A wide shot of a ceramics studio, featuring students working with pottery wheels and other tools.
Redscale image of Claire Fleming seated at a table with their face obscured by a laptop.

Claire Fleming Staples

Lecturer

Bio

Fleming (they/them) is a queer, multidisciplinary artist working at the intersection of somatics, sound, politics, and new media. Throughout their multi-faceted practice they are exploring embodiment as a tool for collective liberation. In their immersive installations of expanded cinema, haptic components direct physical attention by means of vibrations, allowing the participant to move seamlessly through an expanding portal of digital reality while maintaining body awareness. In their live desktop performances a guiding topic propels the viewer on a journey through a deep and eclectic media archive, illustrating political, emotional, and spiritual realities in the familiar intimacy of the personal screen, projected into the shared space. Collaboration and pedagogy are two important vectors of their practice, as a long-term member of underground creative communities in which they are engaged in care work and organizing. They currently work and reside in Chicago, Illinois, where they are a lecturer at the School of the Art Institute of Chicago.

Personal Statement

I organize my teaching practice in terms of three important pillars: Joy, Critical thinking, and Gate-opening. I begin with joy because it is what brings me to the classroom and I think it is what lays the groundwork for everything else to happen. The love of learning and the love of being in community is a constant energy source for me. I want to offer this to my students, to invite them into a lifetime’s supply of curiosity and satiation that a rich learning environment can offer. I have a lot to bring to the table in terms of diverse examples, ideas, facts, artists and artworks, but the glue that brings all these things into meaning and relevance is critical thinking. I want to teach my students, as my teachers taught me, how to ask questions, how to recognize ideologies, how to see things in context, how to consider what lies beneath,  and how to make space for a multiplicity of conflicting truths. The third pillar is about removing barriers, gate-opening: the opposite of gate-keeping. For me this is about sharing freely and openly all that I have to offer, encouraging an environment of collaboration instead of competition, and working to make opportunities and resources available in a spirit of abundance. It is also about constantly making myself aware of the barriers that students face in higher learning institutions, and working to remove them, both in my classroom, and in the larger institution.

Portfolio

Courses

Title Department Catalog Term

Description

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Class Number

1360

Credits

3

Description

This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.

Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems.


Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.

Class Number

1340

Credits

3

Description

In this class we will be learning about and making works that are both somatically engaging and virtually transportive. How can we remain in our bodies while also traveling into different worlds? How can we create portals into a desired reality that we can actually step into?
The course will cover methods of immersive installation including sound, projections, and working in the digital environment New Art City, with 3-D and video elements.

We will be looking at artists like Jacolby Satterwhite, Morehshin Allahyari, Pippoloti Rist, Yayoi Kusama, Tabita Rezaire, D. Denenge Duyst-Akpem, Anti-Body Corporation, Heesoo Leymusoom Kwon, & Peter Burr, and reading texts by Octavia Butler, Robin Wall Kimmerer, Laura Marks, Resmma Menakem , hannah baer and Deborah Kapchan.

Class work will include reading discussions, somatic exercises, and world-building workshops as well as technical demonstrations. Students will work in groups and individually on two major video installation projects, one smaller project, and lead a reading discussion.

Class Number

1207

Credits

3