Artist Statement
Human beings are composed of many layers created by life experiences. Our “human layers” can be likened to the layers of surface built up on the walls in an old home. Some layers covered and hidden, some revealed through wear, age, and time. I strive to show these “human layers” through my glazing palette. The use of heavy, cracking slip conveying a guarded layer covering an area that was once beautiful or adorned. The two contrasting elements juxtaposed allow the viewer to question whether the piece is being covered or revealed; if layers are being accumulated or shed.
In 2014, I began creating the Layers series, a project born from the profound loss of my sister, Denise, who died unexpectedly at the age of 38. Her death shattered me in a way that was unimaginable. I could understand the death of a grandparent, as I had experienced that loss before. While it was painful, I could accept it as part of life. But Denise’s death—someone so young, so full of life, so eager to live—was beyond my comprehension. I couldn’t make sense of it. I couldn’t accept it.
I naively believed that death was something that happened only to the elderly, that it was something that happened to other people, never to someone I loved, never to someone as young as me. Her passing left me a hollow shell of who I once was. I became disconnected from everything and everyone around me. I couldn’t find joy in anything, and over time, I withdrew further and further into myself.
Days turned to weeks, weeks to months, and months to years—and still, I remained stuck in that place of anger and disconnection. It felt as though with each passing year, I accumulated another layer of grief, further separating me from those around me. I was angry—angry that she was taken from me, angry that others didn’t have to endure this pain, angry at those who still had their siblings.
These layers I built up around myself were protective, a way to shield my heart from the overwhelming sorrow. They kept me from truly connecting with others, but they also kept me from fully experiencing life. Everything I saw was through a negative lens. Even when I found a moment of joy, it was fleeting, tainted by the reminder that Denise would never experience joy again.
In my work, the adorned, floral layers are a reflection of this duality. They represent Denise—once vibrant and full of life—or they represent me, as I slowly shed the layers I’ve accumulated over the years in an attempt to reconnect with myself and the world around me.
Teaching Philosophy
“…Vision is always ahead of execution, knowledge of materials is your contact with reality, and uncertainty is a virtue.”
-Art and Fear, David Bayles and Ted Orland
It is my philosophy that a solid technical education in all aspects of art should be acquired by each student; including drawing, 2-D Design and 3-D Design. I believe strongly in a thorough and comprehensive Foundations program for all art students. I challenge students to give attention to the content and reason behind their artwork. In this student-centered approach, I encourage students to develop conceptual ideas behind their work in order for them to create a dialogue with the viewer about their works content and expand the student’s perspective of art. Furthermore, I cultivate technical skills as a means for articulating ideas, which enable students to expand their creativity, developing the student’s professional practice as an artist and an active learner. Challenging the students’ grasp of technical processes will in turn open their mind to alternative ways of building and creating outside of the expected norm.
Additionally, educating the student on the history of art is also essential in a student’s understanding of their own work. Providing students with a formal education allows one to create conceptual work with an understanding of its meaning, thus stimulating critical thinking that empowers active discourse by the maker and/or viewer. I use this philosophy in the educational institutions I have been employed, understanding that with each person, they bring a different perspective and life experience into the classroom. I acknowledge and embrace the diversity; whether economic, racial, gender, age, sexual orientation, or religious based.
My awareness to the different perspectives in the classroom motivates me to be diverse in my instruction while I embrace new means of technology. I provide written assignments, in-class demonstrations, provide course work and communication through LMS, Power Point presentations, and my own series of instructional YouTube videos. I am sensitive to different learning styles and support my students through the process of completion.
Diversity, Equity and Inclusion Statement
It is our job as educators to continuously evolve, being flexible to adjusting our methods and pedagogy. Our position requires us to maintain insight and objectivity in assessing our teaching practices and evaluate if they are equitable, inclusive and attainable to a diverse student body. I take responsibility in setting the tone in the classroom, creating a space that is welcoming and safe. In the last five years, a major shift towards diversity, equity, inclusion has become the focus in all levels of academia. This shift has made me aware of my own inherent biases, as well as shortcomings within my curriculum. I applaud and embrace these changes, for they have required me to become a better educator, one who has empathy, understanding, sensitivity, approachability and a broader cultural awareness. I implement and will continue to employ practices within my classroom such as: highlighting artists from underrepresented groups, addressing of preferred pronouns the classroom, and creating a space where students feel welcome and accepted. Through conscious awareness of our own behavior and the willingness to change, all areas of academia can be deemed as safe spaces.
