Lee Dalman

Does your art connect to or take inspiration from any past or present art styles, techniques, or traditions? If yes, how?

Yes, my work is primarily inspired by the “Pet Rock” by Gary Dahl, a 1970s novelty fad item that turned an ordinary stone into a cultural icon through simple recontextualization. It questioned value, authorship, and consumer culture through absurdity. I’m drawn to that same playful spirit, using irony and accessibility to encourage reflection on how we interact with objects, ideas, and each other.

Which elements of art were most important in this artwork, and how did you use them to communicate your ideas?

In this artwork, form and texture play the most essential roles in shaping the concept. The small, rounded forms of the palm-sized rocks convey a sense of care and control. Their manageable scale invites handling and closeness, reinforcing the theme of joy possible in interacting with simple, everyday objects. Each rock’s surface texture, achieved through the combination of paint, clay, and repurposed/found object materials, gives individuality and personality while also highlighting the charm and creativity that can emerge from the regular. The laminated character cards introduce a contrasting, commercial-like texture of glossy, flat, and manufactured surfaces. This smoothness juxtaposes the rough, natural, and handmade texture of the rocks, creating a conflicting conversation between organic and artificial. Naming each object and boxing it in plastic packaging further extends this dialogue.

Can you give a specific example of how you revised an artwork to better apply a drawing and/or design skill?

A specific example of revision came from my video game project, Garment Quest. Initially, the world and user interface/user experience visuals were visually busy and confusing, making it difficult for players to quickly understand the required tasks and narrative. After receiving critiques, I revised the shapes, colors, and number of varied elements to better apply the principles of contrast, emphasis, and hierarchy. This made the designs clearer and more engaging while reinforcing the game’s narrative and conceptual direction.

In what ways did your confidence in art making grow during AP Art and Design?

In my portfolio development, my confidence in art making grew as I learned to approach projects with greater intentionality and cohesion. Through consistent critiques on my tendency toward extensive variety and the revisions that followed, I became more comfortable developing work in series, allowing ideas to build on one another. This process helped me think in layers conceptually, in turn strengthening my planning and execution. Over time, this, too, led to a greater artistic maturity and a clearer sense of direction in my work.

What kinds of critiques and feedback did you receive in AP Art and Design, and how did they help you strengthen your use of design and/or drawing skills?

In AP Art and Design, I often received feedback about simplifying my documentation and collages, since it’s easy to overload the viewer with too many elements. Learning to limit things to the essentials helped me clarify my ideas and communicate them more effectively. It encouraged me to focus on stronger compositions, more intentional use of space, and more refined concepts, ultimately strengthening my ability to balance visual interest with clarity.

What advice would you share with future AP Art and Design students about building drawing and/or design skills?

My advice to future AP Art and Design students is to focus on clarity, cohesion, and intentionality in their work. It’s easy to get caught up in adding variety or complexity, but building strong artistic skills often comes from refining and simplifying. Treat each piece as part of a larger conversation, allowing your ideas to develop across a series—like individual chapters in one big narrative—rather than starting from scratch each time. Additionally, being open and reflective to critique and planning each piece with purpose can greatly aid you in seeing where your concepts can connect more deeply.

How often did your class meet?

Our school in on a traditional quarter system, so we meet everyday for 88 minutes for 10 weeks. AP meets for 2 quarters equaling 1 semester during the school year. Because of the condensed nature of the course, students are required to complete much work outside of class and school hours. I often host open studios on evenings, weekends and breaks from school as well as after the class wraps and before the portfolio submission deadline.

In the 2024-25 school year, 3D AP art and design ran as it's own course with a class of 18 students in grades 11 and 12 over the course of 1 semester on a condensed traditional quarter system. (1 semester in the quarter system = the same number of minutes as 1 year in a traditional 2 semester system)

How did you guide students in developing and refining their inquiry statements and portfolio direction during their sustained investigations?

I like to have one-on-one weekly check-ins to build routine and accountability so students start to understand the pace of the course. Each week, I ask them to restate their inquiry question in a shared feedback doc that allows for ongoing dialogue and reflection. Together, we revisit their inquiries to evaluate whether their weekly progress, new questions, and discoveries remain authentic to their original intent. Over time, Lee began to see their inquiry evolve organically — as questions were answered, their curiosity naturally shifted direction. As we noticed these changes, my role became one of guiding reflection, asking how these new directions connected back to the larger investigation. We came to view the inquiry not as a fixed statement, but as a progression of ideas — a narrative journey rather than a linear documentation of work.

In what ways did you structure opportunities for practice, experimentation, and revision into your curriculum?

One way that I find effective to structure opportunities for practice, experimentation and revision is to tie these ideas into real-world skills. It was important to Lee that this piece really gave the audience a number of ways to engage with the artwork. We discussed how in the toy industry, often times companies will build focus groups to test out the engagement levels of different demographics before launching a product so that they can get feedback and revise their concepts before making it public. Lee took these ideas to heart and engaged peers in a similar process, gaining feedback on the interactiveness of the Pet Rock, the customization options, packaging and likeability of the characters before "launching" them at our annual Winter Art Market. As it turned out, the focus group was very helpful because Lee sold out of the Pet Rocks at the market, and quickly began planning the "next big thing" to be launched at the following spring market (spoiler alert...those also sold out...).

How did you use critiques and peer interaction to support growth in both sustained investigations and preparation for Selected Works?

One structure I implemented this year was weekly "small groups" designed to strengthen both critique and peer interaction. To support growth in students’ Sustained Investigations and preparation for Selected Works, I formed the groups intentionally: pairing a variety of strengths and filling gaps where mentorship or new perspectives could foster growth. Early on, I provided prompts to guide discussion, but as the weeks went on, the groups became self-sufficient. My goal was for students to know each other’s investigations deeply — to recognize the nuances, ask challenging questions, and push one another in a space built on trust, authenticity, and shared investment in their work. This resulted in the most beautifully supportive environment of celebrating our successes and learning from each others failures while navigating the semester together. It also allowed for frank conversations and removal of rose tinted glasses when preparing selected works. Because of the foundation of trust that had been built, students were able to actually hear feedback around curation without feeling emotionally slighted.

In what ways does your school leadership support AP Art and Design students and the broader art program?

Our school leadership is incredibly supportive of our AP Art and Design students. They’ve helped establish systems that care for the whole artist, including check-ins with mental health providers and families for students exploring emotionally challenging topics. This ensures that every student feels safe pushing their creative boundaries while knowing where to turn for support. Each year, the program culminates in a gallery exhibition where students curate and install their own mini-shows, featuring selected works from their portfolios. The event coincides with our Senior Capstone Night, and administration places equal emphasis on the effort and dedication behind both yearlong projects. They’ve made this celebration a cornerstone of our visual and media arts program — fully supporting the customization of multiple spaces and always showing up to celebrate students’ successes alongside their families and friends.

Give students as many opportunities as possible to talk about their Sustained Investigation with someone new! The more they explain their ideas to fresh audiences, the more solid and nuanced their thinking becomes. Each conversation helps them refine their concepts, connect their inquiry to new contexts, and think about it beyond the art room. Encourage parents during conferences to ask questions about it. Assign students to share their work with a relative over an upcoming holiday — someone who will truly engage. Have them seek feedback from another teacher in the building. The goal is simple: make it the norm to always be talking, reflecting, and seeing their inquiry through new perspectives.

The visual arts program in our school is one of the best in the state, and we are constantly amazed by the work our students are creating. Our students have the opportunity to present their work in themed galleries throughout the school year, and we work to foster connections between artists and organizations outside the school walls. We work to prioritize time and opportunity for our student artists to create, thrive, and begin to find their unique signature as an artist.

What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?

Let the teachers and students lead the way.