Teaching Philosophy

I see teaching as a vehicle to directly share my passion for the arts with the next generation and to ignite, in small and large ways, this same passion in them. I see my role as a teacher to identify and further cultivate the innate interests of my students. Through this I’m able to insightfully foster my students into future peers capable of arriving at their own conclusions and taking independent actions. Thus I’m always striving to make my students participants in their own learning process.

Adaptive Teaching

My classroom teaching methods are based on a dynamic and flexible approach that adapts to both the subject matter and the individual needs of my students. Relatedly, within a single class session, I often switch teaching modalities—such as combining direct instruction, interactive discussions, or Socratic questioning—to improve engagement, reinforce key concepts, and increase retention of learning goals. Hands-on demonstrations and studio-based practice are central to my pedagogy. Material exploration is also emphasized, giving students the freedom to experiment with various media and processes to build confidence and refine personal expression. For example, in a class using traditional painting media, this would include exercises to specifically develop knowledge and facility with brushes and a deliberate investigation of the material realities of paint. This extends to concepts and ideas as well where I emphasize engagement with primary sources from artists and theorists.

Evolving Approaches

In addition to technical skills, I strongly prioritize critical thinking and conceptual development. Discourse about the arts and developing an awareness of current and historic dialogues are central to my view of art making. Thus, structured critiques, self-assessments, and contextual discussions are crucial to this area of my pedagogy. For example, when teaching Art 101 courses, I notice students often struggle with specialist vocabulary. To build this proficiency, I employ focused presentations, short reading assignments, and informal vocabulary reviews. Once students gain greater confidence with the language, I can gradually decrease these drills and allow students to make connections on their own. Ultimately, I view arts education as a relational practice where no modality is discarded; there’s a place for the “sage on the stage” as much as student-centered learning. Ultimately, vital student-teacher engagement is not only essential for academic success but also the basis for further development. This is especially important in arts education as these relationships constitute the roots of a student's creative sphere and future professional world.

Student-Centric

I create an inclusive and supportive learning environment by encouraging a classroom culture that values respect and individual expression. Establishing ground rules for open dialogue and constructive critique ensures that all students feel secure to share their perspectives but can also take risks. I balance process and product, encouraging students to see mistakes as opportunities for growth and to experiment with different approaches. My assignments are often open-ended, allowing for diverse interpretations and creative problem-solving, and I integrate interdisciplinary connections to help students draw from their own backgrounds and interests. I see my role as a teacher not only as a leader but also as a facilitator who encourages each student’s process of self-discovery. Ultimately, student-centered education is about building real, lasting relationships, ensuring that every student becomes an active participant in their own creative and intellectual journey.

Growth from feedback

My approach to assessment and feedback prioritizes both artistic growth and student agency, using a combination of formative and summative evaluations to guide course work. Assessment is most successful when it is ongoing; I deliver feedback through informal critiques, in-progress check-ins, and sketchbook reviews, ensuring that students refine and revise their work before reaching a final evaluation. Structured group and individual critiques encourage peer collaboration and personalized guidance. I also utilize self-reflection assignments to help students assess their own progress critically. Whenever appropriate, I ask students to present or publicly discuss their work outside of formal critiques, as this not only illuminates their thinking process but also builds confidence in articulating their creative decisions. Where it is possible, I use clear, criteria-based rubrics and narrative feedback to support student understanding of feedback and assessments. Ultimately, my intention with assessment is to cultivate students as independent thinkers who actively participate in their own learning process, who anticipate feedback, and make their own decisions about revising.

Key Takeaways

Teaching is important to me because I see it as an extension of my own practice as an artist. For me, art is not just the object but is also its function in culture and the possibilities of its reception. It is these conditions that allow the art to be understood and its relevance framed. Teaching allows me to share to the next generation what I believe is important about contemporary and historic art, its methods of production, and the role of the artist. When I can ignite these deep interests in my students, I feel I am most successful as a teacher.