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P H I L O S O P H Y

VUE FINE ART & DESIGN

V i s u a l   C o m m u n i c a t i o n   S o l u t i o n s

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S  O  L  B  E  R  G

I work for challenging and progressive organizations in which learning excellence, professionalism, and integrity are standard.    I use my talents and experience in visual communications to influence the future development of fine arts and graphic arts education.


C R E A T I V I T Y

I am challenged to bridge the gap between the two most opposing art theories; “Expression” and “Imitation.”   Aesthetic experiences are internal and universal and it is in both I find pleasure.  The imagination is a powerful force inspiring the creation of new forms; it stirs the unconscious and divine, but “knowledge of art history, master of the medium, and the discipline that comes from trial and error are as important as talent, genius, and creative imagination.”   -Dr. Townsend, Professor of Philosophy at the University of Texas

I have been mostly influenced by two major styles in art history. The Ancient Greek and Roman classical period for standards of order, beauty and effortless grace and the Renaissance period for concepts of color, space and form.  My favorite masters are Leonardo da Vinci, David, and Caillebotte, all of whom which rendered beauty with discipline.

Subject matters I find most interesting are conceptual in nature such as, human intuition, the soul, and timelessness.  Capturing a beautiful landscape in a painting or photograph will fulfill my need to express the sublime. As a result, many pieces are formed with the nineteenth-century idea of “Transcendentalism;” a concept that nature devoid of human intervention represents a higher order.  Creating a simple still life, however, will sharpen my technical skills with the objective process of seeing.  I experiment by composing inanimate objects to explore the elementary laws of three-dimensional form and compositionally animate them to create a mood.  By imitating, I trandsend to find visual responses to aesthetic experiences.  I often combine opposing forms and ideas such as solid, static objects juxtaposed with fragile, transparent, and flowing forms.  This process enables me to see beauty in ordinary and mundane.

My strengths are subject matter, technical discipline, contrasting applications and ideas, and variety of scale.  My weaknesses are the length of time and materials I put into each work.

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P A I N T I N G

Like some artists in the 17th and 18th century, I am somewhat of a “method” painter.  I divide the various stages of the painting process by separating the tasks and executing them in sequence.  My techniques are a combination of the Flemish and Venetian Styles. Flemish ala prima is described as “direct” or “wet on wet”.  I begin with a light painting ground and gently outline the subject along with the main light and dark values.  Those areas are then applied with full force using transparent colors or glazes to create luminosity.  I continue with the Venetian or ”indirect” style by applying several relatively thin, smooth film layers of paint.  At first this is done with a minimal amount of pigment thinned with turpentine and then gradually the order is reversed.  This is refered to the “fat over lean” technique. Occasionally, I add an increasing amount of Damar varnish for flexibility and longevity. Top


E D U C A T I O N

As an instructor of fine art and design, I foster the artistic development and enrichment of others.  I impart my liberal arts education and life experiences as an artist to teach a balanced and disciplined-based art education.  The visual arts, its language of symbols, concepts, and meanings open alternative doors of discovery and intelligences that can act as a medium to integrate experiences in life together. Thus, I am dedicated to cultivating and refining the intellect and exploring full human potential through visual communications. 

“Pyramids, cathedrals, and rockets exist not only because of Geometry, theories of construction, or Thermodynamics, but because they were first a picture—literally a vision in the mind of those who built them” Historian Eugene Ferguson Arts at the Core of Learning, 1996. 

My educational perspectives are based on a collection of philosophical approaches. Using the “normative” approach, I teach students the traditional and universal values in art, including the “why” and “how” ideas are conveyed symbolically. Using the descriptive approach,  I teach students the various forms of visual art in a social, historical, and contemporary context. The analytical approach is used to teach the fundamentals of art and an aesthetic approach to teach the languages, concepts, and meanings. 

I apply the goals of each branch of philosophy to art education as well. The “metaphysical” nature of art—creating, meaning, and existence reveals how art can be personally, socially, and historically significant.  Epistemology is applied to art knowledge, the boundaries and inspirations, and reveals that our feelings and intuitions are related to what we produce and perceive.

My views of an ideal educator, teaching methods, management, and evaluations are eclectic as well, having a basis in various fields of educational theory. However, they are heavily influenced by “Progressivism” and “Postmodern Reconstructivism”.  Innovation, change, and diversity characterize my beliefs. The education system has the power to improve society and is fundamental to the construction of one that is free of discrimination and concerned with community and global welfare.  As a “Perennialist” and “Essentialist”, I also believe in the importance of a liberal arts education and studies of past achievements.

Time is a continuum of constantl and changing experiences that build upon one another to guide us toward the future. As a reflective and conscientious art educator, I plan to be a significant contributor to those experiences that help establish:

  • The inherent worth of each individual
  • A positive learning environment
  • Inclusion of all
  • Reflective and scholarly thought
  • The freedom to choose
  • Human dignity and diversity

My curriculum ideas, methods, management, and evaluation focus on the individual and the group.  They are experience-centered, reflective, and relevant. The open and active learning environment allows for individual learning differences and is responsive to the needs of the group as well.  I promote observation, analysis, and critical thinking.  Questioning assumptions, examining issues and trends of the future encourage the development of innovative solutions. 

My classes are full of reciprocal relationships that include feedback, movement management, monitoring activities, reinforcing skills, and resolving unexpected problems.  I use behavioral objectives to obtain student accountability and my evaluations are authentic and informative. 

The combination of my liberal arts education, experiences as an artist and eclectic philosophical approach to art education,   I profess to enrich the learning experiences of others through visual communication as my life continues to be enriched.  I dedicate my life to develop, deliver and promote quality fine art, design and a disciplined-based art education.

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