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Clay connected me to the earth, offering a sense of history and creativity. I thought about how ancient civilizations have used clay for pottery, tools, and art—their stories of survival, expression, and creativity. Unlike other materials, clay is forgiving in its malleability, allowing me to reshape, smooth, and rework it—though once it begins to dry, I could feel a subtle resistance, like its challenging me to hold its own shape.

In “The Language of Art”, Pelo (2016) describes how children develop a relationship with clay in two stages. In the first step, she emphasizes the importance of children forming friendship with the material, while in the second step, they explore the behaviour of clay. This process ultimately leads to the creation of their final product in the nest stage. (Pelo, 2016). This reminds me my role an educator, that  I should always invite children to engage in the present moment while learning and growing through their hands-on interaction with the material. Because in an early childhood setting, it's not just about the final piece. The process itself—the feel of the clay, the rhythm of moulding and shaping, the exploration of its changes—becomes just as important as the result.

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Boston Children's Museum,( June,2017).youtube video. https://www.youtube.com/watch?v=vHKrH51ygok&t=3s

Centro Internazionale Loris Malaguzzi, 2015. https://www.youtube.com/watch?v=W-R5oXaqs0U

Ipswich Art Gallery, Light play,2016.yoytube video. https://www.youtube.com/watch?v=2nJzsT-S40o

Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024). Thinking with materials. Encounters with materials in early childhood education (2nd ed., pp. 1–23). Routledge. https://doi.org/10.4324/9781003322559.

Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024). Paper: Movements. Encounters with materials in early childhood education (2nd ed., pp. 24–33). Routledge. https://doi.org/10.4324/9781003322559-

Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024). Clay: Ecologies. Encounters with materials in early childhood education (2nd ed., pp. 54–64). Routledge. https://doi.org/10.4324/9781003322559-

Pelo, A. (2017). General guidelines for studio explorations. The language of art: Inquiry-based studio practices in early childhood settings (2nd ed., pp. 17–44). Redleaf Press.

https://ebookcentral.proquest.com/lib/vu/reader.action?docID=4674378&ppg=30

Teaching Expertise, May,2013.Exploring Light and Dark with Early Years. https://www.teachingexpertise.com/articles/exploring-light-and-dark-with-early-years/

Topal, C. W., & Gandini, L. (1999). Listening to children’s thoughts. Beautiful stuff: Learning with found materials (p. 16). Davis Publications.

ISBN: 087192388

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I have realized the vast potential to explore light's qualities and its interaction with materials. It was fascinating to see children experimenting with materials and light, reflected on the large projector in the YouTube videos from Session 10. The Ipswich Art Gallery light show provided valuable insights into how we can introduce light experiments in the classroom. (Ipswich Art Gallery, 2016) However, I have also realized the limitations in resources and hands-on experiences available to us compared to the opportunities children receive in Reggio Emilia kindergartens in Italy. (Centro Internazionale Loris Malaguzzi, 2015)

Since “Experiences involving light and shadow enable children to appreciate the awe and wonder of the world around them and provide a rich environment in which to develop their natural curiosity” (Teaching expertise. May 12, 2013) as an educator, I will always encourage and provide opportunities for my children to investigate how light interacts with different materials and environments and promote curiosity, creativity, and sensory engagement.

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During my visit to NGV , I have encountered with beautiful projections of lights , some of which I will share here.

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'Listening with light' means paying attention to how light interacts with materials and the environment. It’s about noticing how it reflects, bends, or casts shadows, which helps us to become more aware of light’s influence and impact.

For me, to 'Think with light' means using light as a tool for exploration and creative expression. It’s about asking questions and experimenting with different light sources, angles, and materials to understand how light shapes the environment

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Light and shadow are deeply connected. As light interacts with objects, it casts shadows that shape our perception and reveal new perspectives. On the contrary, shadows reveal the absence of light while transparency demonstrates how light passes through materials. Together, they teach us about light’s qualities, like how it can be blocked, diffused, or transmitted.

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How is Light Different from Other Materials?

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How is Light Different from Other Materials?

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Light is different from paper, clay or junk, because it is intangible. Unlike physical objects, light doesn’t have form or texture. It’s also constantly shifting—changing with the time of day, the weather, and our position.

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What is Light Capable of? Incapable of? 

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What is Light Capable of? Incapable of? 

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Light can illuminate, reveal, and transform spaces and objects; shape our perception and influence how we experience the world. However, light is limited by its medium—it cannot reveal anything in complete darkness, and it is incapable of existing without a source.

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Where Does Light Come From? What Makes Light? 

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Where Does Light Come From? What Makes Light? 

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Light originates from different sources, like the sun, artificial lights such as bulbs and LEDs, or natural phenomena like fire. Scientifically, light is made up of electromagnetic waves, with visible light being just a small part of the entire electromagnetic spectrum.

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“Light and darkness hold fascination and intrigue, as well as an element of risk and challenge” (Teaching Expertise, 2013)

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“Light and darkness hold fascination and intrigue, as well as an element of risk and challenge” (Teaching Expertise, 2013)

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As Pacini described how clay in the forest draws attention to land while clay at the river connects us with water, I was thinking about my own experience in Saturday class with peers, in my house alone and at my workplace with the children. In different places in different company and environment, clay required different things from me. “These ecologies demand close attention, nourishment, and situated competencies. They remind us that not everything is a human construction, and each piece of clay acts differently” (Pacini, 2024.pg 59)

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6 main types of clay : Earthenware clay, Stoneware clay, Ball clay, Fire clay, Porcelain clay, and Air dry clay.

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6 main types of clay : Earthenware clay, Stoneware clay, Ball clay, Fire clay, Porcelain clay, and Air dry clay.

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Clay has been used by humans for thousands of years. In Mesopotamia, clay tablets were used for the earliest forms of writing, such as cuneiform, around 3,200 BCE. Ancient Egyptians used clay for pottery, bricks, and religious artifacts, while the Chinese perfected porcelain around 2,000 BCE. Over time, clay became a vital material in daily life and cultural expression, leaving a lasting impact on art and technology throughout history.

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Clay is a versatile material, we can explore and manipulate it in so many different ways- it can be soaked, shaped, pounded, carried, folded, painted, dried, baked and so on. My encounter with clay took me into my childhood, when I used to make dolls, small pots even birthday cakes with clay in my back yard. I feel excitement and joy to have a chance to reconnect with Clay deeply and experiment with it.

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“Clay is living, because it holds potential “to transform relations of care” (Bellacasa ,2015. P- 703).

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“Clay is living, because it holds potential “to transform relations of care” (Bellacasa ,2015. P- 703).

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Ultimately, my journey shows that every object, no matter how small, can spark curiosity and creativity. By seeing junk as a tool for exploration, we can inspire resourcefulness, sustainability, and imaginative play, helping children see the world as full of endless possibilities. “The land “video really opens my eyes to realize how junk materials allow children to explore ideas like structure, balance, and transformation, while also teaching them about sustainability and the value of reusing. (Boston Children’s Museum,2017)

As an educator, it is interesting to observe children how they explore junk/loose parts- how they look, touch, feel, observe, sort and they do all these in their own pace. In “Beautiful things” Topal and Gandini (1999) also stated that some children interested to make new things out of junk, but others just want to touch and feel. We should respect the intention of children and explore the beautiful world of junk with them. (Topal, Gandini.1999)

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During my visit to NGV, I was intrigued by this jacket which was made of recycled paper. I have tried to design and made a top with cardboard and magazine catalogues.

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How Materiality is Linked with Playwork and Junk / Loose parts

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How Materiality is Linked with Playwork and Junk / Loose parts

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The idea of materiality is deeply intertwined with Playwork and the use of loose parts. Materiality emphasizes the interaction between the child and the material world. By exploring these materials (whether natural or repurposed junk),children get the opportunity to engage in creative, open-ended play, and through this play, they explore the physical properties, their texture, weight, value, and environmental sustainability  of materials.

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Unlike traditional playgrounds with fixed equipment, adventure playgrounds often feature movable structures, natural elements, and loose materials like wood, ropes, and tires. This setup allows children to build, modify, and personalize their play spaces, fostering a sense of ownership and resourcefulness.

Landscape architect C.T. Sørensen had designed the first "junk playground" in Emdrup, Denmark, in 1943 where child could express themselves in a free and unrestricted manner. When the “junk playground” concept began to gather momentum, Lady Allen of Hurtwood reinforced the idea to London in 1946. She coined the phrase "Better a broken bone than a broken spirit," encouraging children to take risks and embrace challenges.

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Junk/ Loose Parts in Children’s Play (Benefits and Drawbacks)

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Junk/ Loose Parts in Children’s Play (Benefits and Drawbacks)

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Junk materials foster creativity, imagination, and critical thinking by encouraging hands-on learning and sensory exploration. They promote sustainability and environmental awareness from a young age. However, it’s essential to ensure these materials are safe, clean, and non-toxic, as some may have sharp edges or small parts. While junk modelling can create messes, especially in limited spaces, and may be viewed negatively by some parents, the benefits of using these materials in early childhood education outweigh the drawbacks with proper planning.

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The term "junk" originates from the Portuguese word "junco," which comes from the Malay "jong," referring to large Javanese ships. Initially used for these vessels, the word later expanded to include smaller Chinese boats. By the 14th century, "junk" referred to old, unusable ropes sailors used to plug leaks or discard. Over time, it came to mean any discarded item.

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Junk refers to discarded materials or items that are no longer useful or considered valuable. Junk can include things like cardboard, bottle caps, fabric scraps, paper, plastic containers, old toys, and various other household or industrial items that are typically seen as waste as well as natural elements like barks, leaves, pinecones, flowers, branches etc.

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In "Thinking with Materials," Pacini (2024) states that "Materials can evoke memories, tell stories, inspire actions, and convey ideas." I believe paper embodies all these qualities due to its versatility (Pacini, 2024, p. 1).

Paper offers endless opportunities for exploration, creativity, and learning, allowing children to engage with it at their own pace .As educators, we can introduce paper as a medium that encourages curiosity and skill development, while also teaching children about the importance of sustainability. I believe, “We should oﬀer art materials in ways that communicate both intention and abundant possibilities.” (Pelo, 2016.pg-18)

By using recycled paper, fostering awareness of waste, and encouraging thoughtful handling, we can instil a sense of responsibility in children. Ultimately, paper becomes more than just a material—it becomes a tool for creativity, learning, and environmental consciousness. We oﬀer art materials in ways that communicate both intention and abundant possibilities.

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Paper production has a significant environmental impact. While recycling helps save forests, water, and energy, it still contributes to deforestation, habitat loss, and biodiversity decline. The process uses a lot of water and energy and creates chemical pollution and toxic waste. Paper waste in landfills can also release methane, adding to greenhouse gas emissions.

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I have experimented with paper in different ways ; tearing, crumpling, folding, soaking, throwing paper planes, floating, and more to explore how it behaves.

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Before paper, people used different materials to write and record information. Early writing was done on stone, clay tablets, or bones. In ancient Egypt, they used papyrus, made from a plant, for scrolls and documents. In Mesopotamia, people wrote on clay tablets using cuneiform. The Chinese were the first to invent paper around the 2nd century BCE, thanks to Cai Lun, which changed how we communicate and preserve information, eventually spreading worldwide.

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Paper is an essential part of our daily lives, holding messages, news, art, and meaning. It preserves our past, captures our present, and holds our dreams for the future. Paper is incredibly versatile—it can be folded, torn, rolled, wrapped, wet, dried, ripped, and more. It’s a medium defined by movement, constantly shifting and transforming, never static.

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“Paper yellows and fades over time, it wraps and curls with humidity, becomes more brittle, and shifts in the breeze or with the movements of the bodies in a room” (Pacini, 2024.pg 30)

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“Paper yellows and fades over time, it wraps and curls with humidity, becomes more brittle, and shifts in the breeze or with the movements of the bodies in a room” (Pacini, 2024.pg 30)