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Cleve Webber

Art Appreciation,
Painting I-IV,
Printmaking I-III
Also responsible for graduating senior exhibits

MFA, and MA in Fine Arts with Painting Emphasis from Pratt Institute in Brooklyn, NY
BFA Edna Manley School of Visual and Performing Arts in Kingston, Jamaica, W. I.



“As a painter, printmaker, and college instructor my ultimate goal is to facilitate the students’ growth as intellectuals and artists. This is accomplished by creating a learning mentor environment that is stimulating and challenging to the students way of creative thinking. These new possibilities and concepts to be learned will enable them to build their knowledge and express their strengths in their work. I aim to establish a setting that is both collaborative and instructional. A secure classroom-studio allows the student to feel that they can share ideas freely about their work, with other students and professors. My pedagogical philosophy is to encourage students to know their value as important persons and as artists in a way that cultivates their desire and encourages them to achieve very high levels of excellence. Encouraging, rather than forcing the introspective process in art making, and allowing the student to see that the painting and printmaking processes are sometimes painful, and as a result students will understand the end result are positive and will yield a highly privileged and unique educational experience.

It is my desire to see their primary calling as artists, despite the stereotypes that artists cannot earn a decent living from their profession. While it is the duty of the instructor to teach and coach techniques for the creating of art works, it is also important to stress the importance of art theory, critical thinking, along with the traditional art history to enhance the students professionalism for the competitive art world. To gain that competitive edge, art graduates must be able to talk and write about their work, other artist works, and philosophical ideas in order to excel and to position them in the art world. Sharing verbally and visually during critique sessions will also encourage students to continue to create innovative artworks that will be their own, ultimately forging an original style with options of going to graduate school or practicing their profession as an artist full or part-time.”



“My work is an artistic examination of the body in movement through dance. The drawings, paintings, and prints and an occasional sculpture are derived from the human figure with an emphasis on movement. I use the figure because it is the most interesting and challenging subject to work with. I try to perceive the world around me in its multiple layers of colors and meanings, from the simple textures of ordinary objects to the complex relationships between individual forms. The play of light on the figure, the translucence of skin, the overlapping of forms and shapes, the inner spirit that gives character to a creative composition, these are the essential components of my paintings. Appearing to the viewers like an illusion of figures that are temporarily arrested against a fluid backdrop of space.

My ideas are emphasized initially through drawing. This valued aspect of the visual arts, permeates major projects of; paintings and prints which is the foundation for my work. I have learned to see every surface distinctly, like the chiseled surface of a sculpture. Each section has its own value between black and white. Drawing with the pencil has forced me to make clear and defined strokes. The magnificent draughtsman and painter Jean-Auguste-Dominique Ingres once said, “Drawing is the probity of art, and to deny drawing is to deny art.”  

In 1988 I became fascinated with all aspects of printmaking. While attending graduate school I met Robert Blackburn at the Printmaking Workshop. We talked at length about the power of the graphic arts. That led me to continue exploring all aspects of printmaking, practicing now for over twenty years has been a very rewarding experience. I work with all types of printmaking processes such as: Serigraph, Intaglio, Relief and Lithography. The influence of the technological age and the advent of the advancement of the camera and computers have changed my way of thinking as a printmaker. It is my goal to forge the old technologies with the new 21st century ideas. The knowledge of dangerous traditional materials has revolutionized my practice of printmaking. For example, lithography no longer used the old stones and acids, but utilizes a polyester plate alternative with the use of limited chemicals.

As a painter, and printmaker it’s very challenging to move ideas from one medium to the other. It’s my goal to continue to interpret and adapt ideas that can be used in the paint and print medium. Regardless of the medium the illusion of movement enables the study of the human body to permeate the core my work.”   C. Webber

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