One of the things that drew me towards teaching was simply an interest in visual problem solving and sharing this interest with other artists-in-the-making. The conceptual, formal, and technical alchemy that takes place in making an 'artwork'; the puzzle of what makes an artwork work - or not work - or work better; the collegial conversation around pictures and what they might mean, I find it all endlessly absorbing. My own ambition as an educator is to provide students with a useful 'tool kit' of conceptual and technical processes and skills that they can draw on when inventing, working through, and solving their own visual 'problems'.
Within my current practice, various 'entanglements' are sort between the realms of the (not particularly) personal, popular culture, history (art/colonial/evolutionary), and the vernacular landscape. Pictorially binding these disparate histories together is the local landscape, in my case it is the rather tame, everyday 'green spaces' that are wedged into the small crevices between residential grids that must perform this task.
Current PhD research centers on the relationship between landscape and human consciousness studies. I'm particularly interested in their analogous structures and processes and how recent consciousness research might provide new tools or frameworks for theorizing landscape and interpreting landscape art. More broadly, I'm interested in the intrinsically integrative nature of the landscape medium, as one which, for better or worse, fuses (as well as diffuses) mental and external phenomena together. Landscape has this power to make whole ... if not necessarily wholesome.