My teaching philosophy is straightforward: prioritizing students' needs helps them develop creativity, critical thinking, curiosity, and practical skills that last a lifetime. I provide an environment that fosters hands-on learning, supporting each student's growth and helping them gain confidence in art and other areas.
I approach this guided by my experiences as both a student and a teacher. I draw inspiration from the traditions of classical Western European Art Academies and the Bauhaus’s experimental, interdisciplinary pedagogy (Germany, 1919–1933). Additionally, I am influenced by Black Mountain College’s holistic, liberal arts focus (North Carolina/USA, 1933–1957). These draw on the Pragmatism and Process Philosophy of John Dewey (1859–1952). I use 'bricolage' —an assembly of diverse methods and ideas—to define my methodology of combined traditions for the benefit of my students.
Regardless of subject or format, I share my enthusiasm for art and support for each student’s development by assisting the individual in balancing their goals with the course objectives outlined in the syllabus. I believe finding personal relevance in course content inspires curiosity, supports memory, and encourages creative action in and beyond the classroom.
I aim to apply my philosophy broadly through implementation that adapts to each course, depending on the topic, level, and goals of the participants. In every course or workshop, we begin by introducing ourselves, sharing interests and experiences, discussing motivations, and setting personal goals to revisit throughout the term.
In particular, foundation art classes present unique challenges. Participants may be undecided about their commitment or focus, or they may be studying another discipline but are interested in art. In these classes, I provide practical exercises and content in various media to help students develop the practical skills and analytical habits necessary for creating and appreciating art.
First, we examine artworks created by others, both in historical contexts and in the present day. Second, students use basic visual vocabulary, skills, and methods in their own work through exercises. Finally, I help them apply what they learn by analyzing and discussing art. This includes their work in class critiques and, if necessary, other artworks in short written assignments. Whatever the topic, I want students to identify what an artist has done in any artwork and explain how and why, regardless of who made it.
In all undergraduate classes, I introduce students to a variety of methods and materials with which to experiment playfully. I encourage close observation and reflection on the results. I believe true mastery develops from a specific interest over time, so I prioritize exploration over proficiency to stimulate lasting curiosity. Assessment is based primarily on participation, engagement, and skill development, rather than immediate ability. I hope each student will communicate effectively and recognize the variety of skills.
As levels advance, I teach students to refine their skills in specific methods and materials, emphasizing professionalism. At the graduate level, I address discipline demands and thesis skills. Here, I transition from teaching to mentoring. I guide students in improving their self-education and developing a professional art practice. I want students to critically analyze their own work. I evaluate how effectively they do what is needed to reach their goals, aiming for mastery by professional standards.
Through every stage, I want the classroom or studio to feel welcoming and help students be creative and work together. This prepares them for a connected world. By incorporating multiple perspectives, students explore new and familiar art methods and learn to appreciate others' work.