Teaching Portfolio


2010 MFA Printmaking, Rhode Island School of Design  

2010 Harriet W. Sheridan Center for Teaching and Learning, Brown University 

                A year-long program focused on collegiate pedagogy and curriculum development 

2007 BFA Printmaking, University of Southern Maine 

2001-2003 English, Adelphi University 

Teaching Experience 

2010 Teaching Assistant Rhode Island School of Design 

                Copper Plate Photogravure, Spring 2010 

                Paul Taylor, Instructor 

Acted as studio technician for class, also assisted in class critiques and evaluations.  Also maintained inventory of supplies and provided additional assitance to students as needed. 

2010 Instructor of Record Rhode Island School of Design 

                Intro to Screenprint: a Textual Experience 

               Wintersession, 2010 

Began class with basic analogue screenprint practices and moved students into 4 color process separations within 3 weeks.  Encouraged collaboration and the class compiled an exchange portfolio. 

2009 Teaching Assistant Rhode Island School of Design 

                Intaglio I, Fall 2009 

               Heddi Siebel, Instructor 

      Held supplemental sessions in studio for students between classes, instructed course on pronto plate and gum transfer methods and assisted in evaluations, critiques and demos.  

2009 Teaching Assistant Rhode Island School of Design 

               Single Editions, Spring 2009 

               Henry Ferreira, Instructor 

Assisted in critiques and evaluations. 

2008 Teaching Assistant Rhode Island School of Design 

               Painterly Prints, Fall 2008 

               Donna Bruton, Instructor 

Acted as studio technician for class, also assisted in class critiques and evaluations.  Researched contemporary mono-print artists for discussion and inspiration for class.   



Awards & Honors 

2008-2010 Graduate Fellowship, Rhode Island School of Design 

2007 Kate Mahoney Memorial Scholarship, Peregrine Press, Portland Maine 

2007 Best in Discipline Honors, University of Southern Maine 



Exhibition Record 

2010 DAV Centre for Cultural and Creative Development, Inaugural Exhibition, New York, NY 

2010 RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI 

2010 Free For All 2, Space Gallery, Portland, ME 

2009 New Works from the Collection, University of New England Gallery, Westbrook, ME 

2009 Geo Capital Annual Gala, Providence, RI 

2008 RISD Print Biennial, RISD, Providence, RI 

2008 First Impressions: The Peregrine Press Portfolio, Saco Museum, Saco, Maine 

2008 New Work by Peregrine Artists, Saco Museum, Saco, Maine 

2007 Art on Decks, Congress Square, Portland, Maine 

2007 WAX, Whitney Art Works, Portland, Maine 

2007 BFA Exhibition, University of Southern Maine, Gorham 

2007 Out To Dry, University of Southern Maine, Gorham 

2007 Print Collective, Three Fish Gallery, Portland, Maine 

2007 DIY, Glickman Library, University of Southern Maine, Portland 

2007 Juried student show, University of Southern Maine, Gorham* 

                Best in Show 

                Jurors:   Deborah Whitney, Gallerist, Whitney Art Works, Portland, ME 

                                Christopher Gray, Art Critic, Portland Phoenix 

                                Carolyne Eyler, Director of Exhibitions and Programs, University of Southern Maine 

2006 With(out) Borders, University of Southern Maine, Gorham 

2006 Juried student show, University of Southern Maine, Gorham** 

                President’s Purchase Award 

                Dean of the College of Arts and Sciences Purchase Award 

2005 Student Portfolio Show, University of Southern Maine, Gorham 

2004 Extra Art, Moose County, Portland, Maine  

*award(s) given for juried show 


Permanent Public Collections 

Portland Museum of Art 

New York Public Library 

University of Southern Maine 

University of New England 

Colby College Museum of Art 

Bowdoin College Museum of Art 

Rhode Island School of Design 


Permanent Private Collections 

Geo Capital, Providence, RI 



Gotthelf, Liz, “Peregrine Artists Take Center Stage” 

Journal Tribune, Biddeford, ME. October 9, 2008 

First Impressions Count” 

Downeast Magazine, October 2008 

Keyes, Bob, “Shows at Saco Museum, Ogunquit Museum of American Art Also Worthy of Note” 

Maine Sunday Telegram, Portland, ME. October 19, 2008 

“Pretty in Print” 

Down east Magazine, November 2008 

Isaacson, Phillip “In Saco, A Powerful Case for the Art of Printmaking” 

Maine Sunday Telegram, Portland, ME. November 16, 2008 



2009-2011 College Art Association 

2009-2010 Alliance of Artist Communities 

2007, 2011 Southern Graphics Council 

2007-2008 Peregrine Press, Portland, ME 


Artist Statement 

In my work, I represent handwriting as an expression of form as well as a record of communication.  I attempt to uncover that point when the words we think and the symbols we write detach from us and become our avatars.  Through my work, I enable others to think more consciously about the role handwriting plays as we identify ourselves in the words that we write and in the images we make. 

                I make prints, paintings and videos that deal with handwriting in several contexts: the pedantic, the iconic and the nostalgic.  In monochromatic paintings centered on the Declaration of Independence, I focus mostly on that which is lost through the very human course of preservation.  I often use wax in concert with printed imagery to convey a sense of nostalgia and loss through reproduction.  Hand written aspects of the work, whether etched, painted or carved into wax physically relate the work to an author, often aside from me as the artist.  My time based work focuses on the constant moment of transition between thought and form as we write our thoughts on paper. 


Teaching Philosophy 

                As a student, it is important to come to the table prepared to be disturbed.  I’ve learned this lesson through a number of classes that I never wanted to take, but came out all the wiser for them.  It seems that the more you expect, the less you learn.  I find that through class discussions paired with readings and a project which applies the concepts and theories discussed, I internalize information most effectively.  I as a student will have to turn a method or theory on its head before I understand it in any form that is helpful to my process.  There are few teachers who have helped me do this in my life and I aim to provide this experience in each of my classes.  When information is so thoroughly digested by a student, he begins to speak in his own terms those ideas which were not only unknown to him, but entirely unimagined until recently.  

As a process, teaching becomes a dialogue (even a collaboration) around which the learning experience centers.  By collaborating as I teach, I allow myself to share in this experience at a more honest and engaging level with my students.  Since I do present a series of facts and established methods, it is my duty to ensure a full comprehension of the concepts.  As a colleague, it is my duty to confront that which makes me uncomfortable with an eye towards sharing a mastery of an age-old skill.  New methods, theories and practices are always presenting themselves and it is a major part of my open-teaching philosophy that I remain abreast of the avant-garde while teaching the entire scope of my discipline. 

While teaching pronto-plate lithography to a group of students, I made it a point to provide the bare essentials to them and to prepare the demo as if I was just arriving to the studio.  After going over a series of first hand examples of artists who practiced the method as well as my own work using pronto plates, I made my way through the studio, collecting bowls, water, gum arabic, ink – all of the things necessary for the project.  I tore the paper and began soaking it as they watched.  Step by step, I engaged the class as if I were working alone, but thinking out loud.  My students were free to ask questions as I worked, and a few did.  After the demonstration, a lot of unexpected things began to happen as people dove into the work.  Working out the problems with each student, I made sure to get the attention of the class.  I enjoyed troubleshooting with individual students as a means of teaching the entire class.  Because of these collaborative efforts, the class as a whole went by with great success and students began to show more and more excitement as the subtleties of the process made themselves known through practice and discovery. 


T extual Prints: a Theoretical Introduction to Silkscreen                                                      

Wintersession 2010                   


3.00 Credits                                                                                         

“So, a word is worth a thousand pictures?” 

                                                                                                               -Bruce Wood (1973-2007) 



Text induces pause in the viewer, it shifts the response of the viewer to include the definition and cultural experience of the word.  We will discuss artists like Ed Ruscha, Robert Indiana, Jenny Holzer and Enrique Chagoya (among others) in terms of how they use words and hand written text as imagery rather than as a symbol for their given subjects. How does the scale of the text within a piece determine its importance or is it more reliant on its color within the piece?  Since words often change with their cultural context, how does the work change in different settings?  As a class, we will begin with a review and discussion of historical uses of text in art, and then move to the studio where you will learn various water-based silkscreen methods.  This class will focus on silkscreen as a medium and on words and letters as symbiotic imagery.  


The goal of the course is to introduce silkscreen techniques while encouraging the use of words and typography as one of many delivery methods for artist intent. 


Survey recent historical use of words and text in visual art 

·         Experiment with words as imagery in our own work 

·         Learn fundamental silkscreen techniques 

o   Analogue 

o   Photo-based/digital 


This class will begin with a museum visit focused on examples of silkscreened editions, text-based work, and ultimately work that meets both of these criteria.  After the visit, the students will be given an assignment to create sketches or photo positives to work from inspired by the work seen.  These sketches will be the foundation for their initial project.  Between the concept stage and the working stage, there will be a series of technical demonstrations.  After each demonstration, you will make a test print comprised of a given print.  It will be your task to recreate it using the methods shown that day.  Subsequent individual work will be completed partially in class and will be based on text found in literature or the students’ daily activities as well as your sketches drawn after the museum visits.  There will be three critiques on the syllabus aside from regular feedback: mid-term, pre-final and final.  



20% – test prints 

25% – preliminary sketches 

25% – participation in class discussion/critiques 

30% – final project 

Week 1: Introduction to course and to class.  Bring a USB drive with 10 images of your work, each student will introduce him(her)self to the class through the lens of his(her) work. 

               Museum visit – bring a notebook and pencil.  We will be viewing work by several artists who use text as imagery in their work. 

Assignment: Bring in 5 preliminary sketches to the next class.  Try to use some of the work seen at the museum to inspire your thinking.  In what ways can you de(or re)contextualize the words around you? Try to think of material while you’re sketching. 

Demo/Work – Drawing, painting and stenciling onto your screen.  I will also demonstrate two methods of registration: tape and pins & tabs.  

                            Assignment: Replicate the sample print handed out in class using the methods taught in the demo.  Bring two good quality test prints to your next class.  

Week 2: Discussion – Class will begin with a discussion about the previous assignment.  What was difficult?  What came easily?  How can you apply these techniques to your work? 

Demo/Work – Photo-based silkscreen. 

                            Assignment: Replicate the sample print handed out in class using the methods taught in the demo.  Bring two good quality test prints to your next class.  

Week 3: Mid-Term Critique. Bring in a list of 3 or more questions or aspects of your work you would specifically like feedback on.  This will allow for a more productive session.  Work does not have to be finalized, but by this point, you will have established a train of thought for your final piece.  Take notes! 

Week 4: Critique reactions. – Begin with writing exercises in response to the notes and criticism of last week.  Once this is completed, this will be an open work day.  Today, try to follow up with certain people who made especially good points about your work.  Can you think of any artists they may want to look up in relation to their work. 

Final project assignment will be handed out in class.  The remainder of class will be focused on sketching and brainstorming for final assignment.  I will circle my way through the class to meet individually with you to discuss possibilities. 

Week 5: Pre-Final Critique. Bring in a mockup or working sketches of your final project. 

Be prepared to make a brief statement about your project, including title, medium and basic intention.  Once this is completed, sit & listen to the class discuss your choices of scale, color, material etc.  We will also discuss what methods could be practiced in order to better align your intention with you final work. 

Open work session 

Week 6: Final Critique. Your work should be gallery-ready.  Write a statement between 150 and 300 words discussing your work.  Give a brief formal analysis followed by explanation of your motives, influences and materials.  A guest critic will join the class with fresh eyes and discuss your work without knowledge of the previous discussions.  This will prove how well your work will stand alone in the world. 

Painting with Prints: theories on silkscreen in painting  

Proposed course, Rhode Island School of Design 

6.00 Credits, Undergraduate 

16 students  


This class relies heavily on museum visits focusing on the use of the multiple in painting of the 19th, 20th and 21st centuries.  Students will experiment with various print methods on canvas, panel, fabric, furniture, walls and other surfaces.  Rather than creating one suite of prints or one edition, the students of this course will create matrixes for use in one off paintings and monoprints.  Using context and a recurring image, the student will rethink the studio practice in terms of reworking an idea until each of its facets is on display.  Painting with Prints will encourage sketchbook practices and also create a framework from which one excellent work can emerge from a body of hundreds of smaller projects.  The experimenting and editing process will lend itself to a final project based on the best of the students’ sketched ideas. 


The goal of this class is to give students an environment in which they can expand the uses of silkscreen from paper to canvas through experiment, collaboration and integration with painting techniques.  


This course will take students’ already established knowledge of water based silkscreen (both photo/digital and analog) and encourage them to crass pollinate their ideas by allowing the matrix to float between layers of painted surface.  This will give them a new method of working that will inherently create more dimensions in their work.  


The class will explore through slide presentations and museum visits the interdisciplinary play between painting and silkscreen that has occurred and reoccurred throughout modern art history.  For the first hour of every working class, students will have a brief critique exercise focused on building a vocabulary for discussing their own (and other artists’) work.  After that, the class will be encouraged to collaborate on smaller projects and swap sketches and ideas for their work.  There will be demos on photo methods of silkscreen as a refresher as well as demos on how to print on stretched and unstretched canvas.  The class grades will be based on involvement in critique sessions as well as mid-term and final reviews of the body of work generated during the semester. 


                20% Involvement in critique sessions 

                20% Experimentation/progression of ideas 

                30% Technical improvement 

                30% Final Project 

Week 1: Introduction to course and to class.  Bring a USB drive with 10 images of your work, each student will introduce him(her)self to the class through the lens of his(her) work. 

Getting to know you. Brief questionnaire to make sure instructor and students have a solid base on which to work.  This allows me the opportunity to better cater activities to students’ previous skill sets.

Name:___________________________________________________________ Email:___________________________________________________________ 

What are your goals for this course?___________________________________ 



What previous training do you have in painting or screen print?______________ 



Top 5 Artists:  

   1) _______________________________________ 

   2) _______________________________________ 

   3) _______________________________________ 

   4) _______________________________________ 

   5) _______________________________________ 



Week 2: Demo Two methods of silk screen: drawing fluid and photo methods.  This demo will involve printing on paper to build familiarity with the process.  Have at least one screen prepared and printed using each method by the next class.  Bring each of these to the next class for our critique session. 

Week 3: Critique Pin up prints as soon as class begins.  How do you foresee this method being helpful to your painting practice?  Did the use of screen print in place of painting alter the look of your work? Your subject?  Do you see this altering the path of your studio practice? 

Work Session Each student will begin work on a painting base on their silk screen work from the previous week.  Bring the painting and preliminary sketched into the next class for critique 

Week 4: Critique Bring in both prints and your painting but just show your painting to start.  How does the work in your painting differ from the prints?  Is this what you expected? 

Demo screen printing on canvas, both stretched and unstretched.  We will focus on the differences between printing on paper and printing on canvas, then we will cover two techniques for printing on canvas that is already on stretchers. 

Work Session Prepare a screen for a painting.  If the class ends before you are able to print on the canvas, be sure to have it printed on our canvas before next class.  You may want to try a few different images on a few different canvases to create a solid base to start painting on.  Don’t begin painting until after our next critique. 

Week 5: Critique How does your first screen print on canvas create the frame work for a cohesive painting?  Will you consider printing again on the same canvas after you’ve begun painting? 

Work Session Begin work on your painting.  Keep your screen close by so you may be able to screen print again (or even make new screens) as needed while your piece matures. 

Week 6: Mid Term Critique we will have a guest critic join us to discuss your work. 

Week 7: Open work session I will be meeting with you individually to discuss your plan for your final projects.  This work session and next week will be focused on printing and painting 4 small preliminary studies toward your final pieces. 

Week 8: Critique By now, you should have completed at least half of your preliminary study work. (some work done on all four or 2 completely finished and 2 just started.)  Do you see the final project moving in a certain direction yet? 

Work Session Finalize your preliminary work.  Keep these and your previous work in good condition, they will be considered among other facets or your assessment.  Consider which of these will best encapsulate the vision you have for your work. 

Week 9: Discussion What scale will your final piece take? What roll does scale play within your work aesthetically? 

Work Session This and the next two sessions will be devoted strictly to composing and executing your final piece.  Consult with me and with one another throughout the process.  Your studio work should not be limited to just class time during this point in the semester. 

Week 10: Open Work Session 

Week 11: Open Work Session 

Week 12: Final Critique Class will begin two hours early and we will again have a visiting critic.  Prepare a brief statement about your process and your vision.  Email this to me the night prior to the crit 


Ad vanced Drawing I 

Analytic Drawing for the Contemporary Designer 

Proposed course for the Hartford Art School 

3.00 Credits, Undergraduate 

20 Students 

Recommended Reading: 

Klee, Paul. Pedagogical Sketchbook. Trans. Sibyl Moholy-Nagy. 1st ed. Frederick A. Praeger, 1953. 


Using Paul Klee’s model for 2D design through analytic drawing, the class will begin by drawing from life and from still life arrangements.  From these early drawings, students will draw diagrams of motion within the frame, note the focal point and its position relative to the page and will find points of primary and secondary tension within the work.  These secondary drawings will be made on acetate or on vellum.  From here, the diagrams will be brought into the digital realm where the student will further analyze the formal elements of the piece and will begin working out possible resolutions for a finished painting or drawing.  After the digital experimentation, the drawing will be taken back to the physical world where it will come to life as a drawing on any number of surfaces (think vase, wall, canvas, rag paper, linen) and in any number of media.  Each student will create a cohesive body of five finished works by the end of the semester. 


This course will give students the opportunity to adapt their well honed drafting skills to create work that not only describes the world around them, but creates a new world through interpretation.  In this world, the artist’s audience can join in conversation about that which is most interesting about the shared human experience.  Students will begin to see a finished drawing a work in and of itself rather than as a stepping stone to a larger piece. 


Students will use drawing as a method of studio practice in which repetition and reproduction of the model can become fertile ground for new and exciting developments in their visual work.  This studio course will focus much of its attention on adopting analytic drawing as one successful and regular studio practice among many. 


The class will examine drawings of the Bauhaus through slideshows and museum visits.  For their own work, a series of days will be set aside from drawing from life and drawing from arrangements.  After this, studio practice will involve drawing and designing from this original set of drawings.  The final body of work will more than likely be of a drastically different scale from the original and will no longer contain the same subject, but the composition of the work will remain much the same, though somewhat interrupted. 

Week 1: Introduction to course and to class.  Bring a USB drive with 10 images of your work, each student will introduce him(her)self to the class through the lens of his(her) work. 

Drawing from still life arrangements.  There will be three stations around the studio, each with its own arrangement.  Students will draw each of these still lives as the class will rotate twice during the studio time. 

Week 2: Museum Visit either by field trip to New Haven to see drawings in the Yale Collection or possibly to the Wadsworth Atheneum.  Sketching from the drawings we see as well as note taking will be much encouraged.  Seeing work in person helps an artist breathe in the soul of another artist’s work.  Think about how the artists seen here use the materials – line, texture, depth and composition – how can you incorporate some of their successes, if even through pure experimentation? 

Week 3: Drawing from life. A model will be present for the duration of the studio time, allowing for two breaks.  The model will begin with several 5 minute poses, then for fewer, 30 minute poses. 

Week 4: Demo I will explain the process of analyzing your previous drawings.  

**Please bring to class some vellum, rice paper or acetate as well as your usual drawing supplies.** 

Analyze your work by laying acetate over your drawings and plotting with marker or by layering rice paper or vellum over it and drawing with the medium of your choosing.  Point out the focal point, edges of the page and lines of motion within your drawing.  These analyses will consist purely of one (or two) color in lines and points.  It may be very provocative or it may be boring, but keep in mind we are not through with our process just yet. 

Week 5: Critique Bring in at least two of your drawings and two of your analyses.  We will discuss what commonalities may have occurred among each set and how the artist’s voice in each instance may or may not have shone through the seemingly objective process of analysis. 

Week 6: Mid Term Critique we will have a guest critic join us to discuss your work. 

Week 7: Open work session finish your analyses and possibly create some new ones based on the same drawings.  Be aware of what new facets of the drawings pop out to you now that you’re analyzing them a second time. 

Week 8: Demo I will show you how to scan your images into the computer and alter them using Photoshop, Illustrator and quickly go over how to animate them, if people are interested. 

Work Session scan in your analyses.  How do they differ once they’re reborn into the digital environment?  Try plotting them in three dimensions, using them as cells of color or texture, abstract them even further.  Really push your drawing to a point where it may or may not be recognizable. 

Week 9: Work Session continue last week’s work.  Take breaks from your computer and see what other people are doing – compare notes and try things that other people have tried. 

Demo I will give a brief demonstration on three methods of extracting your reinterpreted work from the digital to the physical world: projection as a means toward wall drawing, inkjet printing and redrawing from the screen.  Try all three on a small scale to see what works best for you. 

Week 10: Open Work Session continue the work from last week.  By now you should have some idea of what your finished product will be. 

Week 11: Open Work Session focus on your vision and bringing it to life.  Again, consult with me and with your neighbors throughout the process.  The best work we make is a product of ourselves and our environments. 

Week 12: Final Critique Class will begin two hours early and we will again have a visiting critic.  Prepare a brief statement about your process and your vision.  Email this to me the night prior to the crit

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s