CURRICULUM VITA
CECILE L. K. MARTIN
ACADEMIC AND PROFESSIONAL HISTORY
• Assistant Professor, School of Environmental Design, University of Georgia
• Proportion Assignments - 65% Teaching, 25% Research, 10% Service
• Tenure Track
• Administrative Title – none
• Graduate Faculty - current
• Degrees:
M.F.A., Clemson University, Clemson, South Carolina 1989
Honors: Citation, Outstanding Graduate Student, Visual Arts
Thesis and Exhibition: A Dichotomy of Complements
B.S. in Art Education, Kutztown State University, Kutztown, Pennsylvania, 1969
Honors: Work selected for PA State Department of Education Collection
• Professional License - none
• Academic Appointments:
2006-2009
2001-2006
1994-2001
Assistant Professor, LAND 2010, 2210, 2020, SED, UGA, Athens, GA
Senior Lecturer, LARCH 151, 153, , 152, 154. AAH, Clemson U., Clemson, SC
Lecturer, ART 205, 305, 405, 605,103 DSIGN (studio) L151, L152, DSIGN (theory)153,
154,and 490 (independent studies), Visual Arts/Architecture/ Landscape Architecture,
AAH, Clemson U., Clemson, SC.
1995
Instructor (Art Appreciation/History), Tri Co Tech, Pendleton, SC.
1993-1997
South Carolina AIE Visual Arts Residencies
1991-1992
Art Instructor, Studio Arts and AP Art History Courses, Upper School, Spartanburg
Day School, Spartanburg, SC
1991
Painting Instructor, SC Governor’s School for the Arts, Summer Program
1990-1991
Drawing Instructor, adjunct faculty, Anderson College, Anderson, SC.
1990-1994
Instructor, After School Arts Program, Anderson Arts Center.
1989-1991
Instructor, Painting and Drawing, Museum School of Art, Greenville County Museum of
Art, Greenville, SC. (student credit awarded through USC)
1987-1989
Teaching Assistantships, Printmaking, Department of Visual Arts, 88-89 fall and spring
semesters. Team Teacher, First Year Design, Architecture Studio, 87-88 fall, spring, and
summer sessions, Clemson University, Clemson, SC.
1986
Instructor, Drawing, Museum School of Art, Greenville County Museum of Art,
Greenville, SC.
1983
Instructor, Drawing, Design, Anderson Co. Arts Center, Anderson, SC
1982
Visual Arts Instructor, Project Challenge, Anderson School District 5, Anderson, SC.
CECILE L.K. MARTIN
2.
• Other Professional Employment/Activities:
1977-2009
Independent design, consultant, and commission work. Samples include:
• Design Consultant, kitchen/dining space redesign, Collins Residence, 2007.
• Redesign of Mural, update color scheme and materials for Friends Restaurant, Anderson,
SC, 2006
• Private commission, 4 Seasons, 19x72 landscape. mixed media painting, 2003
• Poster design for CELA 2003 national conference at Charleston, SC 2003
• Letterhead, logo, signature painting, and written commentary for Nuero Science
Associates, Anderson, SC, 2002
• Illustrations and layout for children’s book, The Shark’s Tooth written by Ron Rash,
published, 2001
• Triptych, Elevator Music, for Tri County Technical College, Pendleton, SC awarded
through SC Arts Commission 1999, (60x120, medium, graphite)
• Design for dining room murals, president’s house, Clemson University, 1998, (pending)
• Logo and letterhead for Clemson Area Arts Council.1995
• Stations of the Cross for St. Paul Church, Seneca, SC , 1993-‘95
• Reconciliation Screen for St. Paul Church, Seneca, SC 1996
• Logo and letterhead for Clemson Little Theater.1994
• Mural and design concept package for “Marion’s Coffee Shop”, Pendleton, SC, 1994
• Mural and design concept package for “Friends” (restaurant), Anderson, SC, 1993.
• Logo and letterhead for Guild of SC Artists, 1985
• Logo and letterhead for Seneca Little Theater.1984.
• Graphic artist, SE Region Resources Project,US Dept. of the Interior, 1984. Developed
logos for classification systems for each of the national parks in the SE Region, created maps,
developed general layout for document. Was solely responsible for all graphic work
• Packaging design and window dressing for Thraves Jewelry Store, Seneca, SC, 1978-79
Juror, Lecturer, Panelist, and Workshop Instructor: Recently:
• Juror for Arts Center Exhibition, Lavonia, GA, January, ‘09
• Gallery Talk, Anderson University, Vandiver Gallery, September, ‘08
• Juror for Trenholm Artists Guild Annual Exhibit, Columbia,SC March, ‘08
• Presentation for kindergarten, first grade literacy program, Pelham Elementary School,
Greenville, SC, April ’06
• Presentation, “ The Creative Process/Stations of the Cross”, Christ Church High School Art
Program, Greenville, SC, ‘ 05
• Drawing workshop for Junior/ Senior High School students, Anderson Co. Arts Center, ‘06
• Drawing workshop, Palm Key, SC, March, ‘04,
• Design workshop for Blue Ridge Arts Commission ‘03,
• Juror for Upstate Visual Arts, miniature art show ‘02,
• Certification course for art teachers in Oconee County, SC ’02.
• Design workshop SC Watercolor Society ‘01,
• Creativity Workshop for Chapin Art League, ’01, ‘98
CECILE L.K. MARTIN
3.
TEACHING:
Resident Instruction:
The School of Environmental Design, The University of Georgia
Teaching assignments Fall Semesters
LAND 2010: 2006, enrollment 18
2007, enrollment 21
2008, enrollment 16
LAND 2210: 2006, enrollment 18
2007, enrollment 24
2008, enrollment 15
Teaching assignments Spring Semesters
LAND 2020: 2007, 2 sections, enrollments 14 and 18
2008, 2 sections, enrollments 17 and 19
2009, 2 sections, enrollments 20 and 18
Supervision Senior Projects,
Spring of 2007, Advisor for Mike Desing’s 5th year “River Road“ exit project
Spring of 2008, Reading Chair for Drew Carmen’s Graduate Thesis, Exploring
Place Through Sketch Drawing.
Course Development:
LARCH 151,152, 153, 154, Foundation Design Studios and Theory Lecture Class developed for
Freshman Year Landscape Architecture Program at Clemson University based on developing
language, cognitive, crafting, and creative problem solving skills in the studio, supported by
lectures on design components and relationships, modern design history, and required research,
writing, and presentations
SC Residency Programs 1-3 week programs of study in various art areas specific to defined age
groups
AP Art History, AP Art Studio, along with course development for Upper School Art Program at
Spartanburg Day School, Spartanburg, SC
Courses on Creative Expression, Drawing, Painting, Composition, Watercolor, Art History
developed for various workshops and teaching venues
Instruction in Professional Continuing Education:
Certification course for teachers in Oconee County, SC, 2002.
CECILE L.K. MARTIN
RESEARCH AND CREATIVE ACTIVITIES
4.
•Publications:
• Books authored or co-authored (in print), original editions:
• Illustrations, The Shark’s Tooth, written by Ron Rash.
Books edited and co-edited - none
Chapters in books: none
Peer reviewed journal articles - none
• Other Professional Journal Articles:
• Article, New Definitions of Water Media, SCWS Annual Show Catalogue, 2005
• Article, New Media Standards, SCWS newsletter, 2005
• Article, Dealing With Rejection for SC Watercolor Society, newsletter, spring 2004
• Article, What is Original? on Appropriation and Plagiarism, for SC Watercolor Society,
newsletter, spring 2003
• Peer Reviewed Papers in Published Conference Proceedings:
• Design for the Beginning Student Conference, Abstract, Presentation, and Paper,
A Picture is Worth a Thousand Words, GA Tech, Atlanta, GA, 2008 (pending)
Other papers in published conference proceedings - none
• Bulletins or Reports:
• Graphic artist, SE Region Resources Project, US Department of the Interior, 1984.
Developed logos for classification systems for each of the national park in the SE
Region, created maps, illustrations and developed general layout for document. Was
solely responsible for all graphic work. *
Book Reviews – none
Articles in Non-Professional Publications - none
CECILE L.K. MARTIN
5.
Other Creative Contributions:
SOLO EXHIBITS
Over thirty invited, including:
2009 Forming Content, Circle Gallery, SED, UGA, October, 2009
2008 Changes, The Arts Company, Seneca, SC
2008 Cecile L.K.Martin•Recent Works, Vandiver Gallery, Anderson University, Anderson, SC
2006 Spiritual Art, St. Paul the Apostle Church, Seneca, SC
2006 Book Art, Pelham Elementary School, Greenville, SC,
2004 One person show, A Particular Suite, Etheridge Center, USC at Aiken, SC
2003 The Narrative, SC Botanical Garden, Fran Hanson Discovery Center, Clemson, SC
2002 Carolina Summer, Artful Friday, Seneca, SC
2002 The Shark’s Tooth book illustrations during Youth Art Month, Anderson Co. Arts Center
2001 Between Opposites, Women’s Work Gallery, Savannah, GA
2001 Featured Artist, Say It Again... Windows on Main Street, UVA, Greenville, SC
1996 “Couples”, Red Door Gallery, Anderson, SC
1994 Anderson Co. Arts Center, Anderson, SC, “Contemporary Stations”.
1993 and 1997
Medicus, Anderson, SC.
1991 and 1984
The Gallery, Spartanburg Art Center, Spartanburg, SC.
1991 The Greenwood Museum, Greenwood, SC.
1989 Limestone College, Gaffney, SC.
1989 Anderson County Art Center, Anderson, SC.
1989 Francis Marion College, Florence, SC.
1989 Columbia College, Columbia, SC.
1987 Gallery 10, Asheville, NC.
1987 Florence Museum, Florence, SC.
1986 Lander College, Greenwood, SC.
1986 Pickens County Museum, Pickens, SC.
1983 Furman University, Greenville, SC.
GROUP EXHIBITS
Over thirty invited, including:
2008 Selected Works of Landscape Architecture, School of Environmental Design, University of
Georgia (students’ work), Bertlesmann Gallery, Athens Academy Athens , GA,
2008 The Premier Event, Belton Arts Center, new gallery inaugural exhibit
2007 The Group Show, Carson Gould Gallery, Pendleton SC
2007 Faculty Research Exhibit, Investigations, Explorations, Findings, Circle Gallery SED, UGA
2006 Pickens County Art Museum 30 Year Retrospective Exhibit of Permanent Collection
2005 Colors, Anderson Co Arts Center new gallery inaugural exhibit
2005 UVA Exhibition at the Registry Office, Greenville, SC
2005 Clemson University Dept. of Art, Women’s Alumnae Exhibition, Clemson, SC
2005 Rhythms of the Heart, Belton Center for the Arts, Belton, SC
2004 Mark Your Calendars, Anderson Co Arts Center, Anderson, SC
CECILE L.K. MARTIN
6.
2004 Three Person Show, Medicus, Anderson, SC, summer, 2004
2003 Figuratively Speaking, Belton Center for the Arts, Belton, SC
2002 In Response, national juried 9 -11 memorial exhibition, Savannah, GA *
2001 Contemporary Visions, . Anderson Co Arts Center, Anderson, SC
2000 Jesus 2000, Catholic Theological Center, Chicago, IL *
1999-2000
20/20 Vision, Traveling Exhibition, SC Watercolor Society bi centennial exhibit
1999-2000
100 Years/100 Artists: Views of the 20th Century in South Carolina Art, SC State
Museum, Columbia, SC
1997 Sculpture in Public Places-Urban Art Exhibit, llyn strong gallery, Greenville, SC.
1993 Private Worlds-Separate Realities, Tate Gallery, Liberty, SC.
1992 Visionaries, Castle Park Gallery, Greenville, SC.
1992 Upstate Artists Invitational, Greenville Co. Museum of Art, Greenville, SC.
1991 Invitational Drawing Exhibition, Fine Arts Center, Greenville, SC.
1988 South Carolina Women’s Invitational, Furman Univ., Greenville, SC.
1984 Curator’s Choice Exhibition, Greenville County Museum of Art, Greenville, SC.
1983 Domestic Arts, Anderson Arts Center, Anderson, SC.
1982 Ten Women Artists, Anderson Arts Center, Anderson, SC.
1978 Three Women Artists, Pickens County Museum, Pickens, SC.
SELECTED JURIED EXHIBITIONS AND AWARDS Over 90, including:
2008 Award, Traveling Show, SC Watermedia Society 31st Annual Exhibition, Juror, Mark E.
Mchaffey
2008 Honorable Mention, 29th.Annual Juried SC Artists’ Exhibition, Juror, Josh Yu, Pickens Co.
Museum, Pickens,SC
2007 Award, Traveling Show, SC Watermedia Society 30th Annual Exhibition, Juror, John T. Salminen
2007 Honorable Mention, Lyndon House Annual, Athens, GA
2007 Award, Blue Ridge Arts Council
2006 Fourth Prize, Art In the Park, Greenville, SC
2006 Honorable Mention, UVA, Claude E. Smith Show, Greenville, SC
2006 Merit Award,3rd Biennial Hub City Art Competition, Spartanburg, SC
2006 Third Place, Blue Ridge Arts Council 40th Anniversary open show
2005 Honorable Mention 14th Annual Juried Show, Blue Ridge Arts Council, Juror, M. Brodeur
2004 Honorable Mention 13th Annual Juried Show, The Blue Ridge Arts Council, Juror, G. Erley.
2003 Appalachian Corridors Juried Exhibition Charleston, WV, Juror, Eleanor Heartney, art critic
2002 Best in Show Small Works Show, Upstairs Gallery, Tryon, NC, Juror, Christie Taylor
2002 Merit Award, 25th SCWS Annual Exhibition, traveling show, Juror, Dean Mitchell
2002 First Prize, 11th Annual Juried Show, The Blue Ridge Arts Council, Juror, Daniel Cromer
2001 Honorable Mention 24th Annual juried South Carolina Exhibition, Pickens, SC
2000 Merit Award, 23rd SCWS Annual Exhibition, Traveling Show, Juror, Serge Hollerbach
1999 Best in Show, Riverplace Regional Juried Art Show, Juror, Leo Twiggs.
1999 Best in Show, Blue Ridge 9th. Annual Juried Exhibition, Juror Mark Mulfinger.
1998 Second Place, Blue Ridge 8th. Annual Juried Exhibition, Juror, Diane Hopkins-Hughes
1997 Merit Award, 20th Annual Exhibition, SCWS. Juror, Stephen Dohrty, Ed., American Artist.
1996 Merit Award, 19th Annual Exhibition, SCWS, Juror: Ernest Velardi.
CECILE L.K. MARTIN
1995
1995
1993
1993
1992
1992
1991
7.
Best in Show, Modern Liturgy Juried Competition. *
Merit Award, 18th. Annual Exhibition, SCWS. Juror, Mary Todd Beam.
Third Place, Reedy River Festival, Greenville, SC.
Merit Award, 18th. Annual Anderson Juried Exhibition. Juror, Xenia Zed,
Honorable Mention, Traveling Show, Springs 34th Annual Art Show.
Merit Award, River Place Festival, Greenville, SC
Merit Award, 16th Annual Anderson Juried Exhibition. Juror, John H. Jacobsmeyer.
1990
1990
Honorable Mention, Traveling Show, Springs 32nd Annual Art Show.
Charlotte National, Spirit Square, Charlotte, NC. Juror, Ned Rifken, Chief Curator, Hirshorn
Museum of Art, Washington, DC. *
1989 Fourth Place, 39th Annual Exhibition, Guild of South Carolina Artists. Juror, Serge Hollerbach.
1989 Fourth Place, 12th Annual Exhibition, SCWS. Juror, Katherine Chang Liu.
1989 Honorable Mention, Traveling Show, Springs 31st Annual Art Show.
1988 Best in Show, 11th Annual Exhibition, SCWS. Juror, Marbury Brown.
1988 Best in Show, 13th Annual Anderson Juried Exhibition. Juror, Frank Thompson.
1988 38th Annual Exhibition, Guild of South Carolina Artists. Juror, Lynn Gumpert,
Adjunct Curator of the Museum of Contemporary Art in Los Angeles, CA.
1987 67th Annual Exhibition, National Watercolor Society, Brea, CA. Juror, William C. Landwehr,
Executive Director, Lakeview Museum of Arts and Sciences, Peoria, IL. *
1985 Traveling Show, Guild of SC Artists 35th Annual Exhibition, Juror, Ted Potter, Director, SECCA,
Winston Salem, NC
1985 Merit Award, Greenville Artists Guild 49th Annual Juried Exhibition, Greenville Co. Museum of
Art, Juror, Mitchel Kahan, Curator Contemporary and American Art, NC Museum of Art
1985 Southern Exposure #6, Southeastern Women’s Caucus for Art, Miliken Gallery,
Converse College, Spartanburg, SC. Juror, Leatrice Rose.
1985 2nd Regional Juried Art Exhibition, Friends of the Arts Spartanburg Art Center, Spartanburg,
SC. Juror, Lowry Sims, Assistant Curator, Metropolitan Museum of Art.
1984 Best in Show, 10th Annual National Juried Exhibition, Shelby Art League, Shelby, NC. Juror,
Catherine B. Freedburg. *
1984 34th.Annual Exhibition-Guild of SC Artists, juror, Mary Jacob, Chief Curator, Chicago Museum of
Contemporary Art, Chicago, IL
1984 Southeast Small Works Exhibition, Coker College, Hartsville, SC, juror, Ted Potter, Director,
SECCA, Winston Salem, NC
1984 Southeastern Watercolorist II, The DeLand Museum, DeLand, Fl. Juror, David Reese.
1984 Southern Exposure #5, Southeastern Women’s Caucus for Art, Clemson University, Clemson,
SC. Juror, Ofelia Garcia
1983 Second Prize, Graphics, Greenville Artists’ Guild Annual Juried Exhibition, Juror, Fredrick R.
Brandt
1982 Second Prize, Painting, Greenville Artists’ Guild Annual Juried Exhibition, Juror, Cleve K.
Scarbrough Jr., Director , Hunter Museum Of Art, Chattanooga, TN
1982 Merit Award, 31st Annual Exhibition, Guild of South Carolina Artists. Juror, Herbert Burgart,
President, Moore College of Art, Philadelphia, PA.
1981 Best in Show, Grumbacher Award, 4th Annual Exhibition, SCWS. Juror, Virginia Cobb.
1980 Best in Show, 3rd Annual Exhibition, SCWS. Juror, Larry Webster.
CECILE L.K. MARTIN
8.
• Published Art Work:
• Poster and related graphics, CELA National Conference at Charleston, SC, 2003 *
• Video, Inclusion of work in The Way of the Cross, video “ St.Anthony Messenger Press”, 1998 *
• Cover, article illustration, Brothers Grimm Symposium, Mirare, College of
•
Architecture, Arts and the Humanities publication, Clemson University.
• Illustrations, featured in Paulist Today, March Issue, 1997 *
• Cover, illustrations, feature article, The Color Green Magazine, Greenville, SC, two page color spread,
Feb. issue.1996
• Cover, illustrations, Modern Liturgy Magazine, September issue.1995 *
• Various newspaper articles and photos
• Various Art Show catalogues
• Grants Received for Research:
• 1993-4 Major Project Grant, SC Arts Commission in amount of $2000
• Recognitions and Outstanding Achievements:
2007
Photo shoot with artist Sam Wang for inclusion in The Palmetto Portraits Project, permanent
collection at the Medical University of South Carolina
2006 Invited to participate as art consultant for Ryall Industries in their pursuit of federal contract
for art purchases for new military hospital in Germany.
2003 Designated as artist source for the SE region for on line magazine, RELIGION WRITERs .COM
funded by the Pew Trust
2003 Interview, SCETV BEAT June 25, and 29
2000 Invited to participate in Jesus 2000 Exhibition in New York, and Chicago and St. Louis *
1999 One of 60 images of Christ, international competition, Jesus 2000 publication by the National
Catholic Reporter, Dec. 24, 1999 *
1999 Works (3) purchased by Federal Reserve Bank of Charlotte for their collection
1999 Commissioned through SC Arts Commission to do triptych for new Health/Science building at
Tri County Technical College, Pendleton, SC
1996 Feature, Archives of Modern Christian Art Newsletter, Summer/Fall issue. *
1995 BENE Award, Modern Liturgy Magazine, September issue. *
1993-4
Major Project Grant, SC Arts Commission.
1993 Artist Fellowship, (Alternate), SC Arts Commission.
1991 Leslie Chathum, Interview, SC National Public Radio, March, 1991.
1987 Awarded Signature Membership, National Watercolor Society. *
1986 Roxanna Smith, Five South Carolina Women Artists, presented at the National Art Education
Association Conference, New Orleans, LA, April 7,1986. *
CECILE L.K. MARTIN
1984
1981
1981
9.
Jane Maybank, Three Artists: The Curator’s Choice, article, The Greenville News,
Greenville, SC, April, 27,1984.
Deb Richardson-Moore, Painted Emotion, article, The Greenville News, Greenville, SC,
August 9, 1981.
Awarded Signature Membership, SCWS
PUBLIC-CORPORATE COLLECTIONS:
SC State Art Collection
High Hampton Inn Complex, Cashiers, NC
Federal Reserve Bank of Charlotte, NC
Tri County Technical College, Pendleton, SC
SC State Christmas Tree Ornament Collection
Archives of Modern Christian Art, College of Notre Dame, Belmont, CA.
St. Paul the Apostle Church, Seneca, SC
Clemson University Collection, Clemson, SC.
U.S. Shelter Corporation, Greenville, SC.
Banker’s Trust, Greenville, SC.
Oconee County Arts Collection held by the Blue Ridge Arts Commission
Spartanburg Arts Center Permanent Collection
Anderson Arts Center Permanent Collection
Pickens County Arts Center Permanent Collection
Pennsylvania Department of Education Collection
• Supervision of Student Research:
• MLA Thesis, Reading Chair, Exploring Place Through Sketch Drawing,
Drew Carmine, April 10, 2008
• Editorship or Editorial Board Membership
• Convention Papers Presented (not published):
• CELA Conference, collaboration—Torrance Creativity Project, MaryAnne Akers,
Georgia Harrison, Amitab Vermere, Cecile Martin 2008
• CELA, Abstract, Presentation, pedagogy, Imprinting Freshmen,
Charleston, SC, September, 2003
CECILE L.K. MARTIN
10.
• Recent Invited Lectures:
• Gallery Talk, Recent Art, Anderson University, Anderson, SC, September 8, 2008
• Presentation on visual narrative for kindergarten, first grade literacy program, Pelham
Elementary School, Greenville, SC, April, 2006
• Presentation to Christ Church School art program students, Greenville, SC, January,
2005
• About Witches Panelist, discussion in conjunction with Children’s Literature
Symposium
to mark 100th anniversary of publication of The Wizard Of Oz, Clemson University, 1997
CECILE L.K. MARTIN
11.
SERVICE:
• Service in University of Georgia, School of Environmental Design:
• Member Tenure and Policy Review Committee 2008
• Guest speaker, Student Chapter GAASLA October, 2008
• Guest reviewer, Ron Sawhill’s 3rd year studio, October 3, 2008
• Guest reviewer, Bian LaHaie’s Graduate design studio, 100 Trees Project, Feb.22 2008
• Assisted in Torrance Creativity Project initiated by Mary- Anne Akers –reviewed and
rated 78 projects according to 21 criteria, 2007- 20008
• Member, Design Teaching Circle 2006-2008
• Member, BLA Committee 2006-2008
• Reviewer for 5th Year Exit Project Honors, 2007, 2008
• Planning Committee for SED Faculty Research Exhibit 2006
• Designed poster for SED Faculty Research Exhibit, spring 2007
• Represented college: Spring Graduation 2007, Summer Graduation 2008
• Editorship or editorial board member of journals or other learned publications:
• Reviewer, Scientific Journals International, for creative works in visual arts, 2007-08
• Positions held in Professional Organizations:
• Board member SCWS, Chair, Ethics and Standards (04-08)
• Committee on standards and standards’ revision, SCWCS (02-03-04),
• Long range planning, SCWCS (97).
• Co-President, SC Watercolor Society (93-94).
• Board Member, SC Watercolor Society (91-94).
• Treasurer, Guild of SC Artists, (87).
• Committee member/Co-Chair, Blue Ridge Invitational Art Festival, Clemson, SC (73-81)
• Chair, Blue Ridge Art Association Annual Exhibition, Walhalla, SC. (74)
• Service to public entities (samples):
• Previous design work for parish re-used as cover for Parish History Publication (2008)
• Poster for Spirituality Workshop, Tri-church parishes, upstate, SC (2006)
• Stations Devotional - yearly revisions, St. Paul, Seneca, SC (1996-2009)
• Prospectus, graphics/promotional package for 17th annual SCWS exhibition (1994).
• Program cover design, Easter Triduum, tri- church parishes (1993)
CECILE L.K. MARTIN
12.
• Easter Vigil program cover design, tri - church parishes (1994)
• Logo and letter head designs for Clemson Arts Council
• Logo, posters and letterhead for 50th. Anniversary of St Andrew’s Parish, Clemson,
SC. (1990)
• Logo and letter head designs for Guild of SC Artists
• Logo and art work for ST. Andrew’s Alive, monthly church news letter over a period
of 4 years (1978-82)
• Posters and awards (design and crafting) for Blue Ridge Invitational Art Festivals
(1977-1980)
• Design of and overseeing piecing together and quilting of wall sized hanging,
Mother and Child, for St Andrew’s Church, Clemson, SC (1978)
• Designed and implemented two wall hangings for St. Andrew’s Church
reconciliation room, (1977).
• Festival posters for St Andrew’s Church, Clemson SC. (1976)
• Other Service:
Recommendation letters and references for students at SED UGA, and for former
students at Clemson, in their quests for financial support, scholarships, and employment.
Invited Guest juror, Final Reviews, 2nd. Year Studio, LARCH 251, Clemson, 2007
• Memberships in Professional Organizations: (past and present)
CAA
SC Water Media Society – Signature Member
Upstate Visual Artists
Anderson Arts Center
Blue Ridge Arts Council
Guild of SC Artists
National Watercolor Society – Signature Member
Cecile L.K. Martin
Third Year Dossier
School of Environmental Design
The University of Georgia
Curriculum Vita
Teaching Statement
Research Statement
Service Statement
Samples of student work
Samples of art research
Samples of art research
Samples of art research
TEACHING STATEMENT
Over the past 25 years, I have taught classes in general art studio and specialized art studios,
Design, Design History and Theory, and Art and Architectural History in public and private
schools at primary and secondary grade levels, in After School Art Programs, in state sponsored
artist residency programs, museum school settings, and Summer Art Programs for the gifted
student. I have taught specialized studios in painting, drawing, collaborative art making, abstraction as
a means of personal narrative, and basic printmaking. In adult workshop situations I have taught courses
in basic drawing, watercolor, figure drawing, composition, design as a means to self- expression, and
methods of accessing personal creativity and imagery. At college level I have taught classes in general
Art and Architecture History, Introduction to Drawing, Life Drawing, Design for Non Art Major ( a prerequisite for
taking art studio electives for general university population), Foundation Design Studio for Art Majors,
Architecture Majors, and Landscape Architecture Majors, Design Theory and History, and Graphics.
Studio populations have ranged from as few as 8 to as many as 38. In team teaching situations, class
size has often been greater than 50. From 1999 through 2006, I was responsible for course
development and teaching first year Design Studio and Theory for Landscape Architecture at Clemson
University. During this time at Clemson, I was routinely part of LARCH 5th year project review
committees, student honor reviews, and requested by students to write letters of recommendation for
scholarship and employment applications. While a lecturer for the Visual Arts Department, I often
served as senior project advisor and independent study advisor for art majors, and as committee
member for a graduate student’s Master of Architecture Thesis.
In The School of Environmental Design at UGA my teaching assignments during Fall Semesters are
LAND 2010 and LAND 2210, and during Spring Semesters, two sections of LAND 2020.
Over the last three years, I have been largely responsible, within a team teaching format, for changes
and more flexibility in the approach to teaching foundation design in LAND 2010 through definition of
specific language and learning goals and the introduction of project types which can be adapted to
individual teaching styles, specifically, a progressive introductory project that, while adaptable to any
subject, so far at SED, has used basic geometries and numbers as a subject for analysis and through
a series of exploratory project steps, introduced the principles of design and the design elements of
space, point, line, shape and form. This project culminates in an abstract final design achieved through
synthesis of derived inventories from previous project parts. This final aspect then lends itself to a
follow up project that introduces 3D form. I have introduced projects dealing specifically with the
introduction and application of color theory, and a foldout book project that addresses all the elements
and principles of design, along with layout and crafting, while stressing the manipulation of these forms
to affect content. During this same time frame I have been actively researching, studying, learning, and
adapting Landscape Architecture specific terminology and systems used in teaching Landscape Design
in LAND 2020 and the specific graphics systems used in LAND 2210.
In foundation studios, I find it useful to begin with an assumption of a complete lack of any background
design experience, and, while building from simple to complex, create a structured but comfortable
environment for learning based on a common vocabulary; verbal, visual, and written, as a means of
communication, introduction and constant reinforcement of design concepts, high expectations,
encouragement of self reliance and collaboration, critical skills, independent thinking, and increased
mindfulness. By initially having students do things that may seem on the surface foolish, such as
breathing exercises that oxygenate the blood and thus increase brain function, and later explaining the
rationale behind such activities, I allow the student to become comfortable with taking conceptual risks
that may appear initially foolish. I believe students learn best by being allowed to fail, encouraged to
recognize the reasons for failure, then make suitable corrections. For this reason students are allowed
“do overs” during my first semester studios. When the work is improved, grades improve. This
approach allows beginning students to explore design concepts with the security of a safety net and
again encourages intellectual risk taking. It also accomplishes another major teaching goal, that of
building confidence in a student by letting him or her achieve and recognize the high quality of work of
which he or she is capable.
A problem which educators in design increasingly face is an educational system that stresses learning
one correct answer, and students, fresh from that system, wanting to be told exactly what to do.
A culture of instant gratification also often leads to students who become easily frustrated when design
solutions are not immediately apparent. I deal with these issues by introducing in studio lectures a
modified scientific problem solving process, by stressing the importance of process, of being in the
moment, by insisting on multiple thumbnail solutions for each project, and by simply responding, when
asked for a specific answer, “I don’t know.” Our job as educators is to not give answers, rather to point
in the right direction, to teach students to teach themselves.
RESEARCH STATEMENT
As an artist who teaches, large segments of my research activities have been driven by the demands of
class room, lecture hall, drawing, painting, and design studios. Over the years, besides art and design
disciplines, I have become well versed in art and architectural history, as well as the history of modern
design. Much of my ’free” reading has concerned itself with the psychology of creativity, learning, and
problem solving, along with the development of human cultures, which, while satisfying personal
curiosity, has fed classroom and teaching approaches. One of the positive aspects of being an
educator is the continual widening of one’s field of life references and its spillover and manifestation in
other areas, such as creative work, my primary arena of research.
Making art, more than simply recording images, involves risk taking. When the area of an artist’s
interest is the human condition, psychological aspects of human nature and experience become subject
matter, and initially, exposing personal aspects of one’s life becomes the risk taken. I wrote concerning
this years ago, “I bring to my art bits and pieces of my life, you take from it, parts of your own.” “Human
experiences and emotions are universal, awareness differs...I want others to recognize parts of
themselves in my work.”
Over time, the sturm und drang of youth gets replaced by more measured observation of connections
and relationships between aspects of existence; between individuals, between imagination and reality,
between good and evil, between life and death. This then becomes the definition of the human
condition, and the risks taken are more intellectual, more compositionally and media based.
Since becoming part of the faculty at the University of Georgia, I have completed some 39 new works
with several currently in process. This new body of work shows influences of the move to Georgia, and
of what I teach. The images have become less figurative, more abstract, with strong design
consideration, and often with suggestions of landscapes.
For the artist, publishing is equated with the committing of work to peer review in juried competitions.
The time and effort required for entering juried competitions equates with that for submitting abstracts,
the acceptance and subsequent exhibition, with a presentation, and the winning of an award with
publication. An invited solo exhibition or, to a slightly lesser degree, a group exhibition, requires a major
commitment of time, effort and expense at least equal to that required of a major publication or a
chapter in a major publication. During the last three years I have exhibited my art in 4 group
exhibitions, 4 one-person shows, 2 statewide traveling exhibitions, and had my studio selected for an
open studio tour. My work has been juried into 18 local and state competitions and won 9 awards.
I submitted and presented, with publication pending, a paper on pedagogy, A Picture Is Worth a
Thousand Words, at the Conference on Design for the Beginning Student at Georgia Tech, in 2008,
and also collaborated on the Torrance Creativity Project with Mary Anne Akers, Georgia Harrison, and
Amitab Vermere, which has been accepted for presentation at the 2008 CELA Conference.
• Areas of written research along with other art and related interests:
• Edgar Degas,
research-The Line Between Ingres and Degas
• Edvard Munch
research-Women and the Art of Edvard Munch
• Color
An Annotated Bibliography; Color Theory
• Creativity
• Universality of symbolism/ mythology
• History and development of the Stations of the Cross as a visual devotion
• Manipulation of form to affect content in design
paper - publication pending, A Picture Is Worth A Thousand Words
• Pedagogy
presentation, Imprinting Freshmen
• ART RESEARCH:
This partial list is organized by theme and media as defined by series and approximate time frames.
• Monoprint Elaborations, Finding Relationships – Making Connections, abstract images
suggestive of landscapes, often with literary and figurative references – media, monoprint and
monoprint collages, altered with graphic media (2004 - present)
• Collages, Finding Relationships – Making Connections, abstract narrative works, media, mixed
existing print, drawing, painting media (20004 - present) Includes The Harrowing, The Kansas Series
• The Danielle Series – Watercolors, and drawings usually with my daughter as subject,
exploring water based media techniques, composition, and color theory. (1985 – present)
• Figurative – explorations of psychological narratives, and of manipulation of media, often with
same composition or theme, along with exploration of color, space, size, and shape on psychological
impact of imagery - media = various paint and graphic media on paper. There are specific series
within the general series such as: Eleven comes before 13 (5 variations on an image), Mind games
(10 image variations on 3 related narratives), and Cornered (1994-2004)
• Stations of the Cross - Two years research and work culminating in 14 images done with
different media on different supports, in different sizes and styles, presented in uniform frames, 32x40.
Written devotional to accompany Stations. (1993-95)
• Angel Series (1993-94) Multiple angel images, some in series, done on paper supports in
different media, meditative work in preparation for working on Stations
• Heroines (1988-2004) Historical and literary female references done in graphic media or 3D
media: wood, clay, papier-mâché
• Thesis (1987-1989) Dichotomy of Complements, Theme: exploration of attraction and
repulsion of complements, man-woman, life-death, good-evil, using a range of 2D media ( print media,
graphite, oil pastels, pastels, charcoal, acrylic on canvas) and clay sculpture. Technically deals with
evolution and de-construction of imagery
• Graphite Series (1983-12003) figurative and abstract works, continuation and elaboration of
exploration begun in Man Portrait Series, of graphite manipulation - subjects range from Biblical and
literary references to abstract explorations of psyche, to representational figurative images.
• Paper Dolls (1983) Whimsical feminist images in medium to large scale, executed in
watercolor and in graphite for group theme show, Domestic Arts
• Manportrait Series (1983) Graphite media explorations, done as stream of consciousness,
fifteen abstract figurative male figures in various psychological states ( the sludge rising)
• Nite Series (1978-1987) Carefully planned and designed images in watercolor on paper,
exploration of negative space as shape and symbolic use of color and number
• Figurative 1973-1978) graphic media, watercolor on paper or muslin, acrylic on board,
generally feminine or Biblical images dealing with psychological states
SERVICE STATEMENT
Service implies generosity of spirit, the willingness to share what one has or excels in for the common
good. It is the basis of ethical systems and of a civilized community. I view teaching and the making of
art as service. Because I see life as a system of inter-connected parts that result in a unified whole, it is
difficult to categorize service as a separate entity rather than the result of what one does.
If we were to divide life into compartments, then those might be; our relationship with family and loved
ones, spiritual concerns, our job, our profession or life calling, and community involvement, which then
involves a definition of community. As one moves through different life phases, our obligation,
involvement with, and consequent service to these relationships change.
To profession:
Over the past thirty years I have helped to create artist support groups, served on executive boards and
committees of state and local art organizations, chaired and co-chaired arts festivals and arts
competitions, created graphic promotional packages for art competitions and arts groups, helped to
stage and hang art exhibitions, juried student, beginning level and professional arts exhibitions and
festivals, served as ad hoc advisor for arts groups administers, written articles dealing with various art
concerns, given interviews to media to promote art activities, counseled young people and those not so
young on art directions and career possibilities, and donated art work to auctions designed to support
arts organizations.
To the university and college
Beyond what is outlined in my vita, beyond active membership in committees, attending faculty
meetings, attending CED lectures and encouraging my students to do so, sitting in as guest reviewer
here and at Clemson, reviewing selected 5th year exit projects for special recognition, I regularly
participated in the search process for faculty members and that for the Dean’s position. When
MaryAnne Akers conducted her Torrance creativity project, I along with professors Harrison and
Verma,
volunteered to evaluate 78 projects according to a series of 21 set criteria. Because of my skill set, I
make a point to be available to colleagues and to all students as a resource for design, art and
technique issues, especially those dealing with color theory. When Renee Shoemaker came into
possession of a printing press, I helped her set it up, introduced her to the print process of collographs,
and together we printed an initial run. Responding to student requests for a drawing class, I volunteered
to present some introductory drawing lessons through the student chapter of the ASLA. This resulted in
an invitation to present a 40 minute lecture on drawing this past October. I have been seeking to
introduce a drawing class for landscape architecture within the curriculum, perhaps as a Maymester
option. To such an of end, Stephanie Hall and I have met with a possible sponsor.
To the community:
The definition of community and my involvement has by necessity grown smaller as its geographic size
has increased. The community around my home in Athens, the neighborhood near my home in
Seneca, my parish, and the SC upstate have come to define community In the church of St Paul, the
unique 14 Stations that I created and donated to the church during its building, continue to draw interest
and comment from visiting designers, religious and laity. During the 6 weeks of Lent I serve as one of
the lay ministers for the Stations on Friday evenings using the devotional that I wrote and edit each
year. As St Andrew’s, one of the three sister churches in the Pickens and Oconee county area of the
upstate, prepares to build a larger church, I will be offering my service to create a new Stations of the
Cross.
“The soul that beholds beauty becomes beautiful” Hindu
I look for beauty. It enriches and sustains my life. Where it does not exist in my environment, I work to
fashion it, selfishly, for the good of my own soul. Several years ago a wood immediately next to my
house was clear cut. The resulting view from my favorite window was painfully ugly. A large oak on my
property had recently died and been cut. In order to mitigate my view, I dragged the large segments of
the oak’s trunk to the site and formed a series of concentric circles assuming I was the only person who
would see this site installation Years later, long after the cut area had begun to heal and the oak
segments decomposed into mulch, I met a woman who related to me how she was, years ago,
delighted by a series of concentric wooden rings that she could see as she drove on the road by my
house. After moving to Athens, I dug up the particularly unattractive area in front of my condo and
planted seeds. I was delighted with the colorful tangle of blossoms and bees and butterflies and
hummingbirds that developed, certain that I was the only one who saw or cared. At the end of that first
growing season, I was approached by a young man who lived in another unit. who told me how much
he enjoyed the developing garden. Even selfish small acts of beauty can bring pleasure to others.
Performing random acts of beauty as design and service to the students and faculty of the university
was an approach I took with my design studios at Clemson. As the spring semester would come to a
pressure cooker close I would create projects for my classes to design, build, and install around
campus if time allowed, or within the building if time was limited, intended to surprise and delight. One
year my students placed 5 labyrinths on campus where students could use them to center or merely to
amuse. One year it was windmills and whirly-gigs that appeared, one year kites, one year picket
fences, one year installations around the water fountains...
• Revise/ edit Stations devotional 2008
• Liturgical leader for Stations Devotions- Fridays during 5 weeks of Lent 2006, 2007, 2008
poster for workshop on spirituality
cover for parish
All things are connected. The job of the educator, the designer, the innovator, the problem solver is to
find and reinforce relationships
Service implies generosity of spirit, the willingness to share what one has or excels in for the common
good. I it is the basis of a civilized community.
Philosophically, I see in life an obligation to be of service to others.
• Service in University of Georgia, School of Environmental Design:
• Member Tenure and Policy Review Committee 2008
• Guest speaker, Student Chapter GAASLA October, 2008
• Reviewer, Ron Sawhill’s studio, 3rd year project October, 2008
• Assisted in Torrance Creativity Project initiated by Mary- Anne Akers –reviewed and
rated 78 projects according to 21 criteria, 2007- 20008
• Member Design Circle 2006-2008
• Member BLA Committee 2006-2008
• Reviewer for 5th Year Exit Project Honors, 2007, 2008
• Planning Committee for SED Faculty Research Exhibit 2006
• Designed poster for SED Faculty Research Exhibit, spring 2007
• Editorship or editorial board member of journals or other learned publications:
• Reviewer, Scientific Journals International, for creative works in visual arts
• Positions held in Professional Organizations:
• Board member SCWS, Chair, Ethics and Standards (04-08)
• Committee on standards and standards’ revision, SCWCS (02-03-04),
• Long range planning, SCWCS (97).
• Co-President, SC Watercolor Society (93-94).
• Board Member, SC Watercolor Society (91-94).
• Treasurer, Guild of SC Artists, (87).
• Committee member/Co-Chair, Blue Ridge Invitational Art Festival, Clemson, SC (73-81)
• Chair, Blue Ridge Art Association Annual Exhibition, Walhalla, SC. (74)
• Service to public entities (samples):
• Choir member, St. Paul The Apostle, Seneca, SC (2008)
• Poster for Spirituality Workshop, Tri-church parishes, upstate, SC (2006)
• Eucharistic Minister, St. Paul , Seneca, SC (2004-2006)
• Lay minister for Stations of The Cross, services, Friday evenings of Lent, St Paul,
Seneca, SC (1996-2008)
• Stations Devotional with yearly revisions, St. Paul, Seneca, SC (1996-2008)
• Prospectus, graphics/promotional package for 17th annual SCWS exhibition (1994).
• Program cover design, Easter Triduum, tri- church parishes(1993)
Peer Teaching Review
Student Evaluations