Through my experience in teaching, I have gained some perspective about how students learn a wide variety of ways and paces. As they grow, so do I (though I have much to improve, I am loving the journey!). I love working with young artists and designers - there is an unmistakeable freshness in their canvas, the potential that has yet to be discovered.
I am reminded of my youth, and the years I spent training as a long-distance runner, swimmer, and cross-country skier. I was very fortunate to have coaches who drove me, supported me, and pushed me to achieve at my highest level (shout out to Mr. Shipman and Ms. Sangster!). Now, as an instructor, I am able to employ some of the same strategies with my students, to support, to encourage, to help them grow to fulfill their greatest potential. I like to think of myself as not just a teacher, and as also a coach.
The practice of artists and athletes is synonymous. To become a successful artist or designer, o...
I can't help reflect about the new generation of artists and designers making their way into society. I was privileged growing up being exposed to historic art influence (though at the time, as a child, one might have argued the "privilege" of being taken to stuffy museums instead of wheeling over to a place with rollercoasters). That exposure to the world of art consistently at a young age etched the importance of historic influence into my mind, and simultaneously into my work as years progressed.
I have seemingly been met lately with a somber reality - many new artists and designers have little to no interest in historic art and design. Is there an overwhelming sense of narcisisism sweeping across young creators in their apathy for anyone's work beyond their own? As a professor, this offers a challenge for me to work even more diligently to create an understanding and respect for historic influence and how it affects a creator's work.