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Paper, Charcoal, Community Arts, Readings, Reflection

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I tore it, crumpled it and squeezed it with water

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History/Stories:

I have a good relationship with paper as when I was a child, my hobbies would be anything paper can do. Drawing, writing and painting. I also enjoyed cutting paper to make paper dolls. To me, paper is my childhood bestfriend.

Implication to teaching:

Now that I am an early childhood teacher I used paper a lot to my learning experiences. Plenty of possibilities underlies with the magic of paper.

Materiality:

Paper may vary in thickness, texture and even weight. There's so many ways to engage and create with paper. In our class, we made paper charcoal. Children ripped, torn and add water on it. Then we made ball paper and let it dry under the sun.

How material interact with other material?

Paper added with water making it wet and soft. It is evident that paper material interact with other material. Paper absorb water quickly but when it dried under the sun it becomes thicker and organized. This means paper can be transformed in so many ways.

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According to Pachi-Ketchabaw,2016: Encounter with materials and thinking with materials. She noted that we take paper into the studio to pay close attention to it, we find that nothing about it is static and everything is in motion. Things move, our body moves and materials move with a different rhythm. We learn to move materials and attend to the ways we are moved and response.

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With paper materiality, we all wound agree that paper is not only a fun activity. It is everything when it comes to art. With paper, we cannot only create and imagine but connect to the world. As paper is made by tree and tree grows in the land, it is innate the through paper our connection to the world has became stronger and intact. Paper helps in the pedagogical development of the child. Is it through paper that they learnt sensory, fine motors, creativity and lots of movements. Paper is also for all ages. It's learning opportunity is limitless.

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Century Old Bells the church belfry was mounted with century old bells that are separately hung. The bells and the convent of the church of St. Mary Magdalene was accomplish in 1881. According to history, the bells was casted from gold and silver- and echoed chimes audible even in the farthest village.

The Government Hall and Entrance, was constructed in 1936.Engineer Rosario Vallalon designed the structure and Angel Yulo Locsin was the constructure. The concrete structure and its curving (the Eagle and the people with two wings extending) was made clay mixed with cement for preservation.

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“Everything you can imagine is real” according to Pablo Picasco. This means there is no right and wrong in arts nor a perfect art work. In early childhood setting, the implication in teaching arts is a way to further support the children to become more expressive, creative and appreciative to the world. The image of the child describe the child as potential and has the innate skills to connect to the world through 100 of languages. Reggio Emilia approach delivers a picture of how the school and community able to convey this message of freedom and creativity to the child pedagogical development and this is supported by arts and its materiality.

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Paints

Assemblage

Readings

Reflection

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For colours I have used availble material found in the kitchen. Bukchoy leaf and curry powder.

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History/Stories:

Paint can be messy but can bring joy and satisfaction. When I was challenged to explore on paints, I did not hesitate to try because I know paints can take me to the different world and different level of experience. Paint can be sensory, it is fluid that can glide, drift, shiny and sometimes slimy.

Implication to Teaching

We dip, splatter, mark, blend, merge, mix, drop and let the paint flow. Children and adults love paints. The sensory that paints can bring can help the children calm their feeling. Through paint, children are more challenge. What else can we do with paint? What happen is we mixed paint to water, to oil and other fluid? This can open a lot of opportunity for open ended learnings. I could say, paint can be the most over-used resources in arts session.

Materiality

In the absence of paint, we can use natural colours coming from natural materials at home particularly in the kitchen. In session 3 the Assemblage, I have used bukchoy leaves and curry powder to colour my sunflower.

How material interact with another material:

Paint when mixed with water it may became thinner or thicker. When paint is used with rocks and paint it will easily absorb. When paint is properly mixed with other material it may change it properties of how paint will look and feels.

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Will paint absorb evenly on wood? What will happen?

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Making a Clay Assemblage art. Clay, water based paint, pen/markers, acrylic

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According to Vecchi,V., 2015: Poetic of learning in the spirit of studio. Vecchi claimed that scripted paint arts activities that highly scripted, maybe linked to discrete skills and academic knowledge that children want to master. The Pedagogy of Reggio Emilia reflect on aspect called "aesthetic vibration". It is knowledge that can lead to relation of empathy, stimulating to construction and connection.

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Paper is everyone's bestfriend. It is connected to education, profession and used in our daily lives. World without paper is nothing.

Paper has different structure, texture, size and uses. Paper is connected to nature. Paper tells stories and can conceptualised ideas if it is use properly.

In school and in Early childhood industry, paper is the most consumable resources. Children find joys in using paper and adults too.

Arts has become more essential and meaningful using paper as medium. We only let our senses connect and encounter with paper and we will never know how until paper magic happens.

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Paint to me is universal material to create one masterpiece. Children and adults love paints. Aside from its vibrant colours, paints give us a sense of being ones you start moving your hands, your body and brain move as one. When setting up an experience in school, I ensure that each child will enjoy the possibilities and opportunities to explore.

Paints is more than just sensory experiences, it is also a way of thinking and exploring. It may not in paper but also to any other surfaces. Yes, it can be messy but it brings a lot of history and memories. Furthermore, it encourages its own investigation with materials in both human and non-human bodies becomes assemblage itself.

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Lights

Studio

Reflection

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Encounter with Clay

NGV Visit

Stop Motion

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I smashed it, rolled it, squished it and pulled it.

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How did clay react when you pick it up?

When i first held the clay, I felt connected to it. There's a sense of warm that drove me closer to the material to play, manipulate and make my own masterpiece.

What story did it hold? what memories did it bring you?

When I was a child, my grandmother used to cook in a pot made of clay. They owned a small pottery business and I vividly remember how every pot they sell was molded with love and passion. Grandmother taught us how to make plant pot as well. It was a nice experience and it drove me closer to our family history.

How does the material differ to other material?

Just like paper, clay is something that is most popular to the children. Clay is distinguished fine soil, the more water you add it becomes soft and easy to manipulate. The same with other materials, clay offers variety of opportunity for an open-ended play and experience.

What does clay represent in arts?

Clay material help us connect to the real world. It represent our emotions, story holds and history and even evidence of the present world.

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"We think about clay’s demands: when we look at the final product that has been shaped, when the clay goes back to the earth after we have encountered it, when it responds to our movements as we work with it, when it refuses to stay still in one shape, when it flows through the studio in rhythm with children’s movements, when it is cured through intense high heat." Pacini Ketchabaw, 2016.

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My stop motion Animation is about apple. It is timely and connected to our term project “We are what we Eat” which is all about Healthy Eating Habits.

Inspiration and Narrative:

I got inspire by the Apple Porcelain Display at the National Gallery by Li Lihong. It is all about Chinese art practices which depicts so many meaning. To me , the way I look into the art, apple is not only an ordinary fruit nor a well known brand of gadgets nor just an sophisticated art work but it gives deeper message about taking care of our health.

I would like to connect it to my teaching in the centre where we are learning about Healthy Eating habit experiences. I will use this Stop motion Animation to further support my teaching method of encouraging the children to practice what we learn by watching the animation.

Materiality:

I have used clay and form an apple a like material. I have enjoyed playing with clay while bringing me back to my childhood memories how we use play in play. To make it more realistic, I painted it red using a water based paint.

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We had a fun-filled day at National Gallery of Victoria as we had the opportunity to observe, explore and wonder with different art collections.

I was drawn by different materials like canvas, murals, installation lights, statue, lights and shadow and more. But I was struck with Apple porcelain and the Four Season Porcelain art which depicts both health and nature.

I was also connected with different aboriginal art work which reminds me to respect each arts and the message it conveys.

I like how every arts were organised depends on what culture and country and year.

We had great time exploring and learning at the same time.

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Light allow us to see our surroundings, Without light we are nothing. To arts, light play an important role it gives structure to a certain design. It can static, moving and manipulative as well. It can go to a certain distance and it help structure ones arts that can lead to inquiry.

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What is your definition of light:

Light to me is universal. All living things depends to light. To arts, light is essential materiality that leads to creativity, imagination and exploration. Lights reminds us to our connection to the world.

History/Stories:

Light hold memories and ignites feelings. I am happy whenever I see light. It leaves good memories to me especially my childhood days. Lights can be a sign or symbols which means it can be a form of communication that convey ones feelings.

Implication to teaching

I work in a Reggio Emilia centre and we have Atelier were children learnt in so many ways and the natural lights that coming from it help them structure their work like paintings. We make use of using natural lights to produce shadow. Children further explore on lights through the lights and shadow inquiry.

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How does light response to the materials in the environment (exploring light)

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How does light response to the materials in the environment (exploring light)

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I held the torch and pointed it on the mirror. I can see the light reflecting as it was shinning back at me. Light reflect.

I held the torch and point it on the wall. The light was block by the wall. The light stop.

I held the torch and point it on the transparent table. The light has pass through the table it penetrate. Light penetrate.

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According to Pacini- Ketchabaw, 2016: Thinking with Materials. Pacini Ketchabaw claimed that materials, object, places and environment are inextricably bound to experimentation; thus, experimentation was key to our inquiry.

It reveals what human and non-human bodies can do and produce when they encounter each other.

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Light can be anywhere and in everywhere there's an opportunity to unfold new knowledge. Light is one of the basic of life. It does tells a lot of stories and history. It can be static and flow.

As a teacher, the use of light and beyond it can be a great approach to teach not only in Science but in arts as well. Light can structure ones painting, it can be inspiration too, it can be experimented and it can answer many inquiries.

When lights is added to the learning space, a stimulation of knowledge can take place. Lights can be universal as it can communicate through signs and symbols and warning too.

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Studio

Studio Pedagogy

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The studio becomes a place, idea, materials, experimentation, the thinking, learning all tangles up together.

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What is a mini studio and how they might support children/materials spaces?

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What is a mini studio and how they might support children/materials spaces?

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A mini studio is were all the resources, materials for experimentation, movements, construction, creation and investigation takes place.

It has natural lights, sometimes messy and busy table, assemblage, manipulative things, pictures, loose and natural materials.

It support the children investigation to certain things. According to Sylvia kind, 2014: Material Encounter, she claimed that in studio we question rather than accepted what] things were, we asked "what is a painting?" rather than trying to facilitate or plant painting project.

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How does studio perspective (studio lens) support children's ideas through materials

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How does studio perspective (studio lens) support children's ideas through materials

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According to Kind, S., 2014. She said that through studio lens It gives opportunity to investigate and answer their inquiry. The studio perspective follow the rhythms and movements of the studio and wonder, What is the studio? rather than know in advance what it was or should be. Each studio evolved slowly.

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How might you see materials as being intentional element within places/environment.

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How might you see materials as being intentional element within places/environment.

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We are not only interact with materials but we engaged ourselves to experience them differently and intentionally. Materials help us think, provoke our feelings and answer our questions. In early childhood setting, we educators allow ourselves to be entangled with materials as see if our perspective towards certain things shift or change.

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https://youtu.be/QniEOimSLwI?si=en1lObVfsmnbuvOe

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Pacini-Ketchabaw, Veronica , and Sylvia Kind. Encounters with Materials in Early Childhood Education. Edition 1 ed., Taylor & Francis Group, 20 Sept. 2016, p. 105, ebookcentral.proquest.com/lib/vu/detail.action?docID=4649662.

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Pelo, Ann. The Language of Art : Inquiry-Based Studio Practices in Early Childhood Settings. 1st ed., ProQuest Ebook Central, Redleaf Press, 2016, ebookcentral.proquest.com/lib/vu/detail.action?docID=4674378.

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Gandini,L,. Lyne T., Hill,,and Louise Cardwell. In the Spirit of the Studio: Learning from the Atelier of Reggio Emilia. Teacher College Press, 17 Apr. 2015.