Teaching philosophy and future pans in pedagogy

I consider myself an agent of change, in the practice of teaching art. I undertake this calling with humor, imagination, and fervor. My undergraduate classroom is an amalgamation of studio practice, discussion, lecture, and professional development. The foundational studio classes begin(depending on subject or medium) with extensive skill-building and exposure to the diversity of material within art history and contemporary art.

my teaching philosophy centers on empowering students to think critically, work intentionally, and engage meaningfully with both their own practice and the broader artistic community. By balancing structure with freedom, and skill with inquiry, I aim to help students become thoughtful, resilient, and self-aware artists.

My teaching research is grounded in the belief that art education should develop critical thinkers, skilled makers, and confident communicators. I view the classroom as a collaborative studio where experimentation, reflection, and dialogue are essential to learning. Rather than positioning myself as the sole authority, I act as a guide who supports students as they discover their own artistic voices while building technical proficiency and conceptual rigor.

I prioritize the artistic process over purely polished outcomes, “failure” is re contextualized to help students learn best when they are encouraged to take risks, make mistakes, and reflect on their decisions. Assignments are structured to emphasize research, iteration, and revision, allowing students to understand how ideas evolve through practice. Painting is problem solving which also reflects our lives and effect in the world.

During a project on narrative, students begin with rapid, low stakes painting studies completed in 30 minute intervals. After each round, we pause for brief peer feedback focused on intention rather than execution. This low-stakes environment helps students loosen perfectionism and view revision as a productive, normal part of art-making.

Technical skills are most meaningful when they serve ideas. I integrate demonstrations and skill-building exercises directly into conceptual projects so students understand why a technique matters, not just how to execute it. This approach helps students connect material choices to meaning and context.I myself have been and remain infatuated with the potential of materials and innovative strategies in art production. I teach techniques by giving numerous, highly detailed demonstrations. Providing examples of processes in a wide spectrum of mediums and one-on-one guidance.

To give you one brief example, when teaching proportion in a foundational painting or drawing class, I introduce a multitude of body types for models along with various skin tone mixing techniques, which transitions into extensive conversation/projects of body image, stereotyping, and underrepresentation. Immediately I then engage students by discussing various artists -- such as racial/ethnic, sexual minorities, women, or collectives who are creating work that is unlike the previous generation of artists and who are contributing to new conversations and aesthetics.

As the course level progresses to intermediate, so does the student’s independence of subject and construction. While many of my core studio classes address particular mediums – painting and drawing, for example, other classes are more “post-modern,”  which means that the methodology and ideology surrounding the production of artworks examines the concept over the material. Students are motivated to develop an identity and a practice as artists, articulating a theoretical and conceptual direction, and then identifying the materials they wish to use to best express this. They are encouraged to work in an interdisciplinary manner, incorporating all physical media – video, performance, sculpture, installation, photography, etc. 

As students progress, I encourage greater independence and self-direction. Assignments increasingly allow for open-ended exploration, mirroring real-world artistic practice. I also integrate professional development skills—such as documentation, presentation, and reflective writing—to prepare students for careers or advanced study in the arts.

This year I helped the students to organize their own exhibition of works that were created during the Advanced Concepts semester and others that are related to some of their more developed and on-going themes.they curated them selves, installed, and present their work, with a closing reception. They practice writing wall labels and speaking about their process, helping them understand how art functions in public and professional contexts.

Finally, I model curiosity and adaptability by sharing my own creative process and ongoing learning. Art is not static, and I encourage students to view their education as the foundation for continual growth rather than a finished endpoint.

Graduate work shops:

In my Graduate and advanced courses my role as instructor shifts from specialist and lecturer to facilitator, mentor, and resource. The possibilities of this ‘current moment’ allow for both a historical examination of the creations of art and future production in the light of current AI and alternative technologies. 

In-class critiques with graduate students in painting and drawing workshop this past Fall semester (2025) were both challenging and eye-opening. The critiques were structured but conversational, creating a space where each artist presented their work and discussed their intentions, materials, and process. Graduate students often spoke with confidence about conceptual frameworks and art-historical references, which pushed the discussion beyond surface-level observations and into deeper analysis. Listening to their language helped me understand how artists articulate ideas and defend their choices.

What stood out most was the honesty of the feedback. Critiques were direct but respectful, focusing on how effectively the work communicated its ideas rather than whether it was “good” or “bad.” Peers and instructors asked thoughtful questions that encouraged the artist to reconsider composition, scale, and material decisions. This process showed me that critique is not about criticism alone, but about growth, clarity, and problem-solving. Overall, the experience emphasized the importance of dialogue in the studio and how collective perspectives can strengthen an artist’s practice.

I also asked various artists and colleagues to come and be a guest critic during most of our weekly critiques. Having a guest artist visit our critique setting every week brings immense value to the painting department by expanding how we see, think, and talk about our work. Each artist arrives with a different background, practice, and way of engaging with painting, which exposes students to a wide range of artistic possibilities beyond a single institutional perspective. This regular rotation prevents critiques from becoming predictable and encourages students to remain open, curious, and adaptable.

Guest artists offer fresh eyes. Because they are not embedded in our day-to-day studio routines, they notice things we may overlook—subtle strengths, unresolved ideas, or unexpected connections. Their questions often push us to articulate our intentions more clearly and to think critically about our choices in material, process, and concept. This helps students develop stronger verbal skills around their work, which is essential for professional practice.

Weekly guest critiques also help bridge the gap between academic study and the larger art world. Hearing directly from practicing artists about their processes, challenges, and career paths makes the future feel more tangible and attainable. Students gain insight into how painting functions outside the classroom—in galleries, residencies, collaborations, and personal studios—while also learning that there is no single “correct” way to sustain an artistic practice.Finally, the consistent presence of guest artists fosters a culture of respect, rigor, and generosity in critique. It signals that our work deserves serious engagement and that dialogue is central to artistic growth. Over time, these experiences build confidence, resilience, and a deeper understanding of painting as a living, evolving field shaped by many voices.

Future Plans: Integrating Professional Practice and Material Research into Pedagogy

Moving forward, I plan to more intentionally integrate professional practice and material investigation into my teaching, using my studio research as an active pedagogical tool. My ongoing exploration of materials, scale, and process—particularly my research into nontraditional supports, surface preparation, and labor-intensive fabrication methods—will continue to inform how I structure assignments, critiques, and learning objectives in both undergraduate and graduate courses. By bringing current studio questions directly into the classroom, I aim to model a research-driven approach to painting that emphasizes experimentation, rigor, and critical reflection.

I also intend to expand curricular content related to professional practice, including exhibition planning, documentation, writing, and navigating contemporary art institutions. Drawing from my experience with national exhibitions, gallery relationships, publications, and curatorial projects, I will incorporate real-world case studies and hands-on exercises that demystify professional pathways for students. This approach will help students understand painting not only as a studio practice, but as an evolving, research-based discipline embedded within broader cultural, institutional, and political contexts.

In addition, I plan to further develop coursework and workshops that foreground material inquiry as a form of knowledge production. Through sustained investigation into painting materials—such as grounds, adhesives, surface tension, durability, and scale—I will encourage students to understand materials as conceptual agents rather than neutral tools. This focus will support students in developing individualized processes that align material choices with conceptual intent. Ultimately, my goal is to create a dynamic feedback loop between my studio practice and pedagogy, where professional practice, material research, and teaching mutually inform and strengthen one another, fostering a learning environment grounded in curiosity, resilience, and critical engagement.