My undergraduate years at Washington State University (WSU) were my first serious engagement with art and design. Opportunities had been limited in the small town in Eastern Washington where I grew up, a semi-rural environment with limited educational attainment: my high school ranked in the lower 50th percentile of test scores, and nearly 40% of students qualified for free lunch. Raised by a single parent and in need of funds for education, I joined the military. These early experiences were obstacles, but the resilience and adaptability I absorbed from them have also been catalysts for intellectual growth.  They have provided me with a core layer of perseverance and, as my undergraduate studies ignited a passion for creativity and inquiry, shaped my understanding of the transformative potential of learning.

My senior year of design school was a mind-expanding study abroad experience at the University of Westminster (current name) in London. I was immersed in a diverse cultural and academic environment, which broadened my perspective and deepened my love for exploration. Upon returning to the U.S. and WSU, I pursued further studies in sculpture and art history, guided by my first mentor, Jack Dollhausen, an early proponent of computerized art. Inspired by his approach to work, I came to understand that sculpture transcends traditional methods. My early focus on clay and casting, and a subsequent job at an art bronze foundry, would someday evolve into a broader appreciation for how technology could redefine artistic boundaries.

A year studying sculpture and the Italian language in Florence, Italy, marked another pivotal chapter. Continuing to immerse myself in traditional sculptural techniques, I encountered the "pointing machine," a tool that allows one to create what is essentially an analog point cloud. This was my first introduction to using data to describe and translate a surface, planting the seeds for my later fascination with the intersection of traditional and digital methodologies. Competing as a professional snowboarder during this time also instilled in me the discipline and adaptability necessary for navigating both creative and professional challenges.

Graduate studies further refined my artistic focus. Shortly after earning my MFA in Sculpture, I accepted a position teaching Western Art History at SIAS University in Zhengzhou, China, where I was immersed in another rich cultural exchange that further broadened my perspectives. Upon returning to the U.S., early in my teaching career, I identified a gap in available resources for an architectural model-making course I was teaching. In response, I took the initiative to successfully propose, author, and publish a textbook for Fairchild Books, reflecting my dedication to both education and innovation.

In 2013, my journey continued at the University of Washington (UW), when I earned an MS in Architectural Design Computing. As a graduate student, I was deeply captivated by two key areas: developing an effective approach to teaching digital design and exploring the mark-making potential inherent in 3-axis CNC tools, toolpaths, and stepovers. As a sculptor, the figure was a vehicle for form, but my conceptual focus had always been mark-making and surfaces. I saw the 3-axis CNC as a natural extension of this, offering a unique opportunity to infuse digitally fabricated work with a distinct, stylistic approach.

My thesis, “The Y model, simultaneous instruction in digital fabrication and representation” lead to a staff position as the Digital Fabrication technician, eventually transitioning to a lecturer, in the Department of Architecture. Maintaining, repairing, and leading departmental training programs for CNC machines, 3D printers, digitizers, scanners, and laser cutters deepened my technical expertise and allowed me to experiment with unconventional materials. One such experiment sparked the idea of calibrating a laser cutter to etch through paint without piercing the canvas below, revealing the potential to blend analog and digital mark-making in a novel way. This iterative method culminated in “Lockdown Paintings,” a solo exhibition at Seattle’s CORE Gallery. While these experiments helped to fuel my creativity, they also revealed to me the need for further skill development as an artist.

Teaching has always been a cornerstone of my journey, shaping both my personal growth and professional aspirations. From mentoring at-risk youth in art and woodworking to coaching future Olympians, from authoring a thesis on digital education to teaching courses at multiple institutions, I have sought to empower others through education. My recent roles as Multimedia Design faculty and the Design Thinking program coordinator at the University of Nebraska expanded my understanding of interdisciplinary learning and inclusive pedagogy. However, the transient nature of adjunct positions has often constrained my ability to sustain an in-depth artistic practice, further motivating me to pursue this PhD.

A recent public commission reaffirmed my passion for creation and community engagement. Last summer, my proposal, Metamorphosis: An Exploration of Urban Space through Inverted Dimensions, was selected for the City of Auburn’s Art on Main program. Over 60 days, I designed, fabricated, and installed a site-specific 3D-printed installation composed of seventy-eight modular, multi-component discs abstracted from digitization of local architecture and historic city maps. Following the exhibit’s success, I was asked to join the jury for this year’s site-specific galleries.

Despite the project’s positive reception, I found myself reflecting on its limitations and missed opportunities. This realization prompted me to seriously consider the DXARTS PhD program. I have long admired the department’s work and often envied my architecture students who have engaged in its courses. While I once found the prospect of a PhD daunting, I now recognize that its structured, scaffolded curriculum aligns well with my learning style and artistic aspirations. I am eager to integrate my analog and digital expertise with the advanced methodologies I will encounter at DXARTS, fully committing to post-graduate study.

Throughout my career, I have consistently engaged with emerging fields—first as a snowboard coach in the 1990s, then through my work with digital fabrication during my MS in Design Computing. Now, I see AI and machine learning as the next frontier, offering vast, unexplored potential. I am eager to investigate these technologies and others and integrate them responsibly into my creative practice.

Over the years, I have observed artists and designers pushing boundaries through data-driven design, interactive systems, and mechatronics. I deeply admire their technical fluency, collaborative approaches, and the critical questions their work raises. I view this PhD not as a culmination, but as an essential step in my intellectual and artistic evolution. Thank you for considering my application.

Roark Congdon