung
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has to be a complete snapshot of the story. One of my favorite scenes is one where Br’er Fox is
standing, his face a look of disgust as Br’er Bear is stuck in a big rope trap, with a book titled
“How to catch a rabbit” fallen at his feet. “You’ve made a fool of yourself!” Br’er Fox exclaims,
repeating similar lines as Br’er Rabbit pops his head out a log across the river, laughing, “You’ll
never catch me!” or variations on that (“Splash Mountain” 2014). The viewers do not need to
hear the full explanation to know what has happened in this scene, as the visuals and single two
spoken lines (which is all the boat has time to hear as it floats by) give just the required amount
of information that the guests can use to create the story.
The Haunted Mansion is the last Disney attraction I will mention, as it is another favorite
and another excellent example of this snapshot storytelling that is so imperative to a successful
moving attraction. Interestingly enough, the ride does the opposite of Toad and Snow White in
that it takes something traditionally creepy, a haunted house, and makes it silly and fun for even
the faintest of hearts. While I could praise the storytelling of this ride for pages (I have written
other papers in the past analyzing the storytelling and symbolism of the scenes in the mansion), I
will simply mention a favorite scene that is so tiny yet very iconic. The demon clock (Figure 7),
seen for less than a few seconds during the attraction, is one that many recall (HBG2, 2012).
The Imagineers responsible wanted to depict a possessed grandfather clock, one that struck 13
o’clock, but wondered how they could do so in a ride that was constantly escorting guests
through the hallowed halls of the mansion (Surrell, 2003). The clock, as it is, sits in a corner
while the minute hand spins frantically backwards, the hour hand solidly stuck on 13 as the loud,
bellowing gong of the grandfather clock rings. A face with fangs and angry eyes seems to be
engraved on the clock face, and as the “doom buggy” car glides by, the shadow of a hand with
sharp claws passes across the clock. In writing, it sounds like a lot, but in reality, it is a simple
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Figure 7 - The Haunted Mansion (HBG2, 2012)
setup and lasts seconds before the guests enter the next scene. This short vignette says exactly
what it has to— viewers know they are in a realm where time does not exist as it normally does;
they do not have to sit and hear each of the thirteen gongs to know what time it is, one is enough
to pass along the setting; and the phantom hand never has to get even close to guests to remind
them that they are being followed and chased through the mansion by ghoulish inhabitants that
may or may not even want them there.
I believe that the next closest thing to a theme park attraction is a good video game, as
both have the ability to put viewers in a completely different setting and allow them to
experience a story. A video game is very personal in that the story only progresses when the
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player chooses to do so. A ride car, like one in one of the aforementioned attractions, will push
the guests through the story whether they are ready or not. If one is playing a video game and
becomes overwhelmed, the story will not progress until the player is ready to continue. I have
always been fascinated with horror games, ones that use the setting and effects to create a
terrifying experience, yet create a sense of accomplishment when the player successfully
completes them. In the same vein as playing upon beloved childhood characters, and haunted
houses, a recent game, the 2014 Five Nights at Freddy’s, is an interesting example of how
Figure 8 - Five Nights at Freddy's (Cawthon, 2014)
atmosphere truly is everything. The game takes place in a fictional restaurant (a play on the
popular Chuck E. Cheese restaurant franchise), and the player takes the role of the night security
guard who must watch over the animatronic animals that inhabit the pizzeria. By day the robots
are friendly to children, but by night they become bloodthirsty and the player must use security
cameras (that display still images of rooms) to keep track of the four animatronics to make sure
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Figure 9 - Five Nights at Freddy's (Cawthon, 2014)
they do not make it to the security office (Figures 8 and 9). The game was praised for how
successful it was at creating a truly eerie setting with only still images of the restaurant (even
when one sees an animatronic in the room, it is only an unmoving image of them walking
through the room) and sound effects (Cawthon, 2014). The game also includes an in-depth
mythos of how the animatronics became haunted, all because of a horrible crime that was
committed in the restaurant. Clues can only be found when one is exploring the camera images,
making it difficult to search for them while one should be keeping an eye on the robots. The
result is a game that becomes as deep as the player wants it to be. The game can be enjoyed
purely for scares, but many people who were not a fan of the horror genre found themselves
pulled into the immersive storyline, even if it meant dealing with the unsettling animatronics
(Cawthon, 2014). During gameplay it is mentioned several times that the fictional children in
the universe adore the characters of the restaurant. To some players, the characters themselves
are not particularly terrifying at first glance (Figure 10), but the story and knowledge that they
are haunted makes the viewer begin to look at them with a different lens (Cawthon, 2014). As
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the game progresses, the animals appear even more horrifying, with glowing eyes, gaping jaws,
and visible signs of decay. While the storyline does not need to be uncovered to enjoy the
gameplay, the idea that one can become as involved as they please is very interesting to me, and
I took inspiration in this work. It also plays with the experiences many adults had with Chuck E.
Cheese or similar themed restaurants that were popular in the 90’s (when they were children),
and the fear that some felt towards these large characters or the idea that, after hours, these
beloved characters become murderous. For some who had never experienced a themed
animatronic restaurant like this, the knowledge of Five Nights at Freddy’s meant that when they
saw photographs of Chuck E. Cheese characters or others, they immediately thought the robots
were creepy because of their previous knowledge of this game (Cawthon, 2014). It is very
powerful that a video game experience can affect the way in which someone interprets the actual
world.
Figure 10 - Five Nights at Freddy's (Cawthon, 2014)
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A video game that heavily inspired my Noose Dog piece is a minigame found in Game &
Wario called Gamer. While this minigame was not intended to be horror, it creates a tense
atmosphere. The player takes on the role of a child who wants to stay up past his bedtime to play
video games without being caught by his mom. This might seem easy at first, but keeping away
from Mom requires that the player listen and watch for audio and visual clues that she is
approaching: footsteps outside the door, static on the television, etc. When Mom’s face turns to
look at the child in bed, her eyes glow and the player has only a moment to hold down a certain
button to pull the covers over the child’s head, tricking her into believing he is asleep (Figure
11). It is even mentioned before one starts that the mother in this is not real, it is a creation of the
Figure 11 - Gamer ("Gamer," 2013)
child’s imagination (“Gamer,” 2013). This makes sense, as the mother in this minigame seems
more like a ghost or demon than any human parent (Figure 12). This game plays off of the
memories one might have of staying up late under the covers to read or play games, hoping that a
parent would not find out. The use of sound, though it is a gameplay device, is very successful
in creating a panic when one thinks that Mom is close by. This reference to something many
experienced in their childhood or adolescence is powerful in making the game more relatable. In
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a Game & Wario interview between Nintendo Global President Satoru Iwata, Software Planning
and Development Department Director Goro Abe, and director for INTELLIGENT SYSTEMS
Naoko Mori, they have this interesting conversation:
Mori: “You know when you're driving your car and you have a close call on the
road, there's that moment when your whole body shudders. When it looks like
your mother is about to catch you, you have that exact same feeling!”
Abe: She’s right. That’s exactly how scary it is. But it isn’t like a horror game
where fear comes from the use of terrifying images.
Iwata: Well, the graphics for the game are really cheap and cheerful, aren’t they?
Abe: Yes, but the game is still frightening in spite of that…It's really scary when
you first play it, but over time, it becomes really funny. Laughter and fear aren't
all that far removed, after all...
Iwata: Yes, in some senses, fear and laughter are two sides of the same coin, and
when you take either to the extreme, they become more or less indistinguishable.
(Iwata, Mori, Abe, Sakamoto, 2013).
Figure 12 - Gamer ("Gamer," 2013)
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This is certainly true, and is the perfect example of exactly the point I am getting at: games and
other media do not necessarily need frightening images to create fear.
Cartoons and anime have inspired me greatly. A certain older Japanese series captured
my heart because of how it included traditional Japanese demons. Originally called Kitaro of the
Graveyard and created by artist Shigeru Mizuki, Kitaro, the last remaining member of the ghost
tribe and a snarky young boy, finds himself enamored with humans and wants to help protect
them from the bad yokai, or demons, who are out to harm the living habitants of the earth
(“Kitaro,” 2013). Kitaro at times acts mature for his age, with his hundred-year-old wisdom and
knowledge of ghosts and demons. Yet, other times, Kitaro acts like a child would, throwing
tantrums, flirting with girls, or singing to himself while he skips
Figure 13 - Kitaro of the Graveyard (Mizuki, 2013)
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Figure 14 - Kitaro anime, called ‘GeGeGe no Kitaro,’ from the 1968 & 2007 adaptations, (“Gegege no Kitaro,” 2015)
home from school (Figure 13). The series is known for its popularization of the yokai folklore
and can also be a tool to introduce children (the more modern incarnations of the series are
aimed towards a younger audience (Figure 14)) to traditional Japanese myths and legends, which
Kitaro references heavily (“Kitaro,” 2013). While not as terrifying as the traditional monsters
are, Mizuki Shigeru’s work offers an easy way to get involved in this alternate magical world in
a friendly way. Mizuki’s artwork is well-known throughout Japan and the iconic Kitaro has
appeared in movies, video games, and even has a real village dedicated to him (Figure 14).
Figure 15 - Kitaro of the Graveyard ("The City of Fish and Kitaro - Sakaiminato Guide for Sightseeing," 2015)
As I begin a critique of my own most powerful pieces, keep in mind these influences and
it will be clear to see how they each played a role in my creations.
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Chapter 3
Explanations of Major Works and Their Themes
Figure 16 - Natural Causes
Natural Causes
Petunia, the large deer carcass that appears in Natural Causes, was a bit of a forerunner in
a stylistic choice that would completely change my artwork for the better. My first piece that
mixed the grotesque and cute in such a successful way, Natural Causes is based upon a real life
experience I had in which I found a dead deer in the woods. Half of the deer had completely
decayed away, leaving clean bones, as well as flowers that had begun to grow around them. The
other half had stayed meaty and looked like it might not have even been dead. This juxtaposition
of life and death, beauty and gore, always stuck with me and since, I have often used flowers in
my work as a reference to death. For that reason, when designing this piece, I went with green
and flower print gore. I went with pink to contrast the green, but also because I wanted to make
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it clear that this was meant to be a cute toy animal and not an actual carcass. Her smile is like
that of my Fiesta Animals, but with a smaller smile and closed eye, it is clear that she is very
peaceful– death does not always have to be violent and often, in the wild, is just quietly accepted
as nature takes its course. The title also implies this. Natural Causes is certainly influenced by
the desire to want to bring a more morbid theme onto something that would not typically be
associated with such imagery. Toys do not die in the same way that living beings do. To lure in
the viewer with a large pink pillow of an animal, to lower their defenses with how they relate to
the toy, and then insert the detail that the deer has visible signs of stitched-on decay as to imply
Figure 17 - Natural Causes
death, all these choices were strategic decisions to invite more viewers to get close before they
were immediately turned off by the idea of a carcass. While the gore and guts are bright green
and only meant to hint at real gore, not copy it in the most realistic manner, this snapshot of a
story is enough to convey the tale to viewers. Whether one briefly walks by and glances at her or
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is engaged for several minutes, the intention is clear and the piece, especially because the body is
larger than a life-sized doe, certainly makes an even larger impact. The materials were chosen
because they reference fabrics typically chosen in the production of stuffed toys. Fleece, flannel,
and minky fleece are soft to the touch and create an interesting texture visually, but because of
their relation to toys that viewers might know or might have owned, create a curiosity for how
Figure 18 - Natural Causes
the piece may feel– and many are surprised that for a carcass, Natural Causes is incredibly soft.
While most of her was machine sewn, details such as her eyes and her spots are hand stitched on
with large stitches to reference the large visible stitches that would be found on a handmade toy
and not a mass-produced one. Large stitches make it clear that the object is not meant to be a
real deer, it is content to stay a toy, one that demonstrates that death is not always a scary and a
negative thing.
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Figure 19 - Gutsy
Gutsy
Another piece with the same flower symbolism is Gutsy, a mask that was originally
sculpted in oil clay and then cast in plastic. Originally I planned on casting many and keeping
them somewhat bland, but I decided to cast one instead and make it very detailed and ornate.
This is a reference to masks that are used in religious or tribal ceremonies to represent a deity.
While the mask was cast in plastic from a mold, there are no more plans to make more Gutsys.
The dog, featuring a flower motif on one side and veins and arteries on the other, was painted to
match the idea that half the animal may have fallen victim to nature. The mask is definitely
meant to be more two-faced than simply an animal that fell over and only half-rotted away,
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however. I had been doing a lot of research about the Four Humors and the ideas of many
conflicting ideals and emotions existing within one being, and wanted to create that sense of yin
and yang, as though he was the classical theatre mask that exhibited both happiness and sadness.
One side of Gutsy, the green, happy side, is graced with a large smile while the red side is
covered with hundreds of small dots and long winding arteries and veins weaving around one
another. All of this activity, as well as his snarling expression, is meant to create that sense of
dissonance that the two sides are vastly different. The ‘angry’ side seems more anxious than
anything with how many little dots there are, playing off of a fear that I became obsessed with
learning about called trypophobia, a fear of objects with irregular patterns of holes, such as
beehives or lotus seed heads. The people who claim to have this fear say that when they look at
these clusters of holes they feel panic and their skin crawls or feels itchy (Abbasi, 2011). I
became very interested in this fear because most of my artwork features many random dot
patterns, and in one instance was told that my work triggered someone who had this phobia. For
the first time, I imagined using these dots to create a feeling of anxiousness and sought to do this
in Gutsy, where the large surface area could really be used to create such a large number of dots
that could be placed at varying intervals of closer and farther together. The piece also references
the idea of being two faced, in which one could use a pretty ‘mask’ to appear happy to others
when at their core, they are unhappy or anxious. A mask is an object with a specific use, so I
wanted to acknowledge that and play with that function. When I finished the mask, I took to the
streets and tried asking strangers and eventually classmates to try on the mask and pose for me.
Not everyone was as eager to help, but some of the students I asked did a great job of becoming
the character, and it was interesting to watch which side they picked to embody, the happy or
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Figure 20 - Gutsy
angry side. While Gutsy is displayed as an empty mask with pictures around him, it is clear to
see that while animated, he truly comes alive when a wearer fills him with that energy. The real
experience was whatever reality the models created.
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Figure 21 - Virtuous Wolves
Virtuous Wolves
While playing with the idea of multiple forces working together to create one personality
(like the Four Humors), I began to research the idea of the Seven Virtues, often broken up into
the Four Cardinal Virtues and the Three Theological Virtues. I began to think about how it is
human nature to want to brag when we accomplish something great, but sometimes people brag
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about things that they are only associated with very remotely simply to receive the credit and
seemly to appear as a ‘better’ person. Another inspiration was the trend of faux taxidermy. Real
taxidermy, I believe, is acceptable if the animals are already dead or if these animals are used for
informative displays. The idea of hunters or others killing animals just to mount their heads or
other body parts as trophies is not something I approve. A hunter mounting something because
they are proud they killed it is a way to brag about this accomplishment, in a physical (and
unnecessary) way. I began to combine the two, the seven virtues and faux taxidermy, to imagine
what kinds of ‘accomplishments’ people would want to mount on their trophy wall if they could.
The idea of mounting “living” heads was inspired by a Disney attraction, The Country Bear
Jamboree, which opens up with commentary from three animatronic mounted heads.
Figure 22 - Virtuous Wolves (detail of Temperantia)
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My research of the virtues was used to bring to life the Virtuous Wolves. The wolf bust
was digitally modeled in the computer program Rhinoceros, then imported in to a program called
Pepakura that translates 3-dimensonal models into foldable paper models. I laser cut the pattern
onto watercolor paper and painted the pieces before they were assembled and mounted. Each
wolf was painted to reflect the virtue that they were named for. Fortitudo is fiery oranges and
reds to represent courage. Temperantia includes a little of each color, to represent all in
moderation. Prudentia contains both pieces painted with cool colors and pieces painted with
warm colors to represent the knowledge of knowing there is a ‘good’ and ‘bad’ solution to each
problem. Justitia is made up of panels that look like green grass with flowers, and panels of blue
water with plants and fish, to represent the fairness we must give to each living being on earth.
Faith is painted with rainbows as a reference to the biblical story of Noah and the Arc, because it
is mentioned that the rainbow is the symbol of God’s love and promise to us that he will never
kill humans again as he had to do with the flood. Charity is a mix of panels that resemble
arteries and veins, as well as panels that have the stereotypical, universal symbol of love, hearts,
to represent the love we need to bestow upon others and our own bodies. Finally, Hope, painted
in light blue and sprinkled with salt to cause the watercolor to repel the pigments, is an
embodiment of the hope we have when we try a new art technique and hope it will turn out like
we imagined. The four original Cardinal Virtues’ have names in Latin while the newer three use
their contemporary English names to distinguish that they are two separate groups that form one
whole. By mounting and bragging about being able to overtake the beast of Justitia, for
example, it is in direct violation of that virtue, and raises many questions such as: is the person
who mounted and overtook all of these wolves truly the most virtuous there is? Or, are the
wolves not dead and, like those in the Country Bear Jamboree, will continue to live on and
27
create constant dialogue with one another? The wolves certainly carry more weight when they
are all together, and with the help of the laser-cutter, many were able to be produced quickly and
all with the same exact shape and dimensions. The watercolor and personalization of each
pattern make it clear a human hand was involved in production as well. Depending on whether
one interprets the animals as living heads or mounted trophies, the meaning can change to that of
peace, as if one is in a temple for these wolves, or change to unease, as they are now in the
trophy room of someone who mounted the heads of the most virtuous beings.
Figure 23 - Three Dragons
Three Dragons
The Three Dragons tells the story of three dragons, unrelated or not, that seem to share a
situation similar to Cinderella’s. Two of the dragons are clearly better off than the third, but who
28
is really the happiest? The work plays upon the same cute exterior to draw in viewers and then
hit them with a story that is not as happy as they may have expected. The first and eldest dragon
is the green one covered in jewels. He looks at himself in the water’s reflection, adoringly, with
eyes shining with greed for more gems. The second dragon, the next oldest, is the lavender
dragon, who raises his paw playfully to play with his reflection in the water. He is covered with
roses and vines, and while outright very cute, the flowers are a sign that he is dead inside,
reflected in the water with his lifeless black eyes and dripping black grin. The youngest (yet the
dragon that was sewn first) is the gray one, who is covered in thick red stitches and bits of red
paint, with some rips in his skin. He is the saddest and worst off with big tears in his eyes. His
reflection in the water though shows him smiling and with a halo, proving that maybe, as the one
who has endured the most pain, he knows what it is like to suffer and is a better creature for
Figure 24 - Three Dragons (details of each dragon)
ability to accept and conquer his pain. The reflections in the water can be seen as either a
window to the true self, or as an indication of what is to come; those who are greedy will want
29
and consume more and more. Those who are malicious and only focused on outwards
appearances will rot away on the inside. Finally, those who have felt pain, but can overcome it,
will be better off and closer to a better life. Like Natural Causes, the fabric was chosen for its
softness and reference to other children’s toys, yet, realistically, this is a toy that would probably
be best to keep out of the hands of children because of the added gemstones and flowers, which
could easily cause a threat to children. The gray one, who is crying and hurt, reminds me of my
own childhood where a toy like that would have evoked protective feelings in me and I would
have wanted to treat that toy better than the others, since he is clearly the saddest and needs extra
care. All of the dragons were made with the same pattern, which was slightly altered on each to
create the lifted paw of the lavender dragon, or the rounder head of the gray dragon to create
distinct personalities. Many more could be produced, and yet they are all made by hand on a
home sewing machine.
Figure 25 - Fiesta Animal "Gem"
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Fiesta Animals
The real mass of the show comes in the form of Fiesta Animals: the tiny troops that can
hide themselves on a shelf or make themselves center stage as bringers of happiness. Some have
a bit darker twist, or bits of painted-on elements of pain, but for the most part these animals exist
purely to embody happiness. They may be small, but there are so many of these little critters that
they create a much larger presence. What makes a Fiesta Animal? Each Fiesta Animal is
sculpted by hand, most are made out of Crayola Model Magic and others are made out of
ceramic or other types of clay. Each has a large smile and is painted in bright colors; many
feature dot patterns, and some even glow under an ultraviolet light. The final step, after they are
completed, is to charge them with positive energy. Each animal is created as if they are given a
personalized pep talk, telling them how lovely they look and what a big smile they have, and that
their job is to pass that smile onto everyone who has the pleasure of seeing them. With that,
Figure 26 - Fiesta Animal "Pokey"
these energized animals are ready to create joy, and in such large numbers, the task becomes
easy. These animals are what I used to create that fun, happy environment, knowing that having
31
over a hundred in one room is enough to make a big impression despite the fact that the average
Fiesta height is 2-3 inches tall. The dot patterns, while originally just a way for me to de-stress
(the repetitive motion of dotting the animal was relaxing), became more inspired by the Oaxacan
animals of Oaxaca, Mexico, whose similar dot patterns made me feel just as excited when I
began to research them and seek them out at museums and in collections. Oaxacan animals
(called Alebrijes) are a symbol of Oaxacan culture and folk art (FOFA, 2015). For a more
modern, American ‘folk art’ it was easy to look to children’s crafts, as an inspiration. For many
children, myself included, air dry craft clay provided us the first opportunity to create our own
shapes and toys. For me, it was empowering. My preferred medium, Model Magic Clay, is a
light, airy, inexpensive craft clay marketed to children and it is easy to sculpt and air dries very
quickly. I began to use this clay because of its reference to children’s crafts, and because of how
modern it is, as the clay was introduced in 1992.
Figure 27 - An Alebrije done by Vito Gil Santiago Hernández (FOFA, 2015)
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Figure 28 - Fiesta Animal "Tiger God" (shown in regular light and in black light)
33
Before plastic toys came in every animal shape imaginable, I turned to clay to create my
own mythical dragons, sea monsters, and even more obscure animals like blue herons, hyenas,
and vultures, which were never found in any plastic safari playset. I wish to use these easily
obtainable materials to show that anyone can create the world they want to live in, even if you do
not have access to high power kilns, ceramics, or plastics. Even with the finish of simple acrylic
craft paint, many people still were completely floored to hear that the materials to create these
animals were easily bought at any local craft store, made apparent by how many I was able to
make. There’s strength in numbers, and when the numbers are this large, the strong effect of the
Fiesta Animals can be felt, as was reinforced when many people recognized the ‘happy
atmosphere’ of the show.
Figure 29 - Fiesta Animal "Candy Swampy"
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Figure 30 - Sylvie la Moufette
Sylvie, la Moufette
Sewing and character creating are hobbies of mine, and I thought that I might want to try
my hand at making a professional-level mascot-type character costume. After working in the
costume department at Walt Disney World, I learned about how the company constructs their
costumes, and began to design a character that could fit into my own world. After exploring
various fur and fabric colors, I decided upon a glamorous skunk (une moufette in French), who I
35
named Sylvie. After many revisions, I narrowed her design down to a skunk with bits of pink
fur, large starry eyes, and light makeup. The idea was to take a traditionally unpopular animal
and make it adorable and likeable, hence a skunk. The actual construction was less difficult than
the character creation. I decided that, as a fashionable skunk, Sylvie would always want to be
wearing different clothing, which I decided I would utilize by making only a head, tail, arms, and
Figure 31 - Sylvie la Moufette (concept sketch and sketch showing the technique used for the arms)
paws, so the outfits could be swapped out and worn with the same head. Sylvie could update her
style as the trends changed. I carved the head out of foam that I then covered in duct tape. I then
removed the duct tape so that I could cut it up to make pattern pieces customized to the shape of
the head. I used the duct-tape pattern pieces for cutting out pieces of fur that were hand-stitched
together and pulled over the foam head before being secured down. Sylvie’s makeup was
airbrushed on after the fur on her face had been shaved down. The sewn tail had a belt loop so it
could be worn on a belt under clothes, and the arms were crafted from two glove-like shapes
with large fingers (for paws) that extended up to the armpits. One thick strip of elastic connected
the arms on their front and back, as long as the width of my chest, so that the arms could be worn
36
like long opera gloves, and the elastic would keep the top of the arms from sliding down and
exposing the human arm underneath. The arms would be put on before the shirt, so that
whichever shirt was worn, it appeared as though the furry arms were underneath the sleeves.
The head was put on last, and the sewn neck tucked into the neckline of a shirt. Sylvie, when
worn, was met with positive response and many immediately understood that she was a bit of a
trendsetter, just through her facial expression and makeup alone.
Figure 32 - Noose Pup (shown under a black light)
Noose Pup
I have saved the ‘most grotesque’ animal for last. Noose Pup features an environment for
the pup to stand in, and offers some story and context for the situation. In this room, a large
black, 3-walled room with only a door and window stands the Noose Pup, a clearly childish pup
37
in tee-shirt and underwear, with wide, sparkly eyes and a tiny smile. He was sculpted in Polymer
clay and painted mainly with airbrush, with details in acrylic and neon paint. He holds the loop
of a large rope noose, with no clear intention of suicide, but the pure curiosity of a child that does
not know what he is playing with. The shadow is visible in regular light but under the
ultraviolet, the piece really glows. The shadow of the pup’s mother shines in the background and
light let in through the crack of the door casts a menacing shadow that creeps up the back wall
and looms over her curious son.
Figure 33 - Noose Pup (shown in normal lighting)
38
I have been working with children for over eight years and have witnessed firsthand the
curiosity and ignorance kids have towards things that they know nothing about, from things as
innocent as new types of bugs to things a little darker such as knives or adult language that they
do not know the meaning of. As a child, I remember being curious myself about many, many
things and it was always my mom or my dad who took the time to teach me the rights and
wrongs about certain items. Not everyone has the same opportunity to have parents present to
teach them as they grow. Many times children discover whether things are right or wrong by
others’ reactions to what they do. Much like a puppy will chew on anything it can get its paws
on without knowing that it is expensive or important, a child will play with anything until told
otherwise, and even then sometimes this reaction creates even more curiosity and makes them
want the object even more. In Noose Pup, the mother dog wants to reprimand her son for
playing with something so morbid, and the child has no idea that he is holding a universal
symbol of suicide. The black room does not glow but the figures and noose in it do, reminiscent
of dark rides that would feature glowing props and scenery in UV light against a black
background to hide how small the space was. Many who viewed this piece were offended or
made uncomfortable, a testament to how strongly ingrained these ideas are that certain objects
are bad, even if they are not being used in a dark and sinister way.
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Chapter 4
“All-Day Happy Hour”
Figure 34 - The Title Banners that read “Abby Bosley’s All Day Happy Hour, A Senior Honors Thesis Exhibition”
On Sunday March 15, the animals of All-Day Happy Hour were unloaded into the
Patterson Gallery space. Colorful shelves were raised and delicate flags strung across the
ceiling—all in anticipation for Monday, the 16th, when the exhibition opened for viewers. The
exhibition stayed up for a class week, open until Friday March 20th, and was taken out of the
gallery on that following Saturday the 21st.
In preparation, posters were printed and hung two weeks in advance, and postcards were
handed out. The posters featured original art that was drawn specifically for the show, including
pixel renditions of animals one might expect to see in the show. Three different designs were
created, all with the same animals featured, but in different configurations. I took many
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Figure 35 - Mr. Toad's Wild Ride Attraction Poster (Handke, Hunt, 2012)
inspirations from the Disney Parks posters and researched what makes their posters so
memorable; as former Imagineer Tony Baxter writes, “the Park posters are images that come
from artistic expression, and represent unique emotions of each adventure…a great poster sells
its story from a distance and needs to be glimpsed at just briefly to work its great magic. Great
illustrations on the other hand, can accommodate much more detail and often tell complex stories
within the imagery…Like songs that play in your head after the visit to a Disney Park, the iconic
images…have the ability to fill your mind with emotions” (Handke, Hunt, 2012). Former
Imagineering executive designer Tim Delaney says of these attraction posters that they are
41
“storytelling without saying words.” (Handke, Hunt, 2012). I began to research the most
successful Disney attraction posters and what made them successful, and discovered that it was
true that some were so simple that they could tell a full story in one image, something I have
mentioned I believe the Imagineers are very adept at. One of my favorites belongs to the
aforementioned Mr. Toad’s Wild Ride, the 2008 Disneyland poster by artist Danny Handke.
This image has since become one of the most popular and most iconic, even though it is very
simple. We see the tagline, the title, the enlarged head of Mr. Toad, whose eyes show that he is
in the full swings of his ‘motormania,’ the location of the ride in the park, and the shadow of the
oncoming train rushing towards the silhouette of Mr. Toad as he merrily drives into it (Figure
35). It’s incredibly sinister but absolutely beautiful. For my own posters, I decided to take from
this design and create a design with one enlarged head and a line of animals towards the bottom
in a joyous parade (Figures 36 and 37). While my posters had to feature a little more
information, the artwork was clear and concise for the sights you would experience inside of the
show.
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Figure 36 - Poster Design 1 (done in a pixel art style)
43
Figure 37 - Poster Designs 2 and 3
The postcards included the same information as on the poster, but featured a photograph
of one of the original Fiesta Animals (though that specific one was not in the show, many other
vultures could be found in Patterson that week). They were double sided and handed out to
faculty, staff, and friends.
There were 113 artworks on display in total, all of various sizes, species, and mediums
(including clay, ceramic, fabric, bone, airbrush painting, carved wood, cast plastic, watercolor
painting, laser-cut paper, and more). In addition, potted plants were set on some of the same
shelves as Fiesta Animals, and a guestbook was set out by the door, with business cards for
anyone interested. The largest piece, affectionately called ‘the queen of the show’ was the hot
44
Figure 38 - Postcard Designs (front and back)
pink deer carcass, Natural Causes. The smallest were the Fiesta Animals who made up in
quantity what they did not have in size, as they made up the majority of the show. The “Opening
Jamboree” the poster advertised was held Tuesday night as the opening party. Cupcakes and
“mock-tails” were prepared and set out, with upbeat music playing on a stereo. To honor the pets
who inspired the service portion, the snacks and refreshments were named after rescue pets my
family has adopted: “Kali Cupcakes”, “Cleocatra Cooler” (fruit punch soda and pink lemonade),
“Wendy’s Star-tini” (crème soda and orange soda), and “Luna’s Moonbeam Elixir” (pineapple
soda and pina colada mix, chosen for how the two drinks would layer in the clear plastic cup).
Many of the guests responded positively and mentioned that the creative drinks were very
45
memorable (Figure 39). The opening party was a wonderful opportunity to communicate with
viewers and explain some of my ideas and techniques; many especially asked about the colorful
flags and the Virtuous Wolves. Many people spent time in the gallery outside of the show, and
one grad student mentioned bringing their students into the gallery during class time to discuss
the works. I felt the show was very successful in creating awareness for my artwork and my
presence as an artist on campus.
Figure 39 - Cupcakes and Drinks set out for Opening Jamboree
46 Figure 40 - Shelf from All Day Happy Hour
Figure 41 - Shelf from All Day Happy Hour
47 Figure 42 - All Day Happy Hour
Figure 43 - All Day Happy Hour
48
Figure 44 - Five Little Sheep (Spruce, Ivy, Marigold, Clover, and Thistle) and a Painted "Galaxy Deer"
Shoulder Blade Sit on Painted Clementine Boxes in All Day Happy Hour
49
Reaction to “All-Day Happy Hour”
Figure 45 - All Day Happy Hour
Reaction to the exhibition was overwhelmingly positive. While I received many in-
person comments, I wish to quote some of the written ones left in my guestbook. Messages are
word-for-word but names will be omitted. “I especially like your use of color.” “Your art makes
me smile” “My roommate couldn’t stop taking pics” “Really enjoyed the ‘noose pup’ piece.
Wish it was for sale. It is an interesting work of art!” “Really made a happy atmosphere” “My
personal favorites are actually the banners! They’re so festive and cute!” “I loved the reflection
piece, very creative and thought provoking” “You are a shining example of what humanity can
be…not only is your work well-crafted but it captures the happiness that we sometimes feel in
life even if it is only for a moment…your work makes those moments live longer, if not forever”
“You don’t know me but you have improved me and my art will be forever changed because of
it.” Those were only some of my favorites. Two words came up more often than others –
50
“awesome” and more importantly, “happy.” If I was able to create a happy experience for the
vast majority of guests, then I succeeded; this guestbook, with its testimonies, is physical proof
of my success in that regard.
Service Portion
It is an absolute truth that each of my pieces features an animal, either in subject or
material (in the case of the bones). I love animals, but more than that I love helping animals,
especially shelter pets. I have always felt very strongly about adopting and ultimately, this is the
cause I wish to help as I grow as a person and artist. My family has always adopted its animals;
from Cleocatra, our first and queen of the household, to the newest addition, Wendy Darling,
whose story inspired the service portion of my exhibition. Our family, in November, visited a
shelter in East Philadelphia and fell in love with a little Maine Coon mix– she seemed shy, but
reached her paw out to grab onto any bit of shirt whenever one of us passed by her cage. When
we decided on her and took her home, the first thing we noticed about her was that her body was
covered in scabs, leaving her fur patchy with clumps of matted blood in the patches that
remained long. The second was that once she left the tiny cat carrier, her personality exploded
and we realized quickly that we had an incredibly outgoing cat. While not as much of a talker as
some of our other feline family members, she was incredibly playful and affectionate, clear that
she was very gracious to be off the streets and out of the shelter cage. Months passed, and her
fur grew back gorgeously, filling in the holes and giving her the Maine Coon look we had not
been able to initially identify. With just a little care, Wendy had completely taken a turn for the
better and blossomed into a healthy cat. If only all shelter pets could be given that opportunity,
51
surely most would shine as well in their own families! Seeing her speedy recovery made me
realize that I simply had to use my art show as a means to raise money/supplies for local shelters.
I began to advertise that profits from sold pieces would go to animals in need, and set up a sign
and collection box at the show for supplies. I only sold a few animals and decided to donate $75
of the profits to the ACCT in Philly (where we adopted Wendy from), seeing as the urban shelter
was certainly in need of any extra donations. With the high number of animals they take in and
the care they must provide to hundreds of animals each year, I felt they were truly deserving of a
little extra funding. The box full of donated supplies went to Centre County PAWS ight outside
of University Park. Both were incredibly gracious and took the donations. If I were to do the
show again, I would hope to advertise the service part more to put more emphasis on it so that I
could inspire more students to want to help out with the community– every art show advocates
the artist and their vision, but few advocate for certain causes, and I would like to think I did
something different that may inspire someone else someday who is drawn to a certain charity.
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Chapter 5
Final Thoughts
It feels unreal that my show simply sprung up overnight, charmed guests, then left
just as swiftly. The reactions to the show were incredibly positive and made me feel confident
that my pieces were successful. As the final big showcase before I leave Penn State, I feel
satisfied with what I have created during my time here and thankful that I had the opportunity to
share it with the community. I am very thankful that the Schreyer Honors College for supporting
me and my studies during my time here. This show has inspired me continue creating beautiful
works of art and to continue providing support for local animal shelters in the form of more
donations and more monetary As an artist, I look forward to learning from the critiques and
suggestions from this show and experimenting with fabric more, as well as other new materials.
I will be forever grateful for the doors that have opened for me as a Schreyer scholar and for the
support I received. I look forward to the many new projects that await me as I enter this next
chapter of my life.
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https://disneyworld.disney.go.com/attractions/magic-kingdom/splash-mountain/.
Sundberg, Kenneth. "Snow White's Scary Adventures." KenNetti. September 10, 2012.
Accessed April 12, 2015. http://www.kennetti.fi/swscary_3.html.
Surrell, Jason. The Haunted Mansion: From the Magic Kingdom to the Movies. New
York, New York: Disney Editions, 2003.
"The City of Fish and Kitaro - Sakaiminato Guide for Sightseeing." Mizuki Shigeru Road
･Mizuki Shigeru Museum. Accessed April 12, 2015.
http://www.sakaiminato.net/foreign/en/mizuki.html.
Udon Entertainment Corp. The Eyes of Bayonetta. Thornhill, Ontario: Udon, 2013.
ACADEMIC VITA
Abigail R. Bosley
1328 Jericho Rd. Abington, PA, 19001
________________________________________
EDUCATION
The Pennsylvania State University Graduation: May 2015
Schreyer Honors College
University Park, PA
Major: Integrative Arts (emphasis in Sculpture, Theatrical Makeup and Costume
Design)
Minor: Theater
Honors Thesis: “All-Day Happy Hour”
Relevant Coursework: 3-Dimensional Art, 2-Dimensional Art, Prop and Set
Construction, Costume Construction, Advanced Theatrical Makeup, Digital Art, Costume
Design, Adobe Photoshop, Rhinoceros 5, Autodesk Maya
Abington Senior High School Graduation: June 2010
Abington, PA
EXPERIENCE
Hostess Fall 2014-Spring 2015
Nittany Lion Inn, University Park, PA
Greet guests and seat them at a table while making light conversation and sharing
information about food specials or deals
Responsible for customer service and meeting the needs of guests
Answer phone calls for room service, reservations, and general questions
Help clean tables and the establishment when not seating guests
Summer Camp Instructor Summer 2014
Subject taught: Wearable Art
Pennsylvania State University, Abington College, Abington, PA
Developing and implementing a creative and engaging curriculum
Ensure that activities are safely and effectively implemented
Maintain a positive atmosphere when interacting with staff, parents, and campers
Assistant to Director of Camp Director Summers 2013–2014
Pennsylvania State University, Abington College, Abington, PA
Assist the director with various tasks required for the successful operations of the
summer camp program
Provide ongoing support for camp instructors
Responsible for overseeing counselors and student campers, as well as organizing all
supplies and technology needs for the camps.
Costuming Hostess August-December 2012
Walt Disney World Resort, Orlando, FL
Dress performers in the Move It, Shake It, Celebrate It Street Party Parade
Assist cast members in all four parks (Magic Kingdom, EPCOT, Animal Kingdom,
Disney’s Hollywood Studios) with choosing their costumes and uniforms
Clean costumes and uniforms and perform minor repairs on character costumes
Work collaboratively with team members and individually on various costuming projects
Summer Counselor/Student Assistant Summers 2008–2012
Pennsylvania State University, Abington College, Abington, PA
Provide instructor support and assistance with classroom activities for the Kids & Teen
College summer camp program.
In charge of leading small group activities and lessons for campers.
Responsible for overseeing and managing camper safety.
Illustrator 2010
Shrager, Ellen, Teacher Dialogues, The Sixth-Grade Guide for Involved Parents, The
Involved Parent’s Seventh-Grade Guide, and The Ninth-Grade Guide for Involved
Parents (2010)
EXHIBITIONS AND SHOWS
“All-Day Happy Hour” March 16-20, 2015
Patterson Gallery, University Park, PA
Solo Senior Thesis Exhibition
“Fringe with Benefits” November 2014
Rinaldo’s Barber Shop, State College, PA
Pop-up art show featuring other artists
Performed a piece that included doing elaborate makeup on willing viewers
“Assigned Seating” November 2013
Borland Gallery, University Park, PA
Group art show
“Dead State” Haunted House October-November, 2013
Pavilion Theater, University Park, PA
Actor and makeup artist, one of the two-person team in charge of designing and
applying horror makeup for all actors in the haunted house
HONORS, AWARDS, ACTIVITIES & SKILLS
Dean’s List (Fall 2014, Spring 2014, Fall 2013, Spring 2013, Spring 2012, Fall 2011,
Spring 2011, Fall 2010)
Trip Organizer of the Penn State Anime Organization (2014-2015), Penn State
University
President of the Penn State Anime Organization (2011 – 2012), Penn State University
Experienced seamstress
Experience in theatrical makeup and prosthetics