A PDF of the following is available upon request. Complete Artist’s CV, Bio, and Artist’s Statement available at https://art-robynthomas.com/pdfs.html
TEACHING EXPERIENCE
Adjunct Faculty
Quinsigamond Community College - Worcester, Massachusetts
School of English & Humanities - Art
Fall 2023 to Present
Fall 2025 ART131_50 Introduction to Drawing 1
Fall 2025 ART131_03 Introduction to Drawing 1
Fall 2025 ART101_01 Art Appreciation
Summer 1 2025 ART101_15 Art Appreciation
Spring 2025 ART101_02 Art Appreciation
Fall 2024 ART131_03 Introduction to Drawing 1
Fall 2024 ART131_01 Introduction to Drawing 1
Spring 2024 ART101_01 Art Appreciation
Fall 2023 ART131_01 Introduction to Drawing 1
This institution does not offer an AA Visual Art option.
Adjunct Teaching Professor
Worcester Polytechnic Institute - Worcester, Massachusetts
Department of Humanities & Arts - Art
January 2024 to Present
D-Term 2026 AA1100_D03 Essentials of Art - scheduled
C-Term 2026 AA1100_C04 Essentials of Art - scheduled
D-Term 2025 AA1100_D03 Essentials of Art
C-Term 2025 AA1100_C04 Essentials of Art
D-Term 2024 AA1100_D03 Essentials of Art
C-Term 2024 AA1100_C02 Essentials of Art
Humanities course for undergraduates.
Adjunct Faculty
University of Massachusetts - Boston, Massachusetts
CAPS/Department of Art and Art History
Fall Semester 2017 ART 281 Drawing 1
Single semester ‘fill-in’ for Continuing Education and General Credit Foundation Drawing I Class for non-art and BA Art and Art History majors.
Visiting Artist & Guest Critic
University of Massachusetts - Boston, Massachusetts
Department of Art and Art History
Fall 2016 ART 393 Photography Workshop: Collage
Guest Lecture ‘Collage as a Method: From Appropriation to Originality’
ADDITIONAL TEACHING EXPERIENCE (non-tertiary)
Visiting Artist, Materials Workshop Instructor, ‘Pecha Kucha-esque’ and Happening! Instigator
The Center for Connection + Collaboration - Asheville, North Carolina; November 2022
As a resident artist, I conceived and led three community events on my chosen topic: Re-framing Perspectives: Considering Change with Compassion. The first event, a ‘Pecha Kucha-esque’ evening, was held in person and via Zoom with participants presenting about instances of ‘change’ in our practices, and was followed by a group discussion. The second event, a Materials Workshop, served as the precursor to the third event, the Happening!, devised in recognition of the 70th anniversary of the first ‘Happening,’ Theater Piece No. 1, which took place nearby at Black Mountain College. The workshop consisted of introducing ourselves, our practices and what brought us together; a short talk on the history of the Readymade, Happenings, Duchamp, Black Mountain College, ‘play’ and ‘change’ and concluded with a practical exercise. Using what was at hand, we playfully combined materials to alter the space and the objects around us. Reconvening for the Happening! in the workshop space two days later, over the course of two hours workshop participants guided attendees through further developments of the ideas and the pieces they had begun exploring and creating together.
TEACHING AREAS
Drawing — all levels, materials, traditional and experimental techniques; history, theory, and contemporary practice; special topics;
Foundation 2D and 3D —Visual Organization, Color Theory, Basic Elements and Principles of 2D and 3D Design; history, theory, and contemporary practice; special topics;
Painting —oil, acrylic, encaustic, tempera, casein, watercolor, gouache, traditional and experimental techniques, pigment grinding and paint medium manufacturing; history, theory, and contemporary practice; special topics;
Printmaking — intaglio, relief, silkscreen and mono and experimental printmaking techniques; history, theory, and contemporary practice; special topics;
Sculpture — basic woodworking, welding and soldering (SMAW and MIG, silver soldering), plaster casting and carving, (low-fire) ceramic modeling, hand-building and casting, additive and reductive sculpture techniques; history, theory, and contemporary practice; special topics;
Special Topics — undergraduate and graduate thesis; art appreciation; historical and contemporary practice and theory, and artistic research; creative collaboration; documentation; editing and archiving, picture framing, curation, installation, and professional portfolio presentation; writing, editing and translation for the visual and performing arts.
TEACHING PHILOSOPHY
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 an artist, 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 the term ‘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.
EDUCATION — credentials and transcripts upon request; PhD and MFA degrees are verified by World Education Services.
Doctor of Philosophy (2016 to 2022) The University of Plymouth - Plymouth, England/United Kingdom
Master of Fine Arts, Creative Practice (2014 to 2016) The University of Plymouth - Plymouth, England/United Kingdom
Bachelor of Fine Arts, Studio Art (Painting), magna cum laude (1988 to 1991) Kent State University - Kent, Ohio/USA
ADDITIONAL TECHNICAL AND ACADEMIC STUDIES
Ceramic Tile and Hand-building (2000 - 2001) Mudflat Studios & School - Somerville, Massachusetts/USA
MA Studies in Art History, Philosophy, and Pedagogy (1994 to 1997) University of Karlsruhe - Karlsruhe/Germany
Art and Media Theory [Guest Student, Masters Program] (1994 to 1995) Karlsruhe University of Arts and Design - Karlsruhe/Germany
German Language Proficiency Exam (PnDS) (1993 to 1994) Studien Kollegium, University of Karlsruhe - Karlsruhe/Germany
Advanced Intaglio Printmaking (Spring Semester 1993, audit) Columbus College of Art and Design - Columbus, Ohio/USA
Certificate of Vocational Education, Studio Art (1986 to 1988) Fort Hayes Career Center, Columbus Public Schools - Columbus, Ohio/USA
Figure Drawing (Fall Semester 1986, audit) Columbus College of Art and Design - Columbus, Ohio/USA
Woodblock and Intaglio Printmaking (1985 and 1986) College of Wooster - Wooster, Ohio/USA
Enameling and Jewelry Metalsmithing Classes (1985 to 1987) Cultural Arts Center - Columbus, Ohio/USA
BRIEF STATEMENT AND SKILL SUMMARY
As an artist, educator, and researcher, my primary strengths include an interdisciplinary painting practice that explores multi-layeredness and mutability, providing practical and critical consultations, as well as studio support, to students, professionals, and non-professional visual and performing artists. Additionally, I curate and install exhibitions across diverse media and venues. My excellent analytical, communication, and organizational skills enable me to work effectively both independently and collaboratively. As a translator, writer, and editor, I specialize in the visual arts, architecture, literature, the humanities, education, and personal correspondence. My experience spans academic, studio, non-profit, and corporate settings. These experiences demonstrate my adaptability in art, teaching, research, and collaboration, enabling me to quickly acquire new knowledge, particularly about unfamiliar artists and practices. I am fluent in English and German, and have beginning to intermediate skills in Spanish, Italian, and French. I am authorized to work in the United States for any employer.
PROFESSIONAL REFERENCES —upon request