I seek to provoke emotional responses by adding unusual stigma sparked from my assigned heretical readings and images. Throughout each assignment it is necessary to promote research that allows for well-informed designs to emerge. Though the use of open critiques students are challenged to answer the “but why’s?”, helping give validity to each project. The ability to validate ones’ work is an important function when working in either the corporate environment or adjusting to art criticism.

I manage these techniques through a series of experimental projects. For example; beginning each semester with a design assignment lacking rules then repeating this task after fundamentals are set in place. This provides an opportunity to discuss the design choices artists/designers make. Students’ work differently in these situations; some become overwhelmed with possibilities, while others, respectfully, may feel crowded from rhetoric. Beginning with such an open project helps to break know-it-all notions and allows students’ to succeed or fail in a group setting. I think it is important to realize that although we are an institution we have human desires to stand out. When we are rewarded for thinking differently we are able to find our best outlet that captures our unique creativity.

By pulling assignments off the page and reworking projects after learning has been imbued, students can think freely. Leaning how to break the rules in a successful manner allows students to retain knowledge and freedom simultaneously. The traditional format of graphic design is changing daily, it is important for students to be prepared for emerging technologies and adapt to them using these techniques.

My large-scale work stems from months of research and data collection combined from multiple sources (i.e. interviewed individuals, books and the Internet). Once the information is gathered I let the data guide my mood and feed my designs which frequently change as my motivations adapt with the project. I enjoy combining collage, painting, drawing, woodwork and metalwork with readymade objects. Using multiple forms of media allows me to have a variety of emotional outlets (for example; in moments of anger metalwork can be quite cathartic). By fusing media I generate a more authentic and believable atmosphere catering to a variety of art and non-art connoisseurs.

An important component of my research includes the incorporation of phenomenology (the study of how phenomena appear both visually and through a full human experience that is heightened by the senses). Gaining an understanding in the psychology of human interaction is part of the process. When others are able to react to my work they have combined their own experiences as a response. Success is reached when emotional interactions and reactions occur during a viewers’ experience. When large spaces are unavailable, I use similar techniques of gathering and research to work in small sculpture and the two-dimensional and three-dimensional environment (such as movies and animations). The layering of my collections provides a means to create illusions of space in virtual worlds (i.e. layering, scale and the use of implied spacial depth through object focus and camera movement).

No matter the scale, I use my mood to create and influence my art. I keep fresh by diversifying the ways I use media to express myself to others. I take pride in my process of researching, collecting, layering and creating. I frequently try new techniques with the hope success, although ultimately knowledge can be gained even with failures. My ultimate goal, however, is to transform space rather than cover it so that ultimately everyone can share in my emotional journey.