The purpose of education is to define and refine a method of thinking for constructively handling the content of the world, inspiring the student to defend what they deem to be valuable and to be active in dismantling their inhibitions. I teach art because it is a powerful tool for emancipating the mind of the would-be artist from the inhibitions of a thoroughly traumatizing world and I believe we all have a responsibility to encourage visionaries. Students learn in different ways - there is no singular method which will benefit all - so I employ a multimedia strategy to attend to various attentions. My goal is to help every student employ their medium as an instrument for processing the concepts, histories, and intrigues of their surroundings, wherever they decide to set their focus.

 

The most effective teaching method is inclusive, one which works towards synthesizing the tension of difference into the kinetic energy of artistic creation. I know this from direct exposure to a wide variety of teaching strategies, many hours of conversations with students, and from assisting an eclectic array of professional artists and designers in their studios. The most important aspect of my teaching is the depth of philosophical and art historical references I provide with my lessons, reflecting my belief that there are many ways of comprehending the present and infinite opportunities to glean inspiration from the past.

  Art is a material reflection of our reflexive minds and has served me as a powerful tool for comprehending the relationships that form my world. My methods encourage students to act as outspoken individuals whom also hold themselves accountable to the collective they are living within. I address each student as an individual with a unique perspective and singular way of working, but the classroom must also be maintained as a shared territory upon which we may discuss common allocations of meaning and value in relation to a wider sphere of social and political concerns.

 

My evaluations of student progress necessarily prioritize active participation and a willingness to take risks through conceptual and material experimentation over any applied universal standard of value. Regular group critique sessions facilitate the clear articulation of an artist's intentions and are practiced ritualistically. During critique I serve as a proponent of a way of seeing and thinking through various lenses that must be chosen carefully and deliberately, encouraging a grounded perspective from all those involved.

 

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