Teaching Philosophy Pt. 1 (Visual Art)

As an art educator, I view teaching as a unique opportunity to promote critical thinking and rigorous student participation, while simultaneously nurturing creativity far beyond the walls of the studio and classroom. Art, especially at the secondary level, is more than just making kids produce aesthetically pleasing pictures for their parents to hang upon the refrigerator at home. Arts education is a window onto the world, and allows students to form deep and meaningful connections, express their individual voices, elevate and beautify the community, and develop efficient research and problem-solving skills that will serve them in every realm of life. My philosophy of teaching rests on a firm belief that young people should feel empowered through artistic exploration and the development of a broad range of literacies. The role of the art instructor is to develop a sustainable pedagogy that can guide and advance this learning process with joy and responsiveness.

  One of my primary goals as an art teacher is to help students engage deeply with both antiquated and contemporary forms of art. In this whirlwind era of relentless social media engagement, artificial intelligence, and the ever-evolving workflow of digital tools, I believe it is essential for all students in the 21st Century to grasp the history and traditions of art, while simultaneously being aware of how visual communication is impacted by current movements and technologies. By keeping these beliefs at the forefront of my consciousness, my students will be better prepared to create works of art that are both informed by the past, yet reflective of their current experience within the world. For example, if I’m teaching a project on digital collage, I might be inclined to show students some examples of cubism, Dada, or “found object” works from the early 20th century... (long before the invention of computers). Following some well- guided group discussion and scaffolding, I will then encourage my students to explore how conventional “analog” methods have evolved over time with the advent of Photoshop, phone apps, filters, tablets, and graphic design software. By merging and connecting these historical and contemporary approaches towards collage-making, my students will gain insight by seeing themselves as participants in a larger global conversation. Not to mention, the process of creating digital or mixed media collages opens a multitude of doorways for differentiation and culturally responsive teaching. Collage art (or any medium, for that matter) not only allows students to express and develop foundational, visual and digital literacies, it can also promote advocacy and awareness for specific “causes” relevant to a student’s cultural background or civic concerns.

Student empowerment, to me, is about giving art students the tools and confidence to make informed decisions about their work. This involves a balanced mix of organized planning, guidance, and autonomy. Even as a long-term substitute teacher, Gardner’s Theory of Multiple Intelligences has directly informed my teaching strategies over the years. I know that not every student will engage with art in the same manner that I’m aiming for, so I will strive to design class projects that allow for varied expressions of intelligence—whether that’s through visual- spatial tasks like drawing and painting, or kinesthetic engagement exercises like building 3D models, sculpture, or ceramics. I will also incorporate a plethora of opportunities for students to include sound, video, writing, and performance into their art pieces as well. As an art teacher, I am privy to a more abstract and interpretative curriculum, therefore, differentiation within my classroom will become organic and second nature, especially as I develop my pedagogy throughout my career. Offering a broad range of traditional media, along with cutting-edge methods, ensures that every student can locate their strengths and discover new ways to express their unique perspective and emotional state.

While encouraging creativity in any classroom, I consistently emphasize the importance of rigor and critical thinking. One way I foster this type of learning atmosphere is by devising robust lesson plans that require focused exploration of artistic concepts and practices; not just through surface-level completion of a generic drawing assignment. For example, when teaching a lesson on portrait painting, I might first ask students to employ their schema and explore the subject’s emotional state, culture, and personality, encouraging them to think critically about how these background elements inform their composition and artistic intentions. In this context, Piaget’s Theory of Cognitive Development influences my methodology a great deal. At the secondary level, I’m usually entering a classroom scenario where I’m already aware that my students are capable of formal operational thinking. This enables them to reason abstractly and think about hypothetical situations. By designing lessons that elicit this level of critical evaluation, I can better assist my students to move beyond mere technical skills to more conceptual and expressive engagement. Throughout the entire creative process, my students will continuously develop varied literacies through reflective journal entries, peer feedback sessions, collaborative workshops, group critiques, formative assessments (Wagon Wheels, sketchbook checkups, portfolio reviews, etc.), artistic statements, PowerPoint presentations, technological and hands-on investigation, as well as gallery and hallway exhibitions throughout the school.

At the core of my teaching philosophy is an understanding of Maslow’s Hierarchy of Needs. I recognize that students can’t completely engage in the creative process if their basic needs aren’t being met at home. This is where coherent classroom management becomes crucial for student development, as well as my own instructional efficacy. I strive to generate a safe, organized, and sustainable environment that fosters respect, collaboration, empathy, mindfulness, joy, and mutual support. A well-managed classroom not only allows students to feel secure, but also gives them the freedom to take risks in their art, which is pivotal to the emotional growth of adolescents. Furthermore, this “growth mindset” is essential in all disciplines. Depending on a particular student’s circumstances, my art course might be the only psychological or spiritual catharsis they experience during a typical school week, especially if their parent or guardian doesn’t value creativity and education as much as I do. In these moments of cleansing discovery, I want to be “in the moment” for that student: present, focused, energized, and prepared to usher in a potential “release”. By praising effort and persistence, and applauding smaller acts of creation, I can better facilitate an environment where students understand that mistakes are a part of learning and improving. Through consistent affirmation, I will have an easier time encouraging my students to embrace challenges rather than shy away from them.

Culturally responsive teaching is also central to my core educational philosophy. I believe that students’ backgrounds should be celebrated and reflected in the classroom and lesson planning. Art provides a platform for students to express their cultural identities, so developing projects that invite young learners to explore their personal histories and the journey of others will be commonplace. For instance, I may ask students to create art inspired by an artist from their own cultural background or community they are interested in learning about. This approach not only stimulates a deeper connection to the material; it also promotes DEI (diversity, equity, and inclusion) within the classroom landscape. It’s very important to ensure that all students see themselves represented in the curriculum.

In the act of teaching, I often ponder the influence of “learning styles”. Whether it’s through hands-on projects, visual presentations, or written reflections, it’s crucial that I provide multiple pathways for students to engage with content. This effort supports different learning styles and reinforces the idea that art can be experienced and created through a multitude of approaches. By offering diverse entry points into the arts curriculum, I can ensure that every student succeeds.

The inclusion of innovative technology is another key ingredient in my teaching philosophy. I want my students to see that art isn’t confined to paintbrushes and canvases--it’s present in every aspect of our lives, from the sleek design of a pair of Nikes-to-the way sunlight bends and dances through a stained-glass window. I frequently incorporate technology into my lessons whenever possible. If smartphones are going to be allowed in public schools, then I’m going to take advantage of this disastrous societal decision and create an opportunity to utilize this device as a vehicle for artmaking. Not only are digital tools and gadgets relevant to students’ lives, they also dominate our creative industries, and expand the possibilities of what humans can imagine and produce. I encourage art students to use any tool at their disposal, and to experiment and take creative risks, whether it’s through sound collage, 3D printing, video, or interactive digital media.

Through my recent study of educational psychology, my understanding of how students grow, learn, and develop cognitively, socially, and emotionally has deepened. These insights have not only validated many of the beliefs I already held, but have provided a stronger theoretical framework for me to build upon throughout my career as an instructor. I now see my teaching through a more refined lens, especially when reflecting on how students move through their different stages of development, and how various learning theories can be applied to support this growth. For example, I’ve always sensed that adolescents bring different strengths and sensitivities to the art room. If we’re referencing Jean Piaget’s Theory of Cognitive Development, I can confidently express that most of my secondary art students are operating within the formal operational stage, where they’re capable of abstract and hypothetical thinking. This developmental milestone informs much of my curriculum design, particularly when I ask students to investigate the emotional or political dimensions of their artwork, engage in metaphorical thinking, or explore more complex themes such as identity, memory, or community. I am able to see that my instinct to scaffold these lessons with critical reflection and historical context is directly aligned with the kind of cognitive growth Piaget describes in his theories.

Similarly, Erik Erikson’s Theory of Psychosocial Development has enriched my understanding of how identity formation occurs during adolescence. Employing Erikson’s “Identity vs. Role Confusion” concept, I get to witness firsthand how my students answer the ultimate question: Who am I? What better medium than art to explore such an existential question? When I offer students creative opportunities to represent their values, interests, and fears through mixed media, sound collage, or culturally responsive projects, I’m not just helping them improve their artistic technique, I’m providing them with tools to resolve one of the most critical psychosocial tasks of their lifelong journey.

Moving along the same mindset with Lev Vygotsky’s Sociocultural Theory, I also recognize the importance of social interaction and collaborative learning. The art room is ideal for these collaborative scenarios. Specifically, Vygotsky’s concept of the Zone of Proximal Development (ZPD) has become especially relevant to my teaching of visual art and the overall creative process. By designing lessons that challenge students beyond their current abilities, and providing timely, strategic scaffolding, I can help each student grow in meaningful ways. I now view peer critiques, guided discussions, and collaborative artmaking as engaging classroom activities that are essential to cognitive development. Students learn so much from each other when they are given that safe space to share, reflect, and build social knowledge.

My teaching approach embraces constructivist ideals: students building understanding through exploration, not just absorption. By offering guided questions and prompts, it leaves space for interpretation. The result is a more student-centered learning environment, where voice and involvement are not only welcomed, but required for assessment. That being said, I also see the benefit of behaviorist strategies when it comes to classroom management and structure. While I may not be a strict Skinner loyalist, I do use reinforcement techniques to support positive behavior and work ethic. This includes simple acts like praising effort, offering small rewards, allowing students to pick music to listen to during worktime, allowing phones when it’s appropriate, and acknowledging their improvement throughout a semester. These all have a measurable impact on student motivation and their overall sense of belonging and mental well-being. When used with authenticity and care, these strategies create a consistent learning environment where students feel supported, relaxed, and “seen”.

In terms of moral development, I’ve begun the process of thinking about ways to integrate Lawrence Kohlberg’s Stages of Moral Reasoning into my classroom culture as well. By the time students reach high school, many are transitioning from conventional morality to post-conventional thinking. This is that point in life where questions of justice, fairness, and ethics begin to take shape within our consciousness. By inviting students to reflect on these themes through their artwork, especially during projects that explore advocacy, identity, or current events, I am helping kids refine their moral compass and internal dialogue while they make better aesthetic choices.

Urie Bronfenbrenner’s Ecological Systems Theory has offered me a more holistic view of learning. Each student who enters my classroom brings with them a unique constellation of influences. This includes their immediate family and peer group (referred to as the “microsystem”), as well as societal values and media influences (“macrosystem”). The process of understanding these intricate layers has deepened my empathy and broadened my commitment to culturally responsive teaching. No student’s experience exists inside a vacuum. “No man or woman is an island.” By acknowledging the broader conditions my students inhabit, I can better tailor lesson plans to meet their emotional, cognitive, and cultural needs.

When I reflect upon my own learning experiences and continuous teacher-training, I realize that the best teachers I’ve had throughout my own journey were not necessarily the adults who had the most polished lectures or the most advanced skills. They were usually the unique, eccentric, joyful, and caring individuals who made me feel safe to ask questions, take risks, and see the world through my own neurodivergent lens. This is what I aim to replicate in my own teaching style. I want my classroom to feel like a laboratory for curiosity and experimentation. The art room should be a domain where mistakes are celebrated and ideas evolve; a place where every student, regardless of their background or family’s socioeconomic situation, can find a pathway towards healthy expression and self-discovery.

Ultimately, I believe that growth happens when students feel connected, engaged, and empowered to make meaning from their experiences. Learning art is not a passive process. It’s very much an active, social, emotionally-charged journey that requires time, support, and deep reflection. As a teacher, my goal is to create the right conditions for this journey: to inspire wonder, provoke thought, and provide the tools necessary for students to succeed. This is why my goals for instruction include both the development of technical proficiency, as well as the cultivation of emotional intelligence, critical thinking, and creative agency. Art students are participants in a living, breathing dialogue about the world. My job is to listen deeply, plan intentionally, differentiate wisely, and be the kind of responsible adult who encourages transformation rather than conformity. Whether I’m guiding students through a traditional painting unit or a multimedia installation that incorporates video, sound, or writing, my pedagogy is rooted in an interdisciplinary, student-centered approach. The inclusion of varied media and learning styles, the integration of historical and contemporary practices, and the careful balance of freedom and structure are the hallmarks of my pedagogy. I teach art because it’s one of the most powerful tools we have to develop the “whole child” -- intellectually, emotionally, socially, and morally. When humans create, we connect to ourselves, to each other, and to the universe we inhabit. I see my classroom as a sanctuary for that connection, and my role as a facilitator, guide, and fellow learner on this shared path toward understanding the human experience.

When I begin to envision my own classroom environment, I see a space that is both structured and flexible, where students are encouraged to explore their emotions, interests, and gifts. Good teachers can maintain rigor and high expectations while fostering curiosity, fun, and self-expression. My lesson plans align with Common Core Standards, yet allow plenty of room for individuality and voice. This will ensure that all my students can learn to develop the technical proficiency they need to become the creative, analytical innovators of the future. Whether a student identifies as an “artist” or not, my brand of arts education celebrates exploration, empathy, cultural understanding, patience, mindfulness, joy, and critical thinking. These are all perspectives that students can carry into every area of their lives. Teaching art is about empowering young learners to develop an honest voice through the act of visualization and imagination. As a lifelong student and professional artist and musician, I have learned firsthand how creativity has become an endless reservoir of emotional fulfillment. It will be an honor to share this beautiful journey with every one of my students.

Teaching Philosophy Pt. 2 (English Language Arts)

Alongside my work as a visual arts educator, my approach to teaching English Language Arts is rooted in the same belief that expression is a fundamental human need and a powerful academic tool. Language, like art, is not merely something to be mastered, it is something to be inhabited. Reading, writing, speaking, and listening are ways that students orient themselves within the world. In many ways, literature is simply another kind of studio space, and the written word is another medium for meaning-making. I view the English classroom as a living library of voices, histories, conflicts, and imagination. It is a place where students can test ideas, wrestle with ambiguity, and begin to understand both themselves and others through text.

At the secondary level, I see ELA instruction as an opportunity to help students move beyond passive consumption of stories into active participation with language. Whether we are reading a classic novel, a contemporary poem, a news article, or a graphic memoir, my goal is to help students experience text as something alive and responsive rather than fixed and untouchable. Literature should feel urgent. It should also feel personal. I emphasize close reading not as a rigid technical skill, but as a meditative and investigative act; one that teaches students to slow down, experience the nuance of words, and trace the emotional and philosophical currents beneath the surface of language.

Creative writing plays a central role in my English pedagogy. I believe students deserve structured opportunities to experiment with narrative voice, metaphor, rhythm, pacing, and point of view. Just as in the art room, I prioritize process over perfection. Journals, freewrites, collaborative story-building, poetry, personal narrative, and experimental forms give students permission to take creative risks. Many adolescents carry complex inner lives and cultural experiences that have never had a safe place to land. Writing becomes this place to try things out. It also serves as a form of catharsis, processing, and self-authorship. I do not believe in teaching writing solely as a mechanical skill; I teach it as a practice of thinking and becoming.

Critical thinking remains at the heart of my English instruction. I encourage students to interrogate texts, and not just simply summarize what we consume within the required readings. We examine questions of power, identity, ethics, voice, and representation. Who is telling the story? Who is silenced? What cultural forces shape the narrative? These essential conversations allow students to see literature not as a static canon, but as a dynamic conversation across time and place. I create plenty of room for students to disagree with texts, challenge authors, and reimagine endings. This kind of intellectual friction is not only allowed in my classroom, it is welcomed.

My understanding of adolescent development deeply shapes my ELA practice. Drawing from Piaget’s framework of cognitive development, I intentionally design assignments that invite abstract reasoning, symbolic interpretation, and hypothetical thinking. I ask students to explore metaphor, irony, unreliable narration, and moral ambiguity because I know they are cognitively ready to wrestle with complexity. In parallel, Erikson’s work on identity formation guides my emphasis on reflective and personal writing as well. Many secondary students are in the process of defining who they are in relation to the world. Literature becomes a mirror and a window, and a way to see themselves more clearly while they develop empathy for experiences unlike their own.

Social learning is equally essential in the English classroom. Influenced by Vygotsky’s ideas, I see dialogue as a form of cognitive development. Socratic seminars, literature circles, peer workshops, and collaborative annotation are not add-ons to learning; they are central to it. Students learn how to listen with intent, respond with respect, and build new understandings together. I treat discussion as a disciplined art form. This process requires structure, trust, and clear expectations, but also spontaneity and genuine curiosity. The classroom becomes a community of readers and writers, rather than a room of isolated individuals completing isolated tasks.

Equity and representation are foundational to my approach to curriculum. An ELA classroom must reflect the diversity of the world my students inhabit. I intentionally select texts from a wide range of cultures, time periods, genres, and perspectives. Students are invited to explore authors who share their identities as well as authors whose lived experiences differ greatly from their own. This is not about checking boxes; it is about affirming the reality that stories shape. When students see themselves reflected in texts, they feel validated. When they encounter unfamiliar experiences, they grow in empathy, humility, and intellectual range.

Assessment in my English classroom mirrors my assessment practices in the art room. I value formative feedback, revision cycles, conferencing, and portfolio-based evaluation. A student’s growth as a reader and writer matters more to me than a single test score. I provide detailed, compassionate feedback and create multiple opportunities for rewriting and reflection. Students learn that strong writing emerges through struggle, revision, and persistence, not through perfecting a first draft.

Technology is integrated thoughtfully into my ELA instruction as well. Digital annotation tools, collaborative documents, multimodal projects, podcast-style responses, and video essays allow students to engage with texts in contemporary ways. Students can respond to literature through sound, image, movement, and design, just as they might in the art room. I do not see technology as a replacement for deep thinking, but as a tool that can amplify student voice when used with intention.

At its core, my philosophy of teaching English rests on the same foundation as my approach to art: meaning-making, agency, and human connection. Writing is a form of world-building. Reading is a form of empathy. Speaking is a form of courage. Listening is a form of respect. I strive to build English classrooms that feel intellectually challenging, emotionally safe, and creatively alive. I want my students to feel that their words matter, that their questions are valid, and that their interpretations deserve space.

Ultimately, I teach English for the same reason I teach art: to help students develop an authentic voice and the confidence to use it. Literacy is not just about academic success, it is about self-understanding and social awareness. My goal is to help students leave my classroom not only as stronger readers and writers, but as more thoughtful, curious, and compassionate human beings. The English classroom, like the art studio, is a sanctuary for exploration, risk-taking, and growth. It’s an uplifting place where stories are honored, voices are protected, and language becomes a bridge rather than a barrier.