Michael Stasinos
Michael Stasinos is dedicated to the study of the human form and the history of traditional painting and drawing techniques. Confidence with his techniques and polished foundation skills are the results of his training. Mr. Stasinos is a thoughtful communicator and critic, always focused and organized, and fully committed to his academic responsibilities and his art.
In the classroom he gives his students a comprehensive, logical sequence of information to understand the principles he is demonstrating. He takes the time to carefully lay out his ideas and work individually with each student–he is dedicated to empowering the student with problem solving skills. He teaches both drawing and painting with a focus on structure as the solid foundation upon which to build one’s work.
Stasinos graduated from Southern Utah University prior to receiving his M.F.A Cum Laude from the New York Academy of Art. He has exhibited in New York, Alaska, Utah and Massachusetts. He currently teaches at the Academy and at Eastern Illinois University. He is represented by the Martin-Zambito Gallery in Seattle (upcoming show in July 2000).
To view additional work by this artist, please visit stasinos.biz.
In the classroom he gives his students a comprehensive, logical sequence of information to understand the principles he is demonstrating. He takes the time to carefully lay out his ideas and work individually with each student–he is dedicated to empowering the student with problem solving skills. He teaches both drawing and painting with a focus on structure as the solid foundation upon which to build one’s work.
Stasinos graduated from Southern Utah University prior to receiving his M.F.A Cum Laude from the New York Academy of Art. He has exhibited in New York, Alaska, Utah and Massachusetts. He currently teaches at the Academy and at Eastern Illinois University. He is represented by the Martin-Zambito Gallery in Seattle (upcoming show in July 2000).
To view additional work by this artist, please visit stasinos.biz.
Artist's Statement
My work is a continual attempt to understand the personality of a moment in the relationship between the human figure and its surrounding environment. Poetry is discovered by questioning this relationship. A narrative is created out of this process of questioning, but a narrative without an ending. The viewer must complete this narrative by bringing their experience to it. At times, the moment is synthesized by casting the viewer in the role interactive to the moment represented.
Empowering the student with problem solving skills, which comes from foundation training with a strong drawing background, is my primary goal as a teacher. Teaching the traditional basics of drawing and painting along with their art historical context develops the student’s understanding of art as a visual language. Only after understanding these principles and skills, provided from a strong foundation program, can the student make sensitive, informed choices which will strengthen the content of their art work. Exposing the student to as many different ideas and directions to explore as possible is also important. Western Art history is about the development of a visual language. Aesthetic choices made by the artist have always been connected to individual and cultural beliefs. Understanding how other artists have solved artistic questions can help the student to identify their own needs and solutions.
I feel it is important to share my personal views on art, art theory and especially the concerns I my own work with the students I teach. This provides a sounding board for the students to compare and contrast with their own ideas. Most importantly, I believe in relating to each student as an individual. Every attempt to understand the strengths and weaknesses of each student should be made. This is important in understanding the concerns and struggles of my students. One-on-one interaction also reveals to what extent the students are succeeding as a whole in comprehending the lessons. The student’s immediate adeptness with what is taught is not nearly as important as the student’s understanding of the lesson’s concept and struggle to achieve the goals set up in the class work and homework. I look for improvement over time. This can only be gauged by understanding the student on an individual level.
My work is a continual attempt to understand the personality of a moment in the relationship between the human figure and its surrounding environment. Poetry is discovered by questioning this relationship. A narrative is created out of this process of questioning, but a narrative without an ending. The viewer must complete this narrative by bringing their experience to it. At times, the moment is synthesized by casting the viewer in the role interactive to the moment represented.
Empowering the student with problem solving skills, which comes from foundation training with a strong drawing background, is my primary goal as a teacher. Teaching the traditional basics of drawing and painting along with their art historical context develops the student’s understanding of art as a visual language. Only after understanding these principles and skills, provided from a strong foundation program, can the student make sensitive, informed choices which will strengthen the content of their art work. Exposing the student to as many different ideas and directions to explore as possible is also important. Western Art history is about the development of a visual language. Aesthetic choices made by the artist have always been connected to individual and cultural beliefs. Understanding how other artists have solved artistic questions can help the student to identify their own needs and solutions.
I feel it is important to share my personal views on art, art theory and especially the concerns I my own work with the students I teach. This provides a sounding board for the students to compare and contrast with their own ideas. Most importantly, I believe in relating to each student as an individual. Every attempt to understand the strengths and weaknesses of each student should be made. This is important in understanding the concerns and struggles of my students. One-on-one interaction also reveals to what extent the students are succeeding as a whole in comprehending the lessons. The student’s immediate adeptness with what is taught is not nearly as important as the student’s understanding of the lesson’s concept and struggle to achieve the goals set up in the class work and homework. I look for improvement over time. This can only be gauged by understanding the student on an individual level.