I am currently teaching at Willem de Kooning Academy in Rotterdam, NL.

Previously, I have taught at the School of the Art Institute of Chicago and Gerrit Rietveld Academy in Amsterdam. 

Image above: Research Studio-1. Group portraits were taken as a warm-up exercise at the start of each class

The foundation for my teaching is to develop the head, the heart, and the hands, or in other words, contentconcept, and form.

 

Teaching statement

Teaching studio art in the undergraduate program at the School of the Art Institute of Chicago has taught me that each student has a natural inclination to begin their creative process based on either feeling, thinking, or with material. It is my objective to teach students how thinking, emotion, and form are interrelated and necessary for making art. I give students a conceptual framework within each one of them develops a project based on his/her own ideas and interests. Through the open structure of the assignments students learn to work from their own fascinations, create parameters for their projects, and respond to the creative process. Integral to such assignments is giving ample time for one-on-one feedback and group critique. A sample assignment called The Ambiguous Truth is below. 

 

Course descriptions

Unpacking empathy  3000-level course
research station, WILLEM DE KOONING ACADEMY, ROTTERDAM

I have initiated and created this academy wide course for undergraduate art and design students. The course has successfully been implemented in the curriculum at Willem de Kooning Academy and I am currently teaching it during the 2016-2017 academic year.  

This course is an in-depth inquiry into the definition and application of empathy. Empathy isn’t something we have or don’t have, do or don’t do. It is, like all our emotional and cognitive abilities, contingent upon various situations and conditions. In this course, we will take a closer look at these specific conditions and unpack empathy in a myriad of ways. Combining literature from social sciences and humanities we aim to understand: Why do we feel empathy for one person and not for another person?

As artists and designers, the next question that comes to mind would be: How can art and design evoke a feeling of empathy and help us think about empathy and “the other”?

In addition to lectures and discussions, students work on a creative project that will set-up conditions for an empathetic encounter.  

 

CONTEXT AND CONCEPT  3000-LEVEL COURSE
FINE ART DEPARTMENT, WILLEM DE KOONING ACADEMY, ROTTERDAM

This course revolves around the conceptual development of students' individual projects. While looking at artistic strategies artist deploy in their work, we will also contemplate the relationships between viewer and object; artwork and context; concept and form; what a work is and what it does. Some questions that will be raised include: how does context influence the reading of a work? How does form give meaning? How do we interpret what we see? How does the work involve the viewer on a perceptual, emotional, intellectual, and communicative level? What questions, feelings, associations, and anecdotes does the work trigger? Group exercises are complemented with individual meetings and group critique. 

 

Artistic research  2000-LEVEL COURSE
Photography department, willem de kooning academy, Rotterdam

Students learn to conduct artistic research and to integrate the research process into their practice. Students explore new ways of making and seeing, while being prompted to look inside and discover the stories, fascinations and motivations that make them unique as a person and as an artist.  Centered around the central theme of the Strength of Rotterdam, students create projects in diverse neighborhoods of the city. The projects are a result of research into and a critical reflection on the histories, politics, personal stories, and architecture of the neighborhoods. 

 

Theory  2000-level course  2015-2017
PHOTOGRAPHY DEPARTMENT
WILLEM DE KOONING ACADEMY, ROTTERDAM

A critical analysis of Susan Sontag, the ethics of the image and the history of documentary photography until now. 

 

Artistic Research  2000-level course  2015-2016
Photography department
Gerrit rietveld academy, Amsterdam in collaboration with wageningen university

This course offers students the opportunity to respond to the theme of Genomics / DNA in which they are challenged to collaborate with students and researchers from Wageningen University. Students learn how to conduct artistic research and how to integrate research into their creative practice. The fruits of this collaboration will be shown in an exhibition on the campus of Wageningen Unviersity. 

Artists and scientists often look at the same problem or question, but from a different perspective. When art and science intersect, inspiring ideas arise. On 19 May, Louise Fresco of Wageningen UR opens a new exhibition, in collaboration with students of the Gerrit Rietveld Academie called ‘Genomics’. This exhibition shows the work of students of the Gerrit Rietveld Academie who have been inspired by the research of Wageningen UR concerning Genomics. 

 

Artistic research  2000-level course  2015-2016
Photography department
Willem de kooning academy, rotterdam

Focus on conceptual development and critical analysis of students' individual projects.
 

Research Studio-1  1000-level course 2014-2015
Contemporary practices department
school of the art institute of chicago

Research Studio-I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio-I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

 

 

sample assignment

The Ambiguous Truth
We often think that what we see recorded in video or photography as truth, as "evidence" of something. But is this really so? Do we believe what we see on the news, or in a documentary? Do we get the whole story, or just a fragment of it? What happened outside of the frame and why did the artist choose to show that perspective? Can a camera tell the truth? How is reality and our perception manipulated through technology and what does that imply?

When do we lie or just tell a partial truth? What do you tell about yourself and what do you leave out?

Brainstorm on the concept of truth. What concerns do you have with the "ambiguous truth" or "unstable truth"? Let your mind wander over the above questions and come-up with your own questions. Make associations. Draw inspiration from your life, your interests, your fascinations. This can be the books you read, artists you admire, political interests, the news, TV, cinema, internet, hobbies, your favorite subjects in high-school, stories from/by/about family or friends or random strangers. Write your thoughts down in your notebook; make a mind-map, a collage, drawings, or photos for your initial project idea.

Research three resources that remind you of the concept of truth from different disciplines (for example: 1 art, 1 science, and 1 from the media) for your project idea.You will create a project in the medium of your choice that best fits your concept.

 

Art & Environment  1000-level course  2014-2015
continuing studies department
SCHOOL OF THE ART INSTITUTE OF CHICAGO 

How can art shape and influence our understanding of the world? What is the role of artists in an age of environmental concern? Can art engage people in new ways as well as help to find solutions to contemporary ecological issues? This course explores artistic responses to environmental inquiries and issues through individual and/or collaborative projects that may take the form of installation, sculpture, video, sound, performance, or mixed media. Looking to artists and designers such as Mark Dion, Arturo Vittori, Mel Chin, Chris Jordan, and Jenny Kendler, focus is placed on our changing environment and the multiple ways artists can study, respond, and intervene. Field trips, readings, artist presentations, and group critiques supplement the studio experience. Artwork and/or performances that are temporary in nature or that cannot be easily transported will be properly documented through photography and/or video.

 

Moving Images  1000-level course  2014-2015
continuing studies department
SCHOOL OF THE ART INSTITUTE OF CHICAGO

This course serves as a foundation for students interested in video production, motion graphics, and animation. Students explore the language and history of moving images and how artists work with and challenge these processes. The course begins with several demos and exercises combined with research and discussion to develop a final project that reflects individual interests. Students may work with traditional processes such as sketching alongside digital applications such as Adobe After Effects and Adobe Premiere in combination with equipment such as hand-held cameras and digital drawing tablets. Trips to the Art Institute of Chicago, access to SAIC's video resources, and discussion of influential time-based artists such as Tony Oursler, Shirin Neshat, Alfred Hitchcock, and Jennifer Steinkamp support the studio experience. 

 

VIDEO: ARTIST AS STORYTELLER  1000-level course  2013-2014
CONTINUING STUDIES DEPARTMENT
SCHOOL OF THE ART INSTITUTE OF CHICAGO  

This course presents video as an art form through the lens of narrative structures. Emphasis is placed on using video to tell a story, looking to contemporary artists who use the medium in unique and innovative ways. Beginning with storyboards, students focus on communicating ideas to the audience through character development, sequential imagery, and other cinematic devices. Students are introduced to a variety of materials and resources, such as hand-held cameras, audio and lighting equipment, and video editing software (Adobe Premiere), while learning the vocabulary and technical skills required to use them. Students examine the formal and conceptual qualities of video and different forms of movie making as a means of artistic expression to create original narrative work. Developing technical skills and using their own distinctive innovations, students shoot, edit, perform in, and produce collaborative and/or individual short videos. This course is an ambitious program of ideas and encourages students to generate their own original content and direction. Trips to the Art Institute of Chicago and access to SAIC's Video Data Bank supplement studio coursework.

 

video-1  1000-level course  2013-2014
CONTINUING STUDIES DEPARTMENT
SCHOOL OF THE ART INSTITUTE OF CHICAGO

This course is for students interested in video production, film making, video installation, and experimental video. Discussion of contemporary art practices exposes students to the exciting works made in movies, video art, and everything in between. Creating projects based in their area of interest, students develop technical skills in story boarding, hand-held camera use, audio and lighting equipment, and video editing software (Adobe Premiere, After Effects). Exploring narrative and non-narrative structures, students shoot, perform in, edit, and produce collaborative and/or individual short videos. Students also have access to SAIC's Video Data Bank, which houses one of the country’s largest collections of the most innovative and important work produced in video.