Teaching Philosophy
I was fortunate to have been taught by exceptional educators during my undergraduate and graduate studies. These professors were recognized artists and mentors, who taught me that a supportive and challenging classroom environment leads to skilled and confident makers. This has influenced my pedagogy and I aim to instill in my students’ aspirations of good craft and confidence in their abilities to take on challenging problems. Providing a safe space where students are invited to share their ideas and take risks creates a stimulating educational environment where students can grow physically, mentally, and emotionally.
Unexpected results, especially in the realm of artistry will often lead to new discoveries and ideas. I have found that students avoid taking risks and pushing the boundaries of materials because they fear failure. I want students to be open to new modes of working and experience unintended outcomes in order to find alternative results. I deliberately design exercises that give students permission to fail. For example, in ceramic wheel throwing when handles are being introduced, I challenge the class to pull clay handles of varying extremes: longest, thinnest, and roundest. Most handles inevitably fall apart because they have hit a point of failure, but most importantly this process illustrates a different approach to working. As a class, we unpack these types of exercises by evaluating what was successful and what failed. We end up discussing the potential of the extremes and what can be learned from them, like what makes a structurally good handle vs a structurally bad one, or what makes a comfortable handle vs an uncomfortable one. Naturally tied up in those discussions are the deeper themes of accepting unexpected results as a pathway for new ideas and welcoming the rewards of failure. Students learning to embrace failure will empower them to face problems without reservation and craft solutions with confidence.
Craftsmanship plays a role in the high quality of artwork I create and is a principle I prioritize when constructing my ceramic and sculpture classes. The mindset of a craftsperson is to appreciate notable skill and quality results with any task. I develop students’ value for craftsmanship by focusing on refining their use of tools, material, and processes. In class, I build their skill with repetition of process, which also allows them to familiarize themselves with the tools and materials and demonstrate that with persistence anyone can learn specific techniques. Reflective writing assignments and discussions around the topic of craftsmanship help reinforce the concept. Craftsmanship is an important concept for students to master because the desire for quality work can be applied to any field of study.
In my teaching practice I find it crucial to be adaptable and supportive. My role as an educator is to inspire and guide students on a path of self-discovery. Students’ needs are never the same and in order to accommodate different learning styles and abilities I remain flexible with the class structure, and create assignments that build confidence in each student’s abilities. Structuring the course to be focused on outcomes rather than due dates relieves the pressure of rigid schedules and deadlines. This gives me the means to tailor assignments to meet students’ needs, like varying skill levels or styles of learning. Designing assignments that promote student success no matter what their ability gives them the tools to thrive and build confidence in themselves. These strengths of my teaching practice are important because they are empathetic to the students’ experience and help build their confidence. This is apparent in their improved willingness to contribute to class discussions and the pride they show for the work they complete at the end of the semester.
When creating courses and new syllabi, I keep in mind accessibility for students outside of the studio art program; showing students methods to use appropriate materials and think creatively in their own fields of study. With this approach, I have developed a course at Sweet Briar College, called “The Brick; Ceramic Art and Science. This course has a historical component of studying brick making and the historic academic brick structures on campus. Also, engineering and design components are present when the class sources local clay to make bricks, and constructs a pizza oven. I aim to create courses interweaving different disciplines to create dynamic and interdisciplinary approaches to the studio art subject matter.
I am driven to build a curriculum that prepares students to think creatively and approach tasks confidently with a desire for craftsmanship, but also question the boundaries of material and process. Building students confidence in risk taking, craftsmanship, and creativity through physical making prepares them for a future as artists, or in other fields of work. By providing a safe place to learn, passing on my knowledge, and challenging my students, I hope to create an environment that fosters growth as well as independent, and critical thought.