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Clay is moulded to make a vessel, but the
utility of the vessel lies in the space where there is nothing.
Thus, taking advantage of what is, we recognize the utility of
what is not.
-Lao Tzu
Design as if everyone in the world
felt intuitively, not just intellectually, that they are
the universe and any damage done to the universe is damage
done to themselves.
-Albert Einstein
Give me a lever long enough and
a place to stand, and I can move the world.
-Archimedes
There are painters who transform
the sun into a yellow spot, but there are others who, thanks
to their art and intelligence, transform a yellow spot into
the sun.
-Pablo Picasso
Jason Franz
Statement of Teaching Philosophy
As
a teacher of primarily younger college aged students I have
developed my philosophy within the context of their culture.
It has occurred on several occasions, however, that I found
myself teaching students equally distant in age from me,
on both sides. When this occurs it requires a slight and
often refreshing adjustment in my approach; my teaching goals
nevertheless remain constant. A teacher should know, as well
as possible, whom it is he or she is teaching. Whether teaching
skill-based basic drawing, information-based color theory,
or more conceptual advanced studio courses, it is important
to instill a strong sense of quality, direction, self-confidence,
creative process and motivation in each and every student.
This should be done with, at the very least, clarity, patience
and honesty on the part of the teacher. The landscape of
any given class is defined by the parameters set forth by
both the very strongest and weakest students. A teacher must
address this continuum in order to satisfy his or her responsibilities
to the class as a whole. Students should absorb, through
a rigorous and invigorating experience, a modus operandi
that will serve them in future classes, other subjects, and
post-academic life. They should, further, be encouraged to
appreciate process as an integral part of achieving a product
but not be left floundering in process alone. I have always
understood that process and product are inseparable. Either
would cease to exist without the other. I try to guide students
to a point of being able to confidently position themselves
relative to both process and product by establishing a means
for the development of motivation. In this way, I strive
to instill in them a sense of integrity and responsibility
in their work and personal manner that prefixes their professional
career. This is evidenced by high standards of quality, both
in concept, craft and presentation in a student’s work,
as well as by the way they speak or write about it.
I have been most satisfied and successful
in classes which were not excessively enrolled, allowing
me to take a holistic approach to creating a learning experience
based on the mini-culture brought to the studio in each and
every new group of students. It is essential that core lessons
be consistent from year to year in the same course, but the
methods should be organic enough to mold to the unique contours
of every student group. I consistently find that leading
a group of students through a course is much like creating
a work of art in my studio. In both I take clues from the
media, the environment, the work of art itself, and my own
moods in order to weave my way through a process to a successful
and discovery-inspiring conclusion where everyone, including
myself, has learned valuable lessons. Throughout this process
I have a general goal in mind, but am open nonetheless to
the numberless possibilities for getting there. Students
have been both surprised by this technique and very appreciative,
because not only do I deliver the message and establish and
hold them to high standards, but I also put forth the effort
to customize the course to them. They feel involved and addressed
on a very personal and deep level, as they should. It is
as if I am looking every one of them in the eye while talking
to them as a class.
On a more practical level, imparting
a strong work ethic, both technically and conceptually, is
a high priority for me. I find that students who really care
about what they are doing tend to work harder in and out
of class, and therefore succeed where others tend not to.
So I strive to inspire those who have yet to really care,
to open their hearts to the possibilities ripe within their
efforts. A teacher should put the students’ work into
the context of life and future career as well as provide
a philosophical framework. In figure drawing classes I have
the students fill the walls with gestures and quick drawings
floor to ceiling. This creates an environment where they
are surrounded by each other’s efforts. It actually
puts them inside the art in a sense. So, whenever
they are not looking at their own drawing, or the model,
they are being stimulated by another example of what they’re
trying to do. It never fails that many students comment on
the memorable experience of seeing the walls covered by their
day’s effort. They gain an appreciation for their own
work and the work of their peers, and learn to expect it
of themselves in the future. This helps to create an identity
for an individual class and inspires exponential growth only
possible in a healthy and supportive group environment.
There are times when I rely on very
regular critiques (in some cases weekly, class-long critiques)
for setting a pace and momentum for a course. Such critiques
must be more than just bearable for students. They must be
enlightening and engaging. It is important, too, that they
are supported by student contributions. Most of my critiques
are filled with student discussion where I supply summaries,
emphasis to important points, and suggest issues missed and
other directions for consideration. Likewise in other courses,
I will set a tempo of work that continues for weeks on end
with only brief critiques held semiweekly. Ramping up the
students’ momentum and keeping them on track with individual
or impromptu small group discussions leads them unexpectedly
into a mode of productivity that surprises them when they
come back down out of a work session. Providing inspiring
and thorough demonstrations, most often by working alongside
students in class when appropriate, helps greatly to illustrate
the reality of concepts addressed in discussion and is one
of the very best ways to teach.
When all is said and done in a quarter’s
course, I expect to see two things different in students.
The first is a furthering of their ability to use already
familiar media or new media. The second is a greater understanding
of just what it is they are doing with their art: how it
fits into their lives and the world, and why they want to
continue on in the direction they have chosen. With this
deeper self-knowledge, if they have achieved it, they will
be able to talk or write about what they are inspired to
do next based on what they have just done. Of course, in
some courses, especially in foundational topics such as basic
drawing, there are objective and standardized goals for student
learning outcome, such as understanding and executing accurate
freehand perspective drawing, color theory, the elements
of design and design vocabulary, just to name a few. I consistently
rely on the end product to speak for much of a student’s
learning. After all, their portfolio is the artifact of a
process that represents everything leading up to it, justifying
the effort, time, and materials spent. A student should leave
a course with a clear understanding of what happened. Individual
meetings between student and teacher to review the quarter’s
work helps both to summarize and finalize the learning process.
Having worked hard is not enough to earn the student an excellent
grade. Evaluation must be done within the context of the
student’s abilities and experience, but also within
general standards of achievement for the particular skill
or area of emphasis being evaluated and degree being sought.
I teach because it feels natural to
me. Throughout my life I have found myself helping, informing,
advising, or in some way extending myself to others by way
of teaching, of sharing information and inspiration. A teacher
should do what they do for reasons greater than just because
they have the ability. One should have a generous and gentle
spirit that resonates positively with their pupils. Ideally
teaching should be their calling. One should also feel as
if there is something at stake in the world, that there is
something to be done by contributing their efforts into history
and society. I so very often feel as if I am just another
one of my own students. I am sometimes shocked to reflect
on our age differences because even while I am teaching them,
I feel as though I am teaching myself. I feel empathy for
the young, naïve and vulnerable people I meet in my
classrooms. I rely on that commonality to be a balancing
agent in my relationship with them, even while I am again
shocked to find myself becoming their mentor. Students are
the shapers of the future. They are engaged in change and
experiencing the quickening of potential. Where else better
than within them to inspire change in the world for the better?
Through leading by example, giving them something small but
powerful to carry with them beyond us, yet connected in important
ways back into deep history, life today can be enhanced.
Art teaches people to be perceptive, to see everything more
clearly and in new ways. For this reason, like writing, it
is a most suitable vehicle for philosophy, for growing a
point of view, and wisdom to take into the world. A teacher
of Art is one who has a hand in both the mind and the heart
of his or her student. This is a great responsibility, an
honorable place to be and something not to be taken lightly.
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