Michael Stevenson

The will develop and respond to the specifics of the school, the class group, and in relation to various distinctions of my practice and methodology. 

Coming upon an art object is an encounter with an alien form - how can we respond? - how can we communicate? - how can we reciprocate? 

Research-based and materially dedicated, my practice engages such questions actively and - via the processes and virtues of material attempts a legitimate response. Each encounter requires its own form of participation, which is to say it assembles its own community of practice. What emerges here runs contrary to the premise that research-based means the reception of factual knowledge or information. 

How does this come together? Running through a longer history of the teaching of art is a basic assumption: it’s gotta be done practically. For me one thing the academy studio inherits from the original workshop in the cloister is the notion that activity and contemplation are concurrent procedures. Described another way, we could understand the studio as a site for Situated Learning - a unique emotional commitment that includes the objects therein as legitimate participants. In such a studio the tangible objects we make can and will reciprocate in both worldly and unworldly affairs.