Statement of Teaching Philosophy
Creating an object from clay can be a mesmerizing notion. Students from all disciplines seem drawn to the ceramic arts, realizing an almost basic urge to form and manipulate raw clay with their own hands. While specific technical concerns must be addressed, the way in which a student learns to navigate the process is very subjective. As an instructor, a primary goal is to identify the individual needs of the student. This supersedes course-level and experience. Difficulties and challenges manifest in multiple ways as students evolve from beginner to advanced. Through in-class observation, I am able to identify specific challenges that students encounter and, through one-on-one interaction and demonstration, am able to provide assistance tailored to the individual and equip them with problem solving methods unique to their circumstances.
In order to create a clay object, a student must first gain a basic understanding of the skills and techniques needed to form material into a desired shape. Most students enter my classes with no previous experience with clay. In an introductory ceramics course, the primary objective is to have students build and strengthen their understanding of clay as an expressive media. As they progress into upper-level courses, sensitivity to material remains a primary focus while also adding more advanced techniques and formative methods to their repertoire. At all levels, students work to obtain necessary skills through hands-on assignments that are centered on ideas of practice and repetition. I demonstrate specific formative techniques when introducing new concepts and assignments, repeating as many times as needed. In addition to an introductory or preliminary demonstration, I make myself available for individual instruction as they advance through each assignment.
Perhaps just as important as crafting the object is a firm understanding of each facet of ceramics production. A student that is invested in the entire process will have a greater appreciation and deeper personal connection to their work. I have encountered many ceramic artists who are limited by their inability to control, or misunderstanding of, various aspects of their chosen media. By having students learn each aspect of the process, they are able to reach more of their creative potential. As early as the beginner-level, students learn basic clay composition through lecture and, as small groups, basic clay and glaze mixing and formulation. As they reach higher course levels, their involvement and responsibility grow. In an apprentice-like approach, students assist in the loading, firing, and logistics of various types of kilns and firing processes. Ultimately, they will be able to navigate the process from raw material to fired object, finding independence through an ownership and true understanding of the work they create.
Equal to the evolution of skill and technique, aesthetic development is an integral part of their instruction. Whether it is form, decoration, or both, a student should be able to implement their skills in creative, articulate ways. Through demonstration, lecture, readings, and research assignments, students are given historical context and introduced to design concepts intended to broaden their scope of influence and begin defining their personal aesthetic. One of the best ways to find inspiration and influence is exposure to other artists' actual work. From an early point, I ask students to seek out opportunities to view works in person. Ceramics is a three-dimensional, tactile media. The most effective way to view the subtleties of a sculptural form or to truly test the utility of a functional object is through personal investigation. Not only do I encourage students to seek out exhibitions and galleries, I assign written artifacts that require it. They must seek out accessible exhibitions or galleries and, using course-specific terminology, offer critiques of selected works. By ensuring exposure to multiple influences, both academically and personally, their work will be more informed and receptive to stylistic development.
Via group critique and coursework evaluation, I give candid feedback and maintain an ongoing dialogue with students about their work and developing aesthetic. Whether I am personally reviewing a student’s work or engaged in a group critique, my approach is honest and encouraging, rather than disparaging. There is much more insight to be gained from constructive criticism than attacks on concept or formative techniques. As artists, the students are learning to visually communicate and group critique is one of the best ways to reinforce both their verbal and visual communication skills and vocabulary. I approach critique as a way to measure how well a work’s perception reflects its intention. For the sculptural form, critique is an opportunity for students to evaluate whether their intended concept was presented and communicated effectively. For the functional object, it is a time for multiple users to evaluate design and use. Critique is a resource that encourages critical thought. And, through a combined evaluation between myself and students, can help them make substantive decisions about their work.
In recognition of the subjective nature of critique, I have developed rubrics which allow me to evaluate student work in a more quantitative way. By assessing what is evident in a student’s work, such as technical skill, composition, and craftsmanship, I am able to provide them with a clear knowledge of their standing in a course. As a compliment to group critique, a rubric allows me to provide students with a record of individual strengths and weaknesses in a specific assignment.
I am passionate about my craft and enjoy displaying my passion through instruction. For me, the teacher-student relationship is reciprocal. I am inspired and informed by my students' creativity, ingenuity, and passion. I believe I serve not only as an instructor and advisor, but as a mentor, too. It is important for students to see me research, create, and exhibit my own work outside of the classroom. I approach my work with a strong work ethic and dedication to my craft and demonstrate each of these qualities to my students. My excitement for teaching is continually renewed by the work I create. As I investigate new inspiration and technique, I discover new methods of working and develop new approaches to instruction. By demonstrating the qualities I highly value and using my own work to inform my teaching, I help lead my students to becoming mature, articulate artists.