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01 In-Class Two-Point Interior Space, Drawing II, graphite on paper, 30x22", 2013
02 Translating Abstraction to Figuration (Final Still Life), Color Theory (Design III), gouache on Bristol, 9x12", 2020
03 Comic Still Life, Drawing II, pen and ink on paper, 17x11", 2017
04 Photo Composite Narrative (Comic Project), Life Drawing (Drawing III), pen and brush and ink on paper, 17x11", 2020
05 Final Self-Portrait, Life Drawing (Drawing III), digital painting (Clip Studio Paint), 25x22", 2021
06 In-Class Full Figure, Life Drawing (Drawing III), mixed media and collage, 24x30", 2018
07 Multifigure Composite (Direct Observation), Life Drawing (Drawing III), pen and brush and ink on paper, 12x9", 2020
08 Full Figure Self-Portrait (Midterm Project), Advanced Life Drawing (Drawing IV), charcoal on paper, 48x36", 2016
09 Large-Scale Multifigure Composition (Final Project), Advanced Life Drawing (Drawing IV), charcoal on paper, 48x36", 2018
10 In-Class Independent Still Life, Painting II, oil on canvas, 24x18", 2011
11 Review Self-Portrait (Borrowing from a Contemporary Master), Advanced Life Drawing (Drawing IV), graphite and watercolor, 12x9", 2018
12 Independent Homework (Multifigure Composition), Advanced Life Drawing (Drawing IV), digital painting (Procreate), 10x11", 2020
13 Independent Project (Multifigure Composition), Advanced Life Drawing (Drawing IV), ink and gouache on Bristol, 12x15", 2018
14 Independent Project, Advanced Drawing (Drawing V), brush and ink and acrylic paint on paper, 18x24", 2019
15 Independent Project, Advanced Drawing (Drawing VI), Micron on Bristol, 14x18", 2017
16 Thesis Project, 24-Page Graphic Novel (+ Posters, Stickers, Business Cards, Accordion Codex),
digital art printed on bound paper (Clip Studio Pain)t, 8x8", 2017
digital art printed on bound paper (Clip Studio Pain)t, 8x8", 2017
17 Independent Project, Advanced Drawing (Drawing VI), brush and ink on acetate, 60x72", 2016
18 Independent Project, Advanced Drawing (Drawing V), bush, ink, and paint on acetate over fabric, 72x48", 2016
19 Independent Project, Advanced Drawing (Drawing V), digital painting (Photoshop), 15x23", 2016
20 Independent Series, Graduate Painting, oil on canvas, 60x48", 2013
Statement of Teaching Philosophy
I teach with an emphasis on materials-based practice and perceptual skills in foundations level courses to help students develop visual literacy, establish credible pictorial space, and advance hand skills. Later, in intermediate level courses, I transition to teaching conceptual skills so students can develop nuanced content in their artwork in preparation for advanced classes. My overall goal is that students can be competitive as professionals after graduation. I facilitate this by using an organized syllabus and schedule, clear outcomes and terminology, and concrete assignment descriptions to help us have successful semesters.
In class, apart from class lectures, demonstrations, and presentations, I work with students one-on-one to address specific problems in their work and I strive to give equal time to all students over the course of the semester. I want a free exchange of ideas in class because it acknowledges the relevance of students’ points of view and encourages the class and myself to think in new ways. In critique I compare artwork to project outcomes, provide constructive criticism and give solutions to technical problems, and I make sure to highlight my comments based on personal preference or taste regarding technique, style, and content.
Apart from in-class interaction, I use homework for students to demonstrate what they can accomplish independently. Sketchbooks are for low-pressure practice of perceptual skills and ideation. To transition away from a perceptual focus, I use themed assignments that address time, storytelling, symbolism, and invention, so students can develop their own content. In advanced level courses, I work with students to establish individually directed standards for the semester, such as intended subject matter, medium, scale, number of works, and content. At that point, my goal is to help students take their work where it will go naturally, even if it is beyond the edge of my experiences in studio art. In the past, this exchange of ideas has spurred my own growth as an artist, which then has helped me bring new curriculum into my classes, such as digital drawing and painting, illustration, and comics. For graduate students, I expose them to the practices of contemporary artists, push them to learn a professional level of academic rigor, and achieve a mature and competitive portfolio, while still helping them to follow their vision for their artwork.
In all course levels, I show samples from art history and contemporary art to demonstrate technical goals and provide historical context for students’ expressive goals regarding technique, style, and content. In terms of classroom atmosphere, I want to create a calm space where students feel comfortable expressing their ideas, providing and receiving constructive criticism, and can focus on learning without anxiety. I use grading to reward high quality artwork and strong work ethic, as well as to motivate students when their effort or quality of artwork is demonstrably lacking, so it can be challenging to keep a light yet focused atmosphere. Ideally, I want to create a collaborative environment, for students to grow as much as possible and to look forward to their time in class.
I teach with an emphasis on materials-based practice and perceptual skills in foundations level courses to help students develop visual literacy, establish credible pictorial space, and advance hand skills. Later, in intermediate level courses, I transition to teaching conceptual skills so students can develop nuanced content in their artwork in preparation for advanced classes. My overall goal is that students can be competitive as professionals after graduation. I facilitate this by using an organized syllabus and schedule, clear outcomes and terminology, and concrete assignment descriptions to help us have successful semesters.
In class, apart from class lectures, demonstrations, and presentations, I work with students one-on-one to address specific problems in their work and I strive to give equal time to all students over the course of the semester. I want a free exchange of ideas in class because it acknowledges the relevance of students’ points of view and encourages the class and myself to think in new ways. In critique I compare artwork to project outcomes, provide constructive criticism and give solutions to technical problems, and I make sure to highlight my comments based on personal preference or taste regarding technique, style, and content.
Apart from in-class interaction, I use homework for students to demonstrate what they can accomplish independently. Sketchbooks are for low-pressure practice of perceptual skills and ideation. To transition away from a perceptual focus, I use themed assignments that address time, storytelling, symbolism, and invention, so students can develop their own content. In advanced level courses, I work with students to establish individually directed standards for the semester, such as intended subject matter, medium, scale, number of works, and content. At that point, my goal is to help students take their work where it will go naturally, even if it is beyond the edge of my experiences in studio art. In the past, this exchange of ideas has spurred my own growth as an artist, which then has helped me bring new curriculum into my classes, such as digital drawing and painting, illustration, and comics. For graduate students, I expose them to the practices of contemporary artists, push them to learn a professional level of academic rigor, and achieve a mature and competitive portfolio, while still helping them to follow their vision for their artwork.
In all course levels, I show samples from art history and contemporary art to demonstrate technical goals and provide historical context for students’ expressive goals regarding technique, style, and content. In terms of classroom atmosphere, I want to create a calm space where students feel comfortable expressing their ideas, providing and receiving constructive criticism, and can focus on learning without anxiety. I use grading to reward high quality artwork and strong work ethic, as well as to motivate students when their effort or quality of artwork is demonstrably lacking, so it can be challenging to keep a light yet focused atmosphere. Ideally, I want to create a collaborative environment, for students to grow as much as possible and to look forward to their time in class.