Teaching Statement Robin c. TEas
Like many craft materials clay is honest. Completely without judgment it responds to pinches and pushes, recording the actions that form it. One must develop keen observation skills and patience to discern the cause and effect “conversation” or process that shapes the clay.
In the ceramics classroom, I nurture authentic creative experiences with clay. This multifaceted challenge is answered in part by the atmosphere or culture that pervades the studio. I cultivate an atmosphere of rigor and high expectations yet one that it is supportive, encouraging and kind. It is very important for the studio to be an emotionally safe environment. It is critical for students to feel secure to experiment with the knowledge that they will lose pieces in the process of learning and that this does not represent a failure but rather that they are discovering the limitations of the material combined with their current level of skill. The clay studio must have a sense of vitality and expectation to continually improve. The continuation of growth and refinement of ones abilities in a discipline brings joy and satisfaction to a pursuit. The studio culture must include a sense of rigor be one of pushing against the limits at the edge of one’s knowledge and ability, of not playing it safe.
I teach to cultivate a student’s voice. This complex process often includes building up the students’ level of confidence, giving them permission to turn off their inner editor, to make “mistakes”. I challenge their work habits, help them to be accountable and responsible for their use of time. At times I address their attitudes and myths, if unproductive. My approach is individualized and modified and is positive.
A third facet is to inspire. I teach by demonstration and by narrative. I always demonstrate every project and technique I ask of the students. I show various techniques and methods as a starting point, emphasizing that it is the end result that proves the technique. Not that there is a right and wrong technique, only ones that are more or less effective. It is their job to find the techniques that are effective for them. In addition to my own methods and work, when introducing a new assignment or object I show both historic and contemporary examples of work.
To achieve student success, every studio project includes three components. Each begins with a skill building/technical process, then moves into an idea development stage (how they might use the technique or concept) and finally, the execution of their new skills/concept into an object. In-progress critiques help to maximize student concept development and critical thinking skills. The final critique gives us an opportunity to pause, measure development and reflect on lessons learned.
Most of my assignments have the option of being interpreted as utilitarian or conceptual. Ceramics clearly has a long association with use and we address the challenges of making functional pottery and aspects of “the specificity of use”. However, contemporary ceramics is an expanded field, so each assignment can be developed in a conceptual direction.
My student evaluations on the whole, have been positive. Most often my students get far more out of the classes than they anticipate and report enjoying the challenges presented.
Rcts
In the ceramics classroom, I nurture authentic creative experiences with clay. This multifaceted challenge is answered in part by the atmosphere or culture that pervades the studio. I cultivate an atmosphere of rigor and high expectations yet one that it is supportive, encouraging and kind. It is very important for the studio to be an emotionally safe environment. It is critical for students to feel secure to experiment with the knowledge that they will lose pieces in the process of learning and that this does not represent a failure but rather that they are discovering the limitations of the material combined with their current level of skill. The clay studio must have a sense of vitality and expectation to continually improve. The continuation of growth and refinement of ones abilities in a discipline brings joy and satisfaction to a pursuit. The studio culture must include a sense of rigor be one of pushing against the limits at the edge of one’s knowledge and ability, of not playing it safe.
I teach to cultivate a student’s voice. This complex process often includes building up the students’ level of confidence, giving them permission to turn off their inner editor, to make “mistakes”. I challenge their work habits, help them to be accountable and responsible for their use of time. At times I address their attitudes and myths, if unproductive. My approach is individualized and modified and is positive.
A third facet is to inspire. I teach by demonstration and by narrative. I always demonstrate every project and technique I ask of the students. I show various techniques and methods as a starting point, emphasizing that it is the end result that proves the technique. Not that there is a right and wrong technique, only ones that are more or less effective. It is their job to find the techniques that are effective for them. In addition to my own methods and work, when introducing a new assignment or object I show both historic and contemporary examples of work.
To achieve student success, every studio project includes three components. Each begins with a skill building/technical process, then moves into an idea development stage (how they might use the technique or concept) and finally, the execution of their new skills/concept into an object. In-progress critiques help to maximize student concept development and critical thinking skills. The final critique gives us an opportunity to pause, measure development and reflect on lessons learned.
Most of my assignments have the option of being interpreted as utilitarian or conceptual. Ceramics clearly has a long association with use and we address the challenges of making functional pottery and aspects of “the specificity of use”. However, contemporary ceramics is an expanded field, so each assignment can be developed in a conceptual direction.
My student evaluations on the whole, have been positive. Most often my students get far more out of the classes than they anticipate and report enjoying the challenges presented.
Rcts