Since joining Boys Who Write as Director of Curriculum in June 2024, my journey has been one of envisioning, creating, and inspiring stakeholders to believe in a groundbreaking educational program. Boys Who Write is an innovative online program designed to offer boys aged 10-14 live, interactive sessions led by a mentor. Sessions resemble online streams or interactive immersive storytelling. The pilot program we’re building is more than just an initiative—it’s a response to a challenge I’ve witnessed throughout my career as a classroom teacher and curriculum designer: the widening achievement gap between boys and girls in literacy.

For years, I’ve watched boys disengage from reading and writing, falling behind their female peers. This gap doesn’t just affect academic performance; it impacts confidence, communication skills, and future opportunities. Boys Who Write is my opportunity to address this challenge head-on, creating an innovative program that sparks enthusiasm for literacy, fosters creativity, and builds community among boys aged 10-14.

Envisioning a new solution into existence

The work began with designing the pilot program, a task that required imagining something entirely new. Boys Who Write isn’t a traditional classroom or another online course; it’s a dynamic blend of live, small-group mentorship, creative writing activities, and immersive storytelling experiences. Our sessions take inspiration from the engaging formats of gaming streams, travel shows, and role-playing games. This approach transforms literacy from a solitary or academic task into a collaborative, exciting adventure.

An essential part of my role has been inspiring and recruiting stakeholders. Boys Who Write aims to be a partner to afterschool programs, educators, and parents who share our vision of re-engaging boys with literacy. From collaborating with partner organizations like KIPP Schools to building relationships with mentors and writers who lead sessions, every connection strengthens our mission. We’ve designed a flexible program that integrates seamlessly into existing afterschool structures, offering both in-person and remote elements to meet diverse needs.

Why this work matters to me

As an artist, I’ve always been drawn to creating what doesn’t yet exist. This project challenges me to blend artistry with pedagogy, crafting experiences that are not only educational but also emotionally resonant and visually compelling. The curriculum incorporates customizable storytelling tools, online games, and collaborative writing platforms. These tools empower boys to explore their identities, share their voices, and connect with peers in meaningful ways.

The gap in literacy achievement isn’t just a statistic—it’s a reality I’ve witnessed firsthand. Boys who struggle to engage with reading and writing often internalize those struggles as personal failures. By creating a program tailored to their interests and needs, Boys Who Write aims to rewrite that narrative. It’s about more than academics; it’s about fostering a love for storytelling, building confidence, and providing a space where boys can thrive.

One of the most rewarding aspects of my work with Boys Who Write is the opportunity to collaborate with two exceptional individuals who bring deep expertise and shared history to this project. Our combined experience and synergy fuel my commitment to creating something truly transformative for boys’ literacy and personal development.

Shaila Kapoor, the founder of Boys Who Write, has been a vital force in bringing this vision to life. I first met Shaila when she and her husband were part of the founding families at Khan Lab School, where I worked to implement a groundbreaking approach to education. Shaila’s passion for individualized learning, her belief in empowering students with responsibility, and her appreciation for big ideas made her an integral part of the success of that innovative project. Her leadership and drive are crucial in shaping the mission of Boys Who Write, ensuring that we emphasize creativity, independence, and accountability for every student.

Alex Hunziker is another collaborator whose contributions are indispensable. Alex and I first worked together at Project Ember, where we empowered kids aged 7–15 to dream big, wield power tools, and build rollercoaster-sized, rideable structures. Project Ember used large-scale, whimsical creations as a stage for fostering personal growth in a vibrant, supportive social environment. During the pandemic, Alex led the development of an online afterschool program for Project Ember, a project I supported as part of the camp’s business development team. I saw up-close Alex’s innovative approach to online programming and his deep understanding of group dynamics left a lasting impression on me and my work in the classroom as well as educational technology tools.

What makes Alex’s contributions to Boys Who Write especially meaningful is his academic background in sociology, with a focus on how recent cultural and online trends influence boys and ideas about masculinity. His insights are invaluable as we design a program that challenges stereotypes and offers boys a positive and empowering community.

Both Shaila and Alex bring unparalleled expertise, creativity, and dedication to this work. Their presence not only strengthens Boys Who Write but also inspires me to invest deeply in realizing this vision. Working alongside collaborators I trust and admire is a reminder of how meaningful it is to take on challenges as a team, and together, we’re committed to building a program that reshapes boys’ educational experiences for the better.

As we prepare to launch our pilot program, I’m energized by the potential impact of Boys Who Write. Our vision extends beyond individual sessions; we aim to build a movement that reshapes how we approach literacy for boys. With every story written, every idea shared, and every connection made, we are helping boys discover the power of their words.

This is just the beginning of the story. I’m grateful to be part of an initiative that combines my passion for education, my love of art, and my belief in the transformative power of storytelling. Together, we’re creating something that’s never existed before—and that’s what makes this work so exciting.

This acrylic on raw linen captures a fleeting, joyful moment from a life-changing week in March 2002. Painted in just two days, the vibrant and spontaneous brushstrokes reflect the energy and warmth of the kids who attended the afterschool and summer program I founded in Miami in 1995. The painting draws from three photographs for reference, merging them into a dynamic composition full of smiles, bright colors, and playful details that celebrate the vibrancy of Miami—a city I deeply love.

The raw linen surface gives the piece a tactile immediacy, while the “one-shot” technique speaks to the urgency of capturing something true and unpolished. Each face is a memory, a story, a reflection of the life and love that this program brought into my world.

This painting, my last for a while, marked a turning point in my journey. After spending a week volunteering and reconnecting with the program in 2002, I returned home with a renewed sense of purpose. By September, I had begun my career as a first-year teacher in Washington, DC. This artwork stands as both a celebration of the past and a bridge to the future—a testament to the power of service, connection, and creativity.

LIES!

A long, lean stretch of red, this painting is a scar—a remnant of something scraped away, built up again, and scraped away once more, until the layers told their own story. The canvas, nearly three times as long as it is tall, suggests a horizon, but of what landscape? It glows with the warmth of an ember, the cool ache of a distant sun. Red upon red, scarlet chasing crimson, the surface is restless, textured, alive with its own contradictions.

The title, LIES!, announces itself like the opening chord of an old rock song—loud, unapologetic, a little bit insolent. But the longer you look, the quieter it gets, the more you begin to wonder: What lies beneath this red? What lies were painted over? And what lies have been left behind, hidden in the cracks and ridges of the gesso, the faint shadows of what came before? This is a painting of revisions, of impatience, of wanting to create something dazzling and true—and of realizing, in the end, that truth often comes only after a long parade of false starts.

 

“Position of Honor” is the culmination of a lifelong exploration into identity, citizenship, and the complex interplay of personal and cultural values. This large-scale work, with its reversed American flag as its centerpiece, invites viewers into an intimate dialogue with the artist’s evolving understanding of what it means to be an American, a worker, a creator, and a participant in the grand experiment of democracy.

At first glance, the reversed flag may strike some as provocative, but its meaning is far from a statement of protest. Instead, the reversed flag mirrors its placement on the uniforms of American soldiers, known as the “position of honor.” This detail is often unnoticed or misunderstood, much like the subtle dynamics of identity, responsibility, and stewardship that the painting aims to explore. For the artist, the flag symbolizes both a connection to their fellow citizens and a challenge to reflect on the America we are collectively shaping. “I hope viewers don’t overreact to the reversed flag,” the artist explains. “It’s not meant to be provocative in the way an upside-down flag is. It’s an unexpected feature—just as it is when people notice it like this on a uniform. I want the American viewer to know I identify with them, and maybe ask: Is this the America we designed or is it going along in a way that no longer makes sense? Are we using the tools of democracy as our founders trusted that we would? We cannot abdicate our stewardship as citizens.”

 

 

The journey of “Position of Honor” began in 1995, during the artist’s first steps into the business world after earning a painting degree at Virginia Commonwealth University. While establishing OliveTree Studios, an art and internet design business in Richmond, Virginia, the painting emerged as an abstract experiment, with large, generic forms and a dominant green palette. At the time, the artist was navigating the challenges of entrepreneurship and grappling with the complexities of capitalism, competition, and collaboration.

Over the years, the painting evolved in tandem with the artist’s life and career. A second phase introduced a grid of squares and rectangles, layering vibrant and pastel colors in washes upon washes, creating textures that spoke to new ideas and discoveries. “I paint slowly, letting the work hang in my home, where I see it every day,” the artist shares. “I make deliberate choices about each step, but when I paint, I let the paint go free. I don’t hold back. I look for every way to let it do something unexpected and magical.”

Natural weathering also played a role, desaturating some areas of the painting and lending it a patina of experience. By embracing layers that leave earlier phases visible, the artist reflects a belief that past learnings, ideas, and even mistakes are essential to growth.

 

The final phase of the painting emerged as the artist’s reflections turned inward, inspired in part by a close friendship that had diverged onto a different path. The title, “Position of Honor,” carries a personal resonance that the artist prefers to keep somewhat private but connects to the broader themes of responsibility and identity. “While we once walked in lockstep in the same place and time, danger and opportunities calling us, we went very different ways.” But there is a personal and universal question here for all Americans.

As the reversed American flag came into focus, so too did the painting’s ultimate purpose: to reflect the artist’s lifetime of questions about what it means to be part of a nation, a community, and a family of workers, creators, and thinkers. It asks the viewer to consider: Are we honoring the legacy of those who designed the tools of democracy? Are we rising to the challenge of shaping a better America?

 

 

Creating the cover art for Wesley and the River Run was a deeply rewarding experience for me as an artist. My goal was to capture the heart of Marc DeAngelo’s inspiring story—a tale of perseverance, self-acceptance, and friendship—in a single image. From the rippling waters to the subtle hints of Wesley’s journey, every detail of the cover was crafted to draw readers into the world Marc so beautifully created.

This cover marks the first time my artwork has been featured on a book, and it’s a milestone I’ll always treasure. But it’s far from the beginning—or the end—of my creative partnership with Marc. When Marc DeAngelo first approached me, he envisioned an eight-page children’s book—a whimsical story brought to life through vibrant illustrations. As an artist, the prospect of illustrating my first children’s book was thrilling. But from the moment Marc began describing his vision, I felt a gut instinct that the story he was trying to tell was much more complex than what a children’s book could capture.

Marc’s initial concept was inspired by classic illustrated children’s books like Curious George, but as we delved deeper into his ideas, it became evident that the themes and backstory were far more intricate and mature than what would typically engage a young child. While I poured my heart into creating sketches and fully illustrated layouts—some spanning 30-40 pages—I kept an open mind about what the project could become. The more we discussed, the clearer it became that this was not just a children’s book; it was a story that needed to be fully developed as a young adult novel.

Wesley and the River Run is an allegorical tale about a boy who enters a river rafting race only to find himself without a canoe or paddle—just a life jacket—while the other kids are fully equipped. This narrative reflects Marc’s own journey through public education, where he struggled with undiagnosed dyslexia for years. It wasn’t until high school that he met a teacher who helped him understand his learning challenges and begin to develop strategies to succeed. Marc often said he felt like he was “up a creek without a paddle” throughout his educational journey, a sentiment that deeply influenced the story he wanted to tell.

The story is also a relatable coming-of-age tale, resonating with many who have faced similar struggles. Given my long relationship with Marc—going back to our early days as young artists performing together—I had a unique perspective on his journey. I was aware of his challenges with dyslexia from early on, which allowed me to deeply connect with what he was trying to express. My role quickly expanded beyond just illustrating; I became a consultant and collaborator, helping Marc shape his manuscript into something that truly reflected his vision.

In addition to my background as an artist, I offered Marc the perspective of an educator and creator of innovative learning experiences. This experience was instrumental in guiding the narrative and ensuring that the themes resonated with the young adult audience we were aiming to reach. Despite my initial excitement about illustrating my first children’s book, it became clear that the subject matter didn’t fit into the children’s section of a library. Marc wanted to explore themes like self-harm and other mature topics that required a different format. I encouraged him to focus on the manuscript, and over time, it grew into something much more substantial—eventually exceeding 100 pages. When Marc was finally satisfied with the manuscript, he was able to move forward confidently into the drafting process, knowing that he had created something he was proud of. While it was disappointing not to include illustrations in the final work, it didn’t matter to me. What mattered was bringing Marc’s dream to life.

Since the publication of Wesley and the River Run, I have created a website that seves as a hub for the book’s sales, real world events, promotions and social media advertisement. Marc has held numerous book signings and events, using these opportunities to discuss his thoughts on the public school system and teacher training. These events have also brought out many of the real-life people who inspired the characters in the book, allowing them to engage with Marc’s readers. I’ve written all of the press releases and social media promotions for the website supporting these events, helping to bring Marc’s story to a wider audience.

Our collaboration didn’t end with the book’s release. I’ve continued to work with Marc on developing the project into an audiobook. I introduced him to the narrator, Mike Leverone, a close colleague and fellow musician from Washington, DC. Marc was deeply moved when he heard the first drafts of the narration, as Mike’s performance captured the emotions Marc had poured into the story.

With the audiobook release, I was tasked with creating a new cover. The original self-published cover art Marc created on Amazon didn’t quite meet the standards for the audiobook release, so Marc asked me to create a new cover for a second edition of the book and digital collateral for the audiobook on Audible. I was thrilled to add my artwork to the cover of Marc’s amazing story. The cover features the iconic paddle smashed against the rocks—a climactic moment in the book that symbolizes the heartbreak and struggle that Wesley endures. The new design is modern, with a hand-created typographical treatment that I’m excited to see in print.

Beyond Wesley and the River Run, I’m also consulting with Marc on his second book, a tribute to his hometown in New York. Our journey together has been long and fulfilling, and I’m grateful to have been part of bringing his stories to life. The evolution of Wesley and the River Run from a simple children’s book to a fully developed young adult novel is a testament to the power of collaboration and the importance of trusting your instincts.

“Cowgore” is a striking painting that juxtaposes nostalgia with an unsettling reaction, borrowing well-known images from popular culture to evoke a sense of discomfort. The composition is a hyper-close-up view of what appears to be the yawning mouth of a cow devouring cheeseburgers with anthropomorphic eyes. Upon closer inspection, it becomes clear that the cow is an image from “Steamboat Willie,” the iconic Disney cartoon in which Mickey Mouse opens a large cow’s mouth and plays a xylophone on its lower teeth. However, in this painting, the lower teeth are obscured by two distressed and demoralized cheeseburger characters from the 1980s McDonaldland advertisements, adding a layer of eerie unease to the scene.

Rendered in watery layers of acrylic paint, “Cowgore” mirrors the flat, cartoon-like colors of its source material, though these colors are faded and washed out, diverging from their original saturated inspiration. Charcoal is used to recreate the harsh lines where the original cartoon figures had sharp ink outlines, further enhancing the distorted and haunting quality of the work.

Beyond its initial visual impact, “Cowgore” speaks to deeper themes of commercialization and the commodification of food in American culture. It comments on how powerful, well-financed marketing campaigns have manipulated the emotions and misplaced loyalties of many Americans, often at the expense of their health. The transformation of food into a product driven by profitability has led to the inclusion of dangerous chemicals and plastics in many consumables. The painting serves as a stark reminder of how far removed our food has become from its natural origins, prioritizing profit over nutritional value and safety. By using familiar, nostalgic images in a disturbing context, “Cowgore” challenges viewers to reflect on the darker side of consumer culture and the consequences of prioritizing profit over well-being.

In my experience, innovative educational experiences are vital to engaging students today. In 2018, The Dan and Lillian King Foundation, a non-profit serving 8th graders in Monterey County, embarked on an extraordinary project to enrich the educational journey of students learning about the US Constitution. This initiative was captured in the documentary film 9000 8th Graders by Terri DeBono and Steve Rosen of Mac+Ava Motion Pictures which chronicles the remarkable field trip where thousands of students traveled to San Francisco for a live performance of the musical Hamilton. I had the privilege of working with the King Foundation to create curriculum and a website that not only showcased this memorable experience but also provided educators with resources to enhance their teaching of the U.S. Constitution.

The project was a monumental undertaking, supported by the generosity of the King Foundation, aimed to bring U.S. history and the Constitution to life for every 8th grade student in Monterey County. Whether students attended public schools, private schools, charter schools, or were homeschooled, they were all offered a ticket and transportation to see Hamilton. This endeavor spanned several months and involved meticulous planning and coordination to ensure that every single 8th grader could partake in this unique learning opportunity.

The King Foundation purchased thousands of seats across multiple performances, effectively filling the theater with young, eager learners, many of whom had never visited San Francisco. The presence of so many excited students did not go unnoticed by the cast and crew of Hamilton, who took time to interact with the students, answer their questions, and encourage their educational pursuits.

 

Showcasing the Documentary

My role in this transformative project was to design and develop a website that would serve multiple purposes. The primary goal was to create an online space to showcase the documentary film, capturing the excitement and educational impact of the field trip. However, the vision extended far beyond merely displaying the film.

The website needed to be a dynamic platform that invited its audience to see the film as well as submit requests to show the film at public events. This also meant that the website needed to serve as a hub to coordinate those events and advertise their availability to the public, especially after the much anticipated release of the film.

 

Educational Resources and Lesson Plans

Understanding the importance of extending the impact of this field trip into the classroom, the website also provided a rich library of resources for educators. These resources were designed to help teachers integrate the documentary into their curriculum, particularly in the context of teaching the U.S. Constitution and American history.

To complement the documentary, we developed lesson plans that included hands-on learning activities. These plans encouraged students to engage creatively with the material, such as by writing their own lyrics inspired by the Hamilton soundtrack or performing scenes from American history. The goal was to foster a deeper understanding of the historical events that shaped the Constitution by allowing students to actively participate in the storytelling process.

In addition to traditional lesson plans, the website offered various creative outlets for students to express their understanding of U.S. history. This included opportunities for students to create their own performances, whether through music, theater, or digital media. By providing these outlets, we aimed to make the study of history more interactive and relatable for students.

 

Working with the King Foundation on the “9000 8th Graders” documentary and its accompanying website continues to be a deeply rewarding experience. It demonstrates the power of combining innovative educational experiences with modern technology to enhance learning. Through this project, thousands of students had the opportunity to experience history in a vivid, engaging way, and educators are equipped with valuable resources to continue inspiring their students.

The legacy of this project continues as the website remains a testament to what can be achieved when educational initiatives are supported by visionary organizations like the Dan and Lillian King Foundation. By bringing history to life, we not only enrich the educational experiences of students but also inspire future generations to value and understand the significance of the U.S. Constitution.

 

In the heart of downtown San Jose, City Fish has long been a beloved culinary destination. Recently, this iconic restaurant added a new layer of charm and community spirit with a seventeen-foot mural that I had the privilege of designing and painting. The project was born from a conversation with Daniel, the franchise owner, who wanted a mural that would reflect and invite the community into his flagship restaurant. His vision was clear: something that children would find captivating and fun while their parents perused the menu, and a piece that would represent the diverse community in downtown San Jose, from City Hall workers to Sharks fans, transplants to natives, SJSU students, and the all of unique neighbors who share the city and it’s annual heartbeat of community events, sports, music, culture, art, and most importantly- positivity and fun!

 

San Jose as a Sunday Comic

Drawing inspiration from the boundary-pushing style of Sunday comics, particularly the works of Bill Watterson. I envisioned a mural that would break traditional frames. I loved the way comics could have drawings and story both inside and outside the panels, with monochromatic backgrounds contrasted by panels with vibrant, saturated colors to tell both main story and context simultaneously and also chronologically. Influences from San Francisco comic book artist J.H. Williams and San Jose artist Patron, a previous mural collaborator with me, also played a role in imagining the concept. Williams’ unique comic panel layouts and static-yet-animated storytelling, combined with Patron’s attention to subtle detail and layered complexity, inspired me to create a mural rich with visual depth and striking panels.

The mural’s background is painted in Pacific blue, echoing the colors of San Jose’s hometown NHL team, the Sharks. It features a monochromatic line-painting of a somewhat realistic view of Santa Clara Street and the neighboring City Hall. This section meticulously captures San Jose City Hall’s iconic dome and several historic buildings on the block, including the “Italian Bank Building.” The street view vanishes into the vibrant cultural hub of East San Jose, adding a touch of authenticity and local pride.

The comic strip panels within the mural celebrate various iconic San Jose events and landmarks as well as my own experience in downtown San Jose over the past ten years. I have especially fond memories of and wanted to commemorate: Jazzfest (Summerfest AND Winterfest), Christmas in the Park at the Circle of Palms, the Sharks entering the SAP Center ice, and the vibrant street festivals that define San Jose’s communal spirit and annual heartbeat driven by these and other community events. Each inset panel is whimsically reimagined as if San Jose were inhabited by human-fish hybrid characters. The NHL Sharks are depicted as literal sharks, while the SJSU Spartan becomes a goldfish headed ancient soldier surrounded by jellyfish and fish-faced students.

The mural features several characters who are directly connected to and inspired by real world people. This was my favorite way to add character and detail to this mural as I developed it. I wanted to tribute a friend, make a specific person smile and laugh when they saw the painting, or add unique detail by including someone who had made a significant mark on my experience living downtown. These “Eatser Egg” tributes and references include:

My Summerfest jazz fish-musicians were originally drawn to tribute the Monterey Bay Aquarium, connecting several of my early bay area loves. But during the painting, I made a last minute switch in the design to change one character to refer to a Pokemon that I was hunting! My daughter and I got to know each other and bonded over Pokemon Go in 2015 and it continued to be a fun way to bond and connect in 2020. So in a funny, joyful and unique way, Pokemon Go represents, for me, a huge connection to the grind of building my family and my home over ten years in San Jose. My daughter and I got ADOPTED in Jan 2020 right before I painted this mural in March of 2020, so I wanted to connect a Pokemon into a panel to remind myself of that joy of becoming a Dad in San Jose.

One panel pays tribute to my neighbor Florina, another SJ transplant, who is tributed here as I remember her skating in the Circle of Palms during Christmas in the Park. Florina was my neighbor for several years, and was always a great and loyal friend to my newly forming family. We met when she showed up at one of our annual 4th of July parties, and introduced herself with an inspiring story of self assurance and liberation. We became fast friends. Over the years, I learned that my friend helped to create software that verified the first free elections for Romania, and was an exceptional figure skater. She could be found every week, in the evening all winter long gliding around the Circle of Palms, a place where I also have many fond memories with family and friends.

Community Collaboration and Creation

Painting the mural was a labor of love, completed over thirty nights after City Fish closed each evening. During this time, my best friend John Louis-Jean and his family, who had recently moved to San Jose, were staying with me as they looked for their new home in the Bay Area. The COVID-19 pandemic hit during this time, but for us it brought a silver lining of spending quality time together that we never could have found in our adult lives.

John is a talented artist, writer and music producer from Miami and we engaged in several creative projects during this period. Among my favorite collaborations was working on the City Fish mural every night. We pushed each other to new heights of creativity and skill, laughing, telling stories, and deepening our friendship of over 25 years. When the mural was finished we both brought our mothers to San Jose to enjoy lunch together with our biggest fans while we chatted about our favorites aspects and experiences in creating the mural (as well as revealing a few SUPER secret easter eggs we included for our family!)

The mural’s creation was also a communal effort, with several local artists joining for an evening of painting. Ken Thrift, a well-known San Jose abstract painter, and Ny Nguyen, both co-founders of the local “Painting Party” group-paint-along events with me in 2014, contributed their talents. Their involvement added to the mural’s richness and diversity, truly making it a product of the community.

Ny Nguyen, a San Jose native, is an outstanding painter and accomplished designer. I have learned more from Ny about painting than from any teacher I had in college or elsewhere- and I say that with apologies to those great mentors, but Ny really pushed me and kept me accountable to my goals in ways I had never been challenged. We painted together for hours and hours on Sundays over the course of two or three years at our Painting party events, co-created with Ken Thrift. We created these events to allow ourselves to get to know each other’s work and give each other critique in the knowledgeable way that comes from an ongoing relationship. It was like going to the gym with gym buddies, but for painting. And we always invited drop-in painters, neighbors and those completely inexperienced in painting to join us, always keeping communal canvases and paints on hand at the events.

Ny and his partner are responsible for painting our some of the most beautiful elements of the background depictions of Santa Clara Street. Ny is also responsible for pushing the creative element in these detail scenes by challening me and holding em accointable once again, in the doldrums of the grid that small details can be, to create beyond my dream at every step and I am greateful to him once again.

Ken and I became friends within the first hour of our meeting, discovering that we shared a dedication to painting and music. I love Ken’s abstract work for his color pallette. I love vibrant and saturated colors, and Ken works with these types of colors but create a color palette that is so RICH! He pushed me on color choice for hours night after night on this mural and he really brought me and this mural’s color to another level through his feedback and input.

Painting this mural in downtown San Jose was so significant in connecting me and rooting me into downtown San Jose. I’ve moved every 8-12 years throughout my life. As a result, while I have fond memories and attachments to many places, I can’t really call anything home, describe where I grew up, or long for a place to return to. So I have some pride in choosing San Jose and simply building a home and connecting to a community that is as eager to be found as I was to find it. The gift of opportunity to contribute a piece of public art in the heart of downtown, really makes me feel like I belong here.

For me, the mural at City Fish is more than a mural; it’s a celebration of San Jose’s spirit and diversity. I hope that it invites everyone to see themselves in its vibrant scenes, whether they’re newcomers, or long-time residents. I hope that it is a testament to the openness, friendship and connection and liveliness in our community, and that it reflects the uniqueness of our esthetic that make San Jose (in my opinion) the best place for community and belonging.

Next time you’re downtown, stop by City Fish, enjoy a delicious chowder or fish and chips, and take in the mural that I hope encapsulates some of the fun and character of San Jose. Whether you’re a local or a visitor, I hope that there’s something in it for everyone to enjoy and connect with.

As an elementary school teacher in the Washington D.C. metropolitan area for ten years, I have had the privilege of shaping young minds and fostering a love for learning. One of the most rewarding aspects of my career has been reconnecting with my former students as they enter the workforce, college, and their careers. This journey of reconnection has not only brought immense joy to my life but has also reinforced the impact my career and the job satisfaction I get from being a public school teacher. While I also have filled my time and enhanced my career with several contract and self generated ideas, businesses and opportunities, public school teaching has occupied 12 years of my career and colored much of my identity.

One of the most profound influences on my own teaching journey was my former 8th grade English teacher, Ms. Genie Rosebrock, who reconnected with me during my time in graduate school. She became a mentor, offering unwavering support and encouragement throughout my journey to becoming a teacher and throughout my career. Her handmade holiday cards, phone calls during difficult times, and even the very same lesson plans from my days in her classroom – she shared a great deal with me. And those gifts became an essential part of the career I built in education. Her dedication to teaching with passion and understanding, rather than being preoccupied with test scores and rigid systems, motivated me to prioritize building strong relationships with my students and their families over the conventional culture of parents, teachers and students.

In my own teaching practice, I have strived to emulate the qualities of the teachers who inspired me. I have made it a point to reconnect with my former students whenever they reach out on social media. These reconnections have proven to be a source of mutual encouragement and pride. Recently, I took a proactive approach by reaching out to my former students who are now embarking on their careers, inviting them to participate in virtual career day Zoom calls with my current students. During these weekly Wonder Wednesday sessions, I have invited several former fourth, fifth and sixth graders to talk to. my current student about their jobs and emerging careers. Students met and asked questions to learn about careers in chemistry, medicine, accounting, information technology, and rescue service careers.

These virtual interactions have been incredibly fulfilling. They allow me to continue encouraging and celebrating the achievements of my former students by showcasing them as role models to my current students. During these sessions, my former students share their experiences, answer questions, and connect their elementary school learning to their current careers. This connection helps my current students understand the practical applications of the skills they are developing and provides them with real-world examples of success.

One of the highlights of these virtual career days is the Q&A session. My current students eagerly ask the guest former students about their time in my class, often digging up the funniest or most unexpected stories. It’s always surprising to see what moments have stuck with them over the years. These interactions create a vibrant and engaging atmosphere, where students from different generations encourage each other in their learning and celebrate their identities as lifelong learners.

Reconnecting with my former students has been a profoundly rewarding experience. It serves as a reminder of the lasting impact teachers can have on their students’ lives and the importance of nurturing those connections. I am grateful for the opportunity to sit at the crossroads of generations, fostering a sense of community and shared success. As I continue to encourage my former and current students alike, I am filled with pride and joy, when I see over and over again that the seeds of learning we plant today will continue to grow and flourish for years to come.

In the ever-evolving landscape of education, collaboration and innovation are key to creating impactful learning experiences. My professional journey over the last ten years has been profoundly influenced by my partnership with the futurist Richard Tavener, founder of Fused Learning and GiFT California. Our shared passion for creative learning experiences and commitment to fostering a world of hope and thriving success for students have led to numerous successful projects that have enriched the educational experiences of students and educators alike.

 

 

I first met Richard Tavener while I was serving as the Director of Learning at RAFT (Resource Area For Teaching), where Richard and I we collaborated as advisory panel members to the Region 5 STEAM Steering Committee. It is imporant to mention here, that all of the credit for The Region 5 STEAM Steering Committee’s work and existence goes to Mara Wold, Region 5 Extended Learning director and her team especially, Letty Gomez-Gong. I do not intend to state that our work here encompasses the entirety of these amazing programs either, but simply to state that this was the work that created the foundation for my longtime  collaborations and friendship with Richard and his family.

While these educators too often receive little or no training in education practice or content, this initiative empowered afterschool and summer school drop in program staff with the skills and knowledge needed to deliver high-quality STEAM (Science, Technology, Engineering, Arts, and Mathematics) education. We worked together with the steering committee team and several dozen staff from the region’s extended learning programs to develop a free training program for after-school and extended day learning staff throughout the Bay Area region and beyond.

We participated together in bi-monthly meetings and collaborations to help design the trainings as well as co-leading the monthly and multi-year cohort training sessions, bringing the best of all of our organization’s ideas, staff and resources to the table for the region. By working with these cohorts of staff from afterschool, or summer progam staff year over year, we saw great progress in the represented program’s access to STEAM learning throughout their programs. And the staff were highly engaged as we co-held the roles of decision-making, leadership and learning.

I think this mutual dedication and motivation that Richard and I shared enabled us to create a great deal of trust and I began to see him as someone who I could count on to help me brainstorm a big idea or organize a large project or event. Richard became one of the people I am eager to collaborate with on any project because I know the project goals will always come first and the creative boundaries would be endlessly wide.

 

 

As I advanced in my career, taking on roles such as Director of STEAM and Director of the MCAET TV studio, Richard and I were fortunate to continue to find opportunity to collaborate as he has remained a close partner with Region 5 and the Monterey County of Education. While I was at MCOE, we produced a game-show style learning experience for student teams that challenged students in Monterey County students to rapidly prototype engineering solutions to help them imagine sustainable futures in various scenarios. We filmed four episodes before production was halted by the COVID-19 pandemic. While I hoped to see the project become an original series for MCAET, it was lost in the pandemic churn and turnover. However the project has been revived as a live game show experience for afterschool programs like the Boys and Girls Club around south Santa Clara county.

 

 

Innovating for Better Online Experiences During the Pandemic Shutdown

Despite the setback, Richard pivoted to focus on the online live experience space and continued to innovate with live virtual experiences during the shutdown. At this time I was also grinding through the design process of creating engaging online video collaborative learning experiences for students stuck at home during the summer with Project Ember. I engaged with Richard sevel times to compare notes and share ideas, and he often brought me onto his larger projects to help re-create the gravity of large events in a zoom space.

As the world shifted dramatically in response to the COVID-19 pandemic, the landscape of education and professional development had to adapt rapidly. During this challenging time, I had the opportunity to collaborate with Richard and Fused Learning, leveraging skills from my first career in visual design and video production to create innovative solutions for “large scale” virtual events. This included crafting promotional videos according to specs and design requirements across several brands or guests as well as co-producing live broadcasts that resembled the in person entertainment that guests expect from the events. We created a comedy “quiz show” for vendors to showcase themselves, concerts, and stand-up comedy shows, all aimed at enhancing the online environment and fostering feeling of community and connection their members needed especially during the shut down.

One of the most significant projects I worked on with Fused Learning was the 2021 Beyond School Hours Conference. This national educators’ conference, traditionally hosting over 1,000 attendees, had to be quickly transformed into a virtual format that provided a the same rich interactions, networking, sales leads, and badly desired community to its attendees. Our goal was to ensure that the online experience provided the same, if not greater, value as the in-person event. This was an exciting yet daunting challenge that required creativity and technical expertise.

To replicate the energy and engagement of a live conference, I helped produce several edited videos for the opening party. These videos were designed to create the feel of a live event, featuring key personalities in fun and engaging segments. With a visual design forward approach I created several pre-produced works that included well known leaders and attendees dancing with the “Live band” hired to preform both at the show and through a pre-recorded concert in their private studio. This approach helped set the tone for the conference, making attendees feel energized, connected and immersed in community from despite not being able to be together.

 

 

A highlight of the project was creating a series of videos for Malcolm Mitchell, an award recipient for his Read with Malcolm program. These videos celebrated his achievements and provided inspiring content for the conference attendees. Working on these videos was particularly rewarding as they highlighted the impact of literacy and education, resonating deeply with the conference’s mission.

After the event, Malcom’s team was so enthusiastic about the visuals and online experience that we created for Beyond School Hours, that they reached out to Richard to partner on videos for their live “Read with Malcolm” events in schools, many of which would need to occur online that year.

To address the absence of traditional exhibitor tabling, Richard developed several innovative solutions to connect event goers and sponsors including a comedy game show featuring sponsors called Exhibitor Squares! This innovative approach allowed exhibitors to engage with the audience in a fun and memorable way, ensuring they still had a prominent presence at the conference. The game show format added an element of entertainment while providing virtual attendees and sponsor reps with a connecting ice-breaker for networking and a hilarious shared experience.

The success of these projects was a testament to the power of collaboration. Working closely with Richard Tavener and the Fused Learning team, we were able to navigate the challenges posed by the pandemic and deliver a conference experience that exceeded expectations. Our ability to combine creative solutions with technical execution resulted in a seamless and engaging virtual event.

 

Looking Forward

As we move forward, the success from these experiences  continue to inform my work. The ability to adapt and innovate in the face of unprecedented challenges has reinforced the importance of flexibility and creativity in learning design and production. I look forward to continuing to create impactful and engaging experiences for educators and learners alike, whether in-person or online.