Kent Godsil: Fine Arts Educator

I typically begin by discussing the goals and applicable fields of study that best suit the student. Based on that initial evaluation, I will develop a customized syllabus or "ongoing program" that encompasses the area(s) of study in an effort to maximize the student's artistic and creative potential. For some students, this syllabus or approach may be more flexible based on his/her respective interests at large. Other students, however, may want a more "intensive" or structured style. Although my lessons are typically scheduled at least once per week, I am readily available via email and phone to discuss progress with respect to the assigned academic and conceptual exercises/readings.

I received my BFA (drawing concentration) from Maryland Institute and College of Art, summa cum laude. I subsequently earned my MFA (mixed media concentration) from the University of Pennsylvania. I was awarded MICA's Presidential Scholarship, the Thomas Sangiamo Award in Drawing, the Lucile Hecht Memorial Scholarship, two departmental awards of recognition in drawing, and functioned as a “Departmental Leader” for two consecutive years. I also received the Fine Art Chair's Scholarship at UPenn. My large format drawings in charcoal have been published in American Artist: Drawing.

I typically charge $72 per hour (this may be subject to change based on the goals of the student, frequency of lessons, et cetera). Factored into this cost are ongoing critiques and discussions in between meeting times via cell, email, or skype, to address concerns pertaining to either the assignments and/or questions and concerns related to the students overall creative growth and respective interests. 

I have professorial experience in various fine art subjects, from drawing to digital photography. After conducting workshops on my own studio practice and lecturing on contemporary art theory and practices, however, I soon discovered that the most rewarding aspect of these educational experiences were the personal relationships that formed the foundation for a creative exchange of ideas. In working individually with a student, I embrace this dynamic as an intrinsic aspect of my approach that not only engages the student in an effort to expand his/her technical acumen, but also expand that individual's underlying conceptual framework.

I have worked with students of all ages with varying degrees of experience. 

I recently conducted a painting workshop to a group of 28 individuals in Harlem, NYC, with notable differences regarding their art backgrounds. My approach was oriented to the individual's questions or point of concerns, yet fluid with respect to the participants as a whole; I feel this allowed for an open-minded and engaging experience where cooperation and communication harmonized to create a rich and rewarding educational experience at large.  

Ask questions! What are your goals as an artist and what do you hope to accomplish? In what ways are you aspiring to not only advance your technique, but also expand your creative outlook and individuality as an artist? I strongly encourage and invite such questions as a point of departure with respect to study, and how I personally can be of service. 

First and foremost, I believe a student should have confidence that the person with whom they are studying is well qualified in the individual's respective area(s) of interest. Once that is established, however, the student should question what his/her overarching goals are artistically. I personally believe that the most rewarding teaching experiences are those in which a student may feel safe to explore the "questions within", and how doing so may formally and conceptually challenge the potential of the work.

What is it that I am expressing or hope to express with respect to my individuality or my "subjective" experience of the world around me? This loosely forms the basis of "content". What informed or “sensible” risks am I willing to make both technically and conceptually to expand my artistic perspective(s)? This yields a certain experimentation with respect to “form”, elegantly thought of as the most succinct articulation of “content”. And how willing or commited am I to expand and maintain the skills necessary to develop an artistic voice that is authentic and genuine?