Tag: teaching

Dan Finaldi: Teaching painting, finding God

Dan Finaldi doesn’t have a studio. His house in New Jersey doesn’t have space, and that might become a problem when he retires from teaching to spend more time painting, which he plans to do in the next few years. He’s been a high school teacher for 23 years, and as much as he enjoys teaching teenagers, at age 62, he’s finding it harder to match their energy.

But he’s still teaching now, and when the weather’s too bad to go outside, he often stays after school to paint. More often than not, he ends up painting his students. “They’re posing or eating, and I’m painting them. They talk, they share. They tell me their life stories,” he said.

“I just want to paint them. Sometimes, people will come to me and say, ‘Can I pose?’ and I say, ‘Sure.’ I’m fascinated by looking at people. There are so many different things to look at in a face. I love looking at their faces,” he said.

Finaldi teaches at a public high school that welcomes lots of Indigenous students, many with complex or traumatic histories.

“Last year I painted two double portraits, sisters from Mexico. They told me their grandmother speaks an Indigenous language, not Spanish, some ancient language that has perdured,” he says.

The Southern and Central American migrant students often speak of their families, and Finaldi said they also seem to bring a heightened sense of color and design to their work, as well as an apparently innate talent for working with pottery and clay.

Awakening a dormant ability

All students have a “dormant ability in drawing,” he said, and he sees it as his job to teach them the skills to wake up that dormant ability. But it helps when some of the students also supply enthusiasm and inspiration.

“When you’re in a class of 25 kids, it does lift all boats, when you have kids that are not on their phones, and they’re looking at other kids’ artwork,” he said. “Their work improves aesthetically. They see the line work and the color, and they try to imitate it.”

Finaldi is just inspired to paint the kids themselves, though.

“They’re such beautiful, interesting-looking people; I just want to paint them. I’m fascinated by looking at people,” he said.

The natural world

But when the weather is fine, Finaldi will be outside, using oil paint or watercolor to capture his other great love: The natural world. He’s learned to harness the power of Instagram and will share a video panning slowly past a busy playground where he’s set up his easel, his unfinished canvas blending into the rosy sun and shadows of a late summer afternoon.

The loose, light-filled strokes of color are typical of Finaldi’s work, which presents fluid, unpretentious scenes of daily life: the rusty glow of autumn leaves under a cerulean sky; a moody moonlit nocturne with power lines; teenagers just hanging out…Read the rest of my latest artist profile for Our Sunday Visitor. 

This is the sixth in a monthly feature on Catholic and Catholic-friendly artists I’ve been writing for Our Sunday Visitor. 
Previous artists featured in this series:
Gwyneth Thompson-Briggs
Chris Lewis
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not always excellent about responding, but I always check out every suggestion. Thanks!

 

The habit of “let’s find out”

The other day, as soon as I got home, I looked up “oyster etymology.” It turns out the word “oyster” comes from the Greek “ostrakon,” meaning “a hard shell.” That’s the short version, but it was enough information for me. I previously had no idea, and I really wanted to find out.

I also wanted my kids to see me following through, after a question popped into my head. We had been chatting about oysters on the way home from school. Specifically, we had been chatting about what was making that unusual smell in the car. I admitted there was a seafood sale that I couldn’t resist, so that explained the odor. But what explained the word? I thought it must be Greek, but I wasn’t sure, so I said I would look it up. And I did.

I am a word hound and my husband is a reporter, and at our house, we always look things up. It has been a great gift to me to realize that my kids think this is totally normal, and something worth doing, when a question arises: You wonder something; you go find out. Not everybody does this! Not everybody even thinks to try!

It was a gift to me because half my kids are now legal adults, and I so often feel that I have failed so miserably in transmitting even the most basic truths to them. It’s not a reflection on them. They’re all actually doing quite well. It’s just that I feel like I’m only just now figuring out, myself, what’s most important, and it’s too late, too late, for me to pass it along.

But this is largely melancholy speaking. It’s fall, which is “everything is dying” season here, and it’s hard not to let that sense of desolation creep into everything I perceive. The truth is, nobody can teach someone everything they need to know. That’s not the nature of teaching. It’s not the nature of people. It’s not the nature of knowing. You telling people what they need to know, and them believing you, remembering it, and acting on it is not how good ideas get transmitted, most of the time.

But example is a very good teacher. It’s one thing to say to a kid, “This is the right way to do things,” but it’s quite another to simply do it, almost every single time, as if no other option were thinkable. It’s very good to tell kids what is right and just and wise; but it’s far, far better to simply do it in their presence. Something to think about. This is how we teach, whether we mean to or not: By how we live. Read the rest of my latest for The Catholic Weekly. 

Image: Oyster on ice from Wikimedia (Creative Commons)

A ‘very human life’ is the hallmark of Gwyneth Thompson-Briggs’ sacred art

Gwyneth Thompson-Briggs said her husband Andrew asked her after Mass, “Did you see the guy with Jesus hair?”

She did see him and had wanted to run after him, but she hesitated, and now she regrets it. He would have made a great model.

It was one leap she didn’t take, but only one.

Four years ago, she and her husband took a chance, and now she supports the family full-time with their home business, Gwyneth Thompson-Briggs Sacred Art. She mostly paints commissions and also teaches painting in person.

As a working mother and breadwinner, she’s something of an oddity in her community.

“In my parish, many of the mothers stay home full time, and the husband works. I try to explain to people we chose to have this small business of making sacred art because it allows us to live the liturgical year more fully,” she said.

As fulfilling as this life often is, it wasn’t easy to land there.

“To take that leap, God sort of had to put us in a situation where we lost a different job and we didn’t know what else to do. It didn’t seem prudent to try to raise a family on being an artist, but God knew we didn’t have the courage to do it without taking away the other options,” she said.

Thompson-Briggs said she looks to the medieval model of a family workshop, including apprentices who were part of the household.

“It seems like a very human life to live, that my children see their father throughout the day, and we’re always switching off with childcare and homeschooling and business duties. It’s a model I love, but it has been rare. It may be coming back, since everyone’s been working at home,” she said.

That “very human life” is a hallmark of Thompson-Briggs’ approach to art. Many of her live models, like the one with the Jesus hair who got away, are not professionals, but fellow parishioners at the church down the street from her studio.

“I will snag them and say, ‘Are you available to linger for an hour next Tuesday after Mass?’ and surprisingly, most people are amenable. I’ve gotten to have so many wonderful conversations. You meet so many people you think you know because you see the back of their head for months, and then you start to talk to them, and you’re always surprised,” she said.

The in-person conversation and time together give her visual insight an artist can’t attain by working from a photograph.

“When you’re working from a photo, you can get caught up in the detail. [But] when you work from life, you introduce the element of time. What’s the most natural way their head would tilt or that drape would fall?” she said.

As her model settles in and gets comfortable, her eyes also discern more breadth of color, more depth in shadow, and more atmosphere.

Her favorite models are good conversationalists, and she also acknowledges that talking helps keep them awake. Her studio heats up tremendously in the summer, and fans can only do so much when a model is draped in layers of wool.

Even their discomfort can be a revealing part of the artistic process, though.

“If you’re carrying something heavy in one arm, it’s going to affect the angle of the hips, or something,” she said.

But because she is making sacred art, she is not trying to paint a recognizable portrait, but to assist the viewer in prayer; and so to portray a beloved saint, or Mary, or the Sacred Heart, she often uses three or four models, combining select elements from their various faces and bodies, hands and hair.

“Using multiple models allows me to approach the idealization of the saint who is a distinct personality, who is separate from all the reference models. Sometimes, I will transform someone, make them older or younger; other times, it’s a rare person who has really beautiful hands,” she said…Read the rest of my latest artist profile for Our Sunday Visitor.

Image: Detail of St. Martin de Porres by Gwyneth Thompson-Briggs

Teaching 7- and 8-year-olds about their faith

In 2019, I started volunteering as a faith formation teacher for Grade 2, which is preparation for first confession. I always had it in my head that I’d like to do it someday, and that I ought to. Then suddenly it occurred to me that now would work, so I signed up before I could change my mind.

I only have a little bit of experience teaching a group, but I do love kids this age (seven and eight). They are extremely sincere and funny, eager to please, and ravenous for information about how the world works, and most of them haven’t developed a fear of asking questions that might sound foolish. They are also very silly, very immature, and some of them are in constant need of redirection. My hat is off to full-time teachers who manage kids for many hours every day! I don’t think I could do it.

I think it’s going well so far. Here is what I have discovered about teaching kids this age:

They love body movement. When I want them to remember something, I try to come up with a bodily motion or gesture to help it stick in their heads, and they love getting up and doing something.

One especially popular one is when I shout, “Who made you?” and they shout, “God!” I shout, “Why did God make you?” And they shout, “To know him [stamp left foot], to love him [stamp right foot] and to serve him [stamp left foot] in this world [point to the ground dramatically like John Travolta in Saturday Night Fever], and to be happy with him forever IN THE NEXT [point to the sky dramatically like John Travolta in Saturday Night Fever].

We also learned the American Sign Language sign for Trinity when we did our first lesson on the Trinity: Three fingers of your dominant hand are showing behind your non-dominant hand, then the dominant hand goes under and comes up in front with one finger. Three persons, one God. We shall see if they remember next week. I bet some of them will.

Read the rest of my latest for The Catholic Weekly. 

Photo By: Cpl. Katherine M. Solano (detail) (Public Domain)

In which I give thanks for the Chicken of Life

Last Sunday, I had the kids in my faith formation class draw a picture of a Thanksgiving feast at their house. Most drew a table, some food and family and friends gathered around. Then I had them draw a picture of the Mass and nudged them toward drawing a similar scene. We talked about how the altar is a table, as well as a place of sacrifice, and how the food is Jesus, and all of mankind is one family.

I was working my way up to the central idea—that “Eucharist” literally means “Thanksgiving.” But the lesson did not really land because most of the kids did not know the word “Eucharist” yet. Also, some of them did not know what “Mass” meant, and some of them did not know what to draw since they were going over to their mom’s new boyfriend’s house for Thanksgiving, and they weren’t sure if he had a table. One child steadfastly insisted that last time he went to Mass they had wine and chicken. The chicken of life.

And, of course, three of the boys were still convulsing on the rug because, during the story portion of class, I had made the tactical error of showing them an illustration of St. Juan Diego in his tilma, and you could sort of see part of his butt. His butt.

Some weeks, my husband says I come home from teaching with my eyes shining and my face alight. This was not one of those weeks.

On a good week, the kids are spellbound while I tell them that God made the world because he is so overflowing with love, that he just wanted to be even happier by making more things to be good and beautiful and true, which is why he made the stars and the animals and you and me, and all he wants now is to get back together with us again.

On a good week, someone wants to talk about the war in heaven, and another kid pipes up, “But Ms. Simcha, the devil didn’t have to go to hell because he had free will!”

On a good week, we read about how Jesus called the shambling, shocked Lazarus from his dark grave, and one of the boys screws up his face with skepticism and blurts out, “Is this a story true?” and I can look him in the eye and say: “Yes, sweetheart. This is a true story. It’s all true!”

Those are the times when I feel keenly what a privilege it is to be there, to be allowed to feed these eager young Christians who are so hungry for the truths they were made to receive. Sometimes it feels like the cluttered little classroom is blazing with light and I am so glad, so glad to be there with them.

But we do have bad weeks . . . 

Read the rest of my latest for America Magazine. 

Image: Dion Hinchcliffe via Flickr (Creative Commons)

 

Are we spiritually deprived when women are barred from preaching?

The rule against women preaching doesn’t stem from misogyny, but from the obligation to make the sermon something specific: an extension of the proclamation of the liturgy of the word. It’s not supposed to be a lecture or a chat; it’s supposed to be part of the liturgy celebrated by an ordained priest or deacon in persona Christi. And that’s why laypeople aren’t supposed to do it.

But the flap over who gives sermons exposed another, possibly deeper misunderstanding about how, exactly, we’re supposed to learn about and live our faith.

Read the rest of my latest for The Catholic Weekly.