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1. This is the set-up photo (just before starting)

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1. This is the set-up photo (just before starting)

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It is interesting to look back and realise I even had paint brushes as I forgot to use them while i was so emersed in the finger painting experience.

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2. This is how it started (with a flower)

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2. This is how it started (with a flower)

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This is the first dab of paint I picked up and was just letting it take me where it wanted. Pink just calls out flowers to me so thats what I ended up doing - creating a flower with dotted petals.

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3. The flower turned into something I am unsure of

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3. The flower turned into something I am unsure of

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The flower slowly started to morph into something I was growing unsure of and so I just mixed the paint up (blended it into a blob - you can see in the next picture) and it reminded me of the blended and bleeding section of Pacini-Ketchabaw, et.al., (2016) as the colours not only blended next to eachother, they bleeded into one another creating different hues and textures.

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4. I did not like the flower so I blended it out

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4. I did not like the flower so I blended it out

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This is reminding me of the emerging section of the Paint chapter in Encounters with Materials in Early Childhood Education, as this resonates with the way my flowers gradually shifted into a random blob that then later transformed into a cute small creature (her name is Athena). I just happed to but a big dollop of blue on one of her sides that looked like an eye and hence emerged Athena. Deleuze and Guattari (1987) (as cited in Pacini-Ketchabaw, et.al., 2016), describe how assemblages allow new forms to take shape that shift, dissolve, and reconfigure again - which is what kept on happening throughout my painting experience.

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5. Used paint on leaves for texture and shape

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5. Used paint on leaves for texture and shape

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As Manning, 2010, p. 171, (as cited in Pacini-Ketchabaw, et.al., 2016, p.53) says "Paint assemblages are alive. They have a life of their own that it is more than the sum of their parts. They follow life." This reminded me of that when I was particularly using leaves, maybe because the leaves are also alive and their juxtaposition of bringing my painting to 'life' invoked such strong thoughts?

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7. Made flowers while wiping paint off my fingers 

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7. Made flowers while wiping paint off my fingers 

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I wanted to wipe off the paint from my fingers and so I made a heart and then added more drags to make it into a flower. It reminds me of the improvising section of the 'Paint' chapter in 'Encounters with materials in early childhood education' as Stengers (2008, as cited in Pacini-Ketchabaw, et.al., 2016) talks about how it is not experimenting on or with something, which suggests a heirarchy between the experimenter and the subject, but rather about engaging in a practice of collaborative and responsive participation in the experience itself.

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8. Made a caterpillar with the blobs of paint

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8. Made a caterpillar with the blobs of paint

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Erin Manning (2009) (as cited in Pacini-Ketchabaw, et.al., 2016) uses the word 'shapeshifting bodies' and I think it is very appropriate for the situation as I was using the middle of the paper to wipe excessive paint off my fingers and after a couple of swipes it started to look like a caterpillar and I made it into one using one of the thin branches (her name is Molly). She shapeshifted from non deliberate dabs of paint to a cute little creature with a name.

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There were some key words used in Pacini-Ketchabaw, et.al., (2016 p 46) "Anticipate, mix, dab, stab, ﬁnger, pat, stir, stroke, ﬂick, color, laugh, compose, orchestrate, impersonate, resound, squish, slip, drip, splatter, mark, slide, blend, merge, bring together.." which truly captures how dynamic and unique every painting stroke and experience is and can be.

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Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2016). Encounters with materials in early childhood education. Taylor & Francis Group.

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10. This was my jotting page (front side)

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10. This was my jotting page (front side)