Intro to New Media Arts student projects
As an artist and musician, my work employs the breath, the voice, and the processes that enable them as materials to reflect on themes of belonging and affinity. Drawing on histories of exclusion and marginalization, my practice seeks to reassert agency to those stories that have been subjected to silence, rupture, and abandon. Refashioning the body as a way to reaffirm and reimagine struggles of self-determination, the breath and the voice thus become sites of investigation that enable exchange, dialogue, and transformation. Embodying the notion of mediator, teaching thus becomes an extension of my practice, offering me the ability to work with and collaborate with others through multiple processes of learning, sharing, creating, and building. Through these processes, I consider my work as an artist and educator as a way of connecting and opening conversations and to establishing different platforms of engagement. Rooted in a ‘pedagogy of justice’, my practice and teaching thus seek to uncover that which has been hidden by the historical cannon, exposing hidden truths, forgotten stories, and unheard perspectives.
Critically engaging the intersections of art and scholarship, my teaching allows for students to consider works of art as bodies of research. As multiple points of access allow for a more critical dialogue, I encourage students to consider their work through multiple perspectives and frameworks that open an impassioned engagement with materials and concepts their work produces. I invite my students to use the tools and resources they have to delve into materials and investigate gestures that speak to or are informed by conceptual concerns. I ask them to place themselves and their work to allow for in-depth analysis and conversation and challenge them to consider: What is the impact of your work? What is it doing and how does it invite dialogue? Do the materials and processes enable curiosity? And how might this work be considered in the landscape of cultural production? In addition to these questions, I push my students to develop their work and abilities to present their most fully formed selves. Through these questions and investigations, coupled with in-depth analysis of existing works, I ask students to evaluate their work and the work of others and consider how it operate within the contemporary moment.
Through this active engagement of works, material investigations, and multiple conceptual frameworks, my students are encouraged to push their own personal boundaries of art making and analysis. Deeply rooted in a ‘pedagogy of justice’ in which students are exposed to a wide range of material that covers works and ideas often left out of the historical cannon, I ask students to engage with different experiences outside of their own that may offer other conceptual and material possibilities while validating and celebrating their own experience. In the vein of art-as-research, students are given opportunities to delve into these stories, experiences, materials, and objects and allow them to operate as points of conversation and relation while acknowledging the contexts from which they were made. By contextualizing work historically, culturally, socially, and/or politically, students gain a broader understanding of the frameworks from which these works emerged and may begin to consider how their work contributes to a broader dialectic. With these positions and ideas, my students (as well as the teacher) may begin to question their frameworks of analysis to help situate the work to suit their own familiarity and ever-shifting contexts.