As an individual, I believe that the creation of art remains one of the purest methods of self-expression. Efforts taken to encourage the enjoyment and growth of artistic endeavors are efforts taken to expand and explore the very nature of the human condition. Every human being yearns to be heard or understood. Each voice is vital and each voice is impactful.
As an artist, I believe strongly in using my knowledge and skill to express myself. I enjoy the technical aspects of image making and using those techniques to communicate complex nuanced ideas. I also enjoy simply making cool things that either entertain or interest others, as not every piece needs to be sublimely profound in order to be effective or enjoyable as a work of art.
As an educator, I believe that everyone is creative in some way, and anyone is capable of being an artist. I reject the artist-as-genius myth whole cloth, and I remain firmly convinced that anyone can learn the methods and processes of creating art, as long as the commitment and desire is there. Anyone can learn to increase their skill and uncover hidden talent; all that is needed is drive, effort, and guidance.
My philosophy on teaching therefore necessitates combining these elements of belief in my efforts in the classroom. I lean on three core aspirations to accomplish this task. These are fundamental expectations I have for myself as it relates to my students:
I am dedicated to helping my pupils to remain receptive to alternative methods and thought.
This means a clear cross-curricular and interdisciplinary approach to conceptualization and execution alike. Producing art does not happen in a vacuum, and even artists who prefer a specific medium to all others understand that techniques in other mediums can influence and inform their current work.
In my classroom this involves exploring and incorporating other disciplines, a student who enjoys drawing and painting can learn a great deal by being exposed to sculpting techniques. A student who enjoys photography can benefit by understanding the principles of composition many illustrators employ offhand. This principle absolutely extends to proficiencies acquired in other classrooms.
The act of creation is just as much a science as it is an art. Perspective involves geometry and mathematics. Mixing paint incorporates fractions and chemistry. Developing a concept or resolving an image necessitates literacy, critical thinking, and research. Defending ones work encompasses history and social studies, as the impact of culture, and the significance of understanding events both past and present, on the reception and effectiveness of the student artists work cannot be understated. Every artist needs a broad palette, whether that is in regard to paint or knowledge, and I consider it an obligation and an honor to help students develop that palette.
I am dedicated to helping my pupils to be thoughtful and consistent in effort and application.
This means employing a refined process developed through action and reflection. In art as in life, there is intrinsic value in learning by doing. And most often the more valuable knowledge is gained entirely through failure. Understanding what doesn’t work is always the second step to discovering what does. The first is making the attempt in the first place.
In my classroom that means empowering my learners to decide, commit, and succeed…and our classroom definition of success includes learning from past efforts. It remains my privilege to facilitate the development of a coherent creative process that, while customized by the student, involves employing fundamental principles that can be used in a step-by-step fashion to overcome obstacles that distract from their efforts. Through competent ideation, careful consideration, diligent preparation, and resolute implementation, students can overcome even the most daunting hurdles.
It is paramount that student artists know what tools are in their kit and how to best apply those tools to the task at hand. But knowledge without effort does little good. By combining a structured creative approach with tenacity and conscientious effort, they are best able to embrace momentary failure to propel them to lasting success. I feel this is just as important inside the classroom and studio as it is in life.
I am dedicated to helping my pupils to understand and to effectively converse about their work.
Communication does not start and end with the creation itself. Student artists must have fluency in their medium and an ability to productively engage with criticisms, constructive or otherwise. By critiquing the work of others in thoughtful and expressive manner, and by being receptive to the same regarding their own work, these leaners can grow accustomed to receiving alternate opinions and interpretations of their efforts. I feel this empowers them to be responsive to the assessments of others and establishes confidence in explaining their own views and intentions effectively.
In my classroom this means developing a vocabulary that allows students to articulate themselves meaningfully and efficiently as artists. It also means learning how to engage others in respectful and elevating discourse. As well as acquiring the habit of listening to what others say for the meaning they attempt to convey, over how the information first impacts them personally. Art is often a conversation, and knowing how to have that conversation, how to talk to and listen to others, is of fundamental and elementary significance.
I do not feel that it is my role to simply educate my students in the technical aspects of creating art alone. I consider it my duty to give them a certain set of life skills as well. To that end it is essential to me that my students comprehend the meaning and importance of art to humankind, understand the necessity of communication and expression within society, and that they become proficient and capable observers of the human condition. I endeavor to help my students to become the kind of people who can teach me in turn. This is my philosophy as a teacher, and as a human being.
As an artist, I believe strongly in using my knowledge and skill to express myself. I enjoy the technical aspects of image making and using those techniques to communicate complex nuanced ideas. I also enjoy simply making cool things that either entertain or interest others, as not every piece needs to be sublimely profound in order to be effective or enjoyable as a work of art.
As an educator, I believe that everyone is creative in some way, and anyone is capable of being an artist. I reject the artist-as-genius myth whole cloth, and I remain firmly convinced that anyone can learn the methods and processes of creating art, as long as the commitment and desire is there. Anyone can learn to increase their skill and uncover hidden talent; all that is needed is drive, effort, and guidance.
My philosophy on teaching therefore necessitates combining these elements of belief in my efforts in the classroom. I lean on three core aspirations to accomplish this task. These are fundamental expectations I have for myself as it relates to my students:
I am dedicated to helping my pupils to remain receptive to alternative methods and thought.
This means a clear cross-curricular and interdisciplinary approach to conceptualization and execution alike. Producing art does not happen in a vacuum, and even artists who prefer a specific medium to all others understand that techniques in other mediums can influence and inform their current work.
In my classroom this involves exploring and incorporating other disciplines, a student who enjoys drawing and painting can learn a great deal by being exposed to sculpting techniques. A student who enjoys photography can benefit by understanding the principles of composition many illustrators employ offhand. This principle absolutely extends to proficiencies acquired in other classrooms.
The act of creation is just as much a science as it is an art. Perspective involves geometry and mathematics. Mixing paint incorporates fractions and chemistry. Developing a concept or resolving an image necessitates literacy, critical thinking, and research. Defending ones work encompasses history and social studies, as the impact of culture, and the significance of understanding events both past and present, on the reception and effectiveness of the student artists work cannot be understated. Every artist needs a broad palette, whether that is in regard to paint or knowledge, and I consider it an obligation and an honor to help students develop that palette.
I am dedicated to helping my pupils to be thoughtful and consistent in effort and application.
This means employing a refined process developed through action and reflection. In art as in life, there is intrinsic value in learning by doing. And most often the more valuable knowledge is gained entirely through failure. Understanding what doesn’t work is always the second step to discovering what does. The first is making the attempt in the first place.
In my classroom that means empowering my learners to decide, commit, and succeed…and our classroom definition of success includes learning from past efforts. It remains my privilege to facilitate the development of a coherent creative process that, while customized by the student, involves employing fundamental principles that can be used in a step-by-step fashion to overcome obstacles that distract from their efforts. Through competent ideation, careful consideration, diligent preparation, and resolute implementation, students can overcome even the most daunting hurdles.
It is paramount that student artists know what tools are in their kit and how to best apply those tools to the task at hand. But knowledge without effort does little good. By combining a structured creative approach with tenacity and conscientious effort, they are best able to embrace momentary failure to propel them to lasting success. I feel this is just as important inside the classroom and studio as it is in life.
I am dedicated to helping my pupils to understand and to effectively converse about their work.
Communication does not start and end with the creation itself. Student artists must have fluency in their medium and an ability to productively engage with criticisms, constructive or otherwise. By critiquing the work of others in thoughtful and expressive manner, and by being receptive to the same regarding their own work, these leaners can grow accustomed to receiving alternate opinions and interpretations of their efforts. I feel this empowers them to be responsive to the assessments of others and establishes confidence in explaining their own views and intentions effectively.
In my classroom this means developing a vocabulary that allows students to articulate themselves meaningfully and efficiently as artists. It also means learning how to engage others in respectful and elevating discourse. As well as acquiring the habit of listening to what others say for the meaning they attempt to convey, over how the information first impacts them personally. Art is often a conversation, and knowing how to have that conversation, how to talk to and listen to others, is of fundamental and elementary significance.
I do not feel that it is my role to simply educate my students in the technical aspects of creating art alone. I consider it my duty to give them a certain set of life skills as well. To that end it is essential to me that my students comprehend the meaning and importance of art to humankind, understand the necessity of communication and expression within society, and that they become proficient and capable observers of the human condition. I endeavor to help my students to become the kind of people who can teach me in turn. This is my philosophy as a teacher, and as a human being.