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1. Listen with Light: This could imply paying attention to visual cues, observing details, and being receptive to the information conveyed by light and shadows. Like we listen to sounds to understand our environment better.

2. Think with Shadow: Shadows are created by blocking light. Thinking with shadows means considering the hidden or less obvious aspects of a situation. Just as shadows reveal the presence of light, they can also prompt us to explore what is hidden or unspoken, encouraging deeper reflection and analysis.

3. Think with Light: This could mean using the illumination provided by understanding and insight to perceive things in a clearer manner. Just as light can reveal details in darkness, thinking with light might refer to gaining insights and understanding that illuminate complex ideas or issues.

4. Shadow/Transparency and Light: Shadows and transparency teach us about the interplay between presence and absence, visibility and concealment. Shadows form when objects block light, revealing their shape and position in relation to the light source. Transparency allows light to pass through, showing what's beyond. This interplay teaches us about how our perceptions can be shaped by the presence or absence of light.

5. Different Perspective with Light: Light can dramatically change the way we perceive objects and spaces. It can highlight certain aspects while obscuring others, providing a fresh perspective and revealing details that might go unnoticed in darkness.

6. Calling Attention with Light: Brightness and contrast can naturally draw our attention. Think about how a spotlight on a stage focuses attention on a performer. Similarly, light can emphasize certain elements in our visual field, prompting us to notice them.

7. Seeing with Light: We see the world primarily through the perception of light. The objects we see reflect or emit light, which is then captured by our eyes and processed by our brains. Different colours, intensities, and angles of light contribute to the richness of our visual experience.

8. Generating Questions with Light: The play of light and shadow can spark curiosity and questions. Observing how light interacts with different surfaces, angles, and materials can lead us to ask questions about optics, physics, perception, and the nature of reality itself.

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Light is fundamentally distinct from materials like paper, junk, and clay due to its intangible nature. While paper, junk, and clay possess physical substances and can be manipulated, light lacks mass or substance and exists as electromagnetic energy. Light holds the remarkable capability of traveling at incredible speeds, allowing it to traverse vast distances and interact with matter and surfaces in its path. It illuminates objects, casting shadows and revealing textures, colours, and forms. Light is capable of transmission, reflection, refraction, and absorption, enabling its interaction with various mediums and surfaces. However, light is incapable of independent action, it requires a source and a medium to propagate through. Unlike tangible materials, light doesn't possess weight or volume, and its presence is often inferred from the effects it generates on the world around it, underscoring its unique role as both an illuminator and a medium for communication.

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My favourite type of light is the first light of day. It's a reminder that each day is a fresh opportunity, a blank canvas painted by the rising sun. I love taking a moment each day to watch how the sky reflects different colours of light throughout the day. While light itself doesn't hold memories, it plays a crucial role in how we perceive and recall memories. The interplay of light and shadow sets the stage for moments that become etched in our minds. The warm glow of a sunset or the soft light of a childhood lamp can evoke cherished memories and emotions, making light an integral part of our recollections.

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When you pick up clay, it would feel malleable and cool to the touch. It's a pliable material that can be shaped and molded according to your intentions. The sensation of clay in your hands can evoke a sense of creativity and connection to the physical world, as you have the power to transform it into various forms.

Clay has been used for centuries as a medium for artistic expression and practical construction. It holds within it the stories of ancient civilizations, cultures, and artistic traditions. From pottery to sculptures, clay artifacts can provide insights into the lives, beliefs, and artistic capabilities of past societies. It's a material that has witnessed the hands of countless individuals, each leaving their mark in the form of art or utility.

Compared to paper or loose parts, clay offers a distinct tactile experience. While paper is thin and flat, clay can be shaped and given dimensions. The process of working with clay involves physically manipulating the material, which can create a more immediate and intimate connection between the artist and the artwork being created.

Properties that might draw someone to clay include its versatility and the tactile satisfaction of working with hands-on material. The ability to shape and mold clay offers a sense of control and direct engagement in the creative process. Additionally, the transformation of a shapeless lump into a recognizable form can be rewarding and fulfilling.

On the other hand, some might be repelled by the messiness and unpredictability of clay. Working with clay can be messy, and its pliability means that mistakes or changes can't always be easily undone. It requires patience, skill, and an understanding of how the material behaves. The firing or drying process involved in clay art also introduces an element of uncertainty, as the final outcome can sometimes differ from the original vision.

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Clay is often considered forgiving and easy to manipulate, especially in comparison to certain other materials. This is because of its malleability and pliability when moist. It can be shaped, molded, and reworked multiple times before it's fired or dried. This forgiving nature makes it a great medium for both beginners and experienced artists, as mistakes can often be smoothed out or corrected during the sculpting process.

Residue on clay can come from various sources, including the environment, the artist's hands, tools, and the clay's own composition. Dust and particles from the surroundings can settle on the clay's surface. The artist's hands and tools can leave behind oils, moisture, or pigments that become part of the clay's history as it's shaped and manipulated. Additionally, the clay's natural composition might contain impurities or traces of minerals that can create unique textures or colorations in the finished piece.

Emotions and feelings during the process of working with clay can vary widely depending on the artist and their intentions. Creating with clay can be meditative, therapeutic, and immersive, allowing for a deep connection to the material and the act of creation. Frustration might arise from technical challenges or the realization that the artist's vision doesn't match the evolving sculpture. Joy and satisfaction can come from successfully translating ideas into tangible forms.

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Captured during my visit to the community art centre in my area 

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Captured during my visit to the community art centre in my area 

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A space for people in the community to engage in activities using clay.

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An example of using light to create such a unique piece of art.

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What is junk?
"Junk" is a colloquial term used to describe objects or materials that are considered worthless, useless, or of low value. These items are often perceived as clutter or waste and are typically discarded or disposed of. However, what constitutes as junk can be subjective and can vary based on individual perspectives and cultural contexts.

Definitions:

1. Worthlessness: Junk is often defined by its lack of value or utility. Objects that no longer serve a purpose or have deteriorated to the point of being unusable might be labeled as junk.

2. Unwanted Items: Junk can also encompass things that individuals no longer want or need. This could include outdated technology, old clothing, or broken furniture.

History:
The concept of junk has existed throughout human history, as societies have always produced items that eventually lose their usefulness or appeal. However, the perception of junk can vary based on the prevailing economic conditions, cultural norms, and technological advancements of a given era. What is considered junk in one time period might be considered valuable antiques or artifacts in another.

Problematic Aspects in the Early Childhood Sector:
In the Early Childhood sector, there are a few potential problematic aspects related to the concept of "junk":

1. Safety Concerns: Junk items, especially those that are broken or sharp, can pose safety hazards to young children who are more prone to exploring their environment through touch and taste. This might include small parts that could be choking hazards.

2. Educational Value: While open-ended play with a variety of materials can be beneficial for children's creativity and problem-solving skills, too much junk in educational settings might limit the potential for structured and intentional learning experiences.

3. Health and Hygiene: Junk items that accumulate dust, mold, or other allergens could potentially impact children's health, especially considering their developing immune systems.

To address these issues, it's important for the Early Childhood sector to carefully curate materials and environments that balance creative exploration with safety, learning outcomes, environmental responsibility, and health considerations.

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The use of junk or found materials in creating artwork has a rich and diverse history. One of the most notable periods where junk materials gained prominence in art was during the early 20th century with the emergence of the Dada movement. Dada artists, such as Marcel Duchamp, sought to challenge traditional notions of art by using everyday objects and junk materials to create provocative and unconventional pieces.

Another significant movement that incorporated junk materials was the "Assemblage" movement, which gained momentum in the 1950s and 1960s. Artists like Robert Rauschenberg and Louise Nevelson used discarded objects and materials to construct three-dimensional artworks, blurring the lines between sculpture and painting.

In the 1960s and 1970s, artists associated with the Environmental Art movement, Land Art, and Arte Povera also engaged with found and junk materials to create works that were often site-specific and connected to nature or socio-political themes.

What stands out in the history of using junk as materials in artwork is the redefinition of what constitutes art and the emphasis on creativity, resourcefulness, and environmental consciousness. The use of discarded materials challenges conventional aesthetics, encourages innovative thinking, and draws attention to issues of consumerism, waste, and sustainability.

In terms of incorporating junk into future artistic practices, there are several avenues to explore:

1. Environmental Awareness: Using junk materials in art can raise awareness about environmental issues and our consumption habits. By repurposing discarded items, artists can encourage viewers to reflect on the environmental impact of their choices.

2. Resourcefulness and Creativity: Working with limited or unconventional materials can challenge artists to think creatively and find new ways to express themselves. This can lead to innovative techniques and unique outcomes.

3. Sculptural and Mixed-Media Exploration: Junk materials often have interesting textures, shapes, and colours. Exploring these qualities in sculpture or mixed-media pieces can result in visually captivating artworks.

When considering using junk materials in your future artistic practices, it's important to be mindful of the ethical implications, especially when using materials that might have cultural, historical, or environmental significance. Additionally, consider how your chosen materials align with your artistic intent and message. By embracing the history of using junk in art and adapting it to your own context, you can contribute to the ongoing conversation around creativity, sustainability, and the role of art in society.

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Vecchi, V 2015, ‘Poetics of learning’, in L Gandini, L Hill, L Cadwell & C Schwall (eds), In the spirit of the studio: Learning from the atelier of Reggio Emilia, 2nd edn, Teachers College Press, New York, pp. 17–41.

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Vecchi, V 2015, ‘Poetics of learning’, in L Gandini, L Hill, L Cadwell & C Schwall (eds), In the spirit of the studio: Learning from the atelier of Reggio Emilia, 2nd edn, Teachers College Press, New York, pp. 17–41.

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"Poetics of Learning" discusses the approach to learning inspired by the Reggio Emilia educational philosophy. This philosophy places a strong emphasis on creativity, exploration, and self-expression in the learning process. The atelier is a key element of this approach, where children are encouraged to engage in hands-on activities and artistic expression.

The term "poetics" in this context refers to the idea that learning is not just about acquiring information but is also a form of expression and communication. Learning becomes a way of constructing meaning and understanding the world. This perspective aligns with the Reggio Emilia philosophy's belief in the capability of children to actively shape their own learning experiences.

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Junk's origins are diverse, ranging from broken appliances to packaging materials. Its existence in our classroom hints at its journey through various hands and contexts, from manufacturers to consumers. Investigating its larger life, junk has roots in global manufacturing, highlighting the interconnectedness of our world.

In the early childhood classroom, junk takes on new roles as a versatile tool for creative expression and learning. Its uses extend from art projects to problem-solving activities, fostering resourcefulness. Personally, I relate to its potential for upcycling and environmental consciousness.

Children are 'supposed' to engage freely, tapping into their imagination. However, societal norms might inadvertently restrict this engagement, imposing certain expectations. There's an opportunity to challenge these norms, allowing children to interact in ways that resonate with them individually. As educators, we can reshape rules, letting junk's open-ended nature guide our approach, and encourage children to explore its possibilities without constraints.

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The image shows how children used loose parts to create their own play.

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- Capabilities of Junk Material:
The capabilities of junk materials depend on their composition and state. Some potential capabilities include:

1. Reuse and Upcycling: With creativity and skill, junk materials can be repurposed and transformed into new objects or art. For instance, old bottles can become decorative vases, or scrap metal can be sculpted into unique structures.

2. Recycling: Many junk materials are recyclable. They can be processed to recover raw materials, reducing the need for new resources and minimizing environmental impact.

3. Learning and Exploration: Junk materials can be valuable educational tools. They can be dissected, studied, and experimented with to understand their components and properties.

- Incapacities of Junk Material:
Junk materials generally have limitations that can include:

1. Limited Original Purpose: As discarded items, junk materials might not serve their original intended purpose anymore due to wear, damage, or obsolescence.

2. Structural Weakness: Depending on the material, junk items might have weakened structures, making them unsuitable for certain applications.

3. Lack of Consistency: Junk materials can vary significantly in terms of quality, composition, and condition, making them unpredictable for certain uses.

- Interactions with us and Other Materials:
Junk materials can interact in various ways:

1. Creativity: When you interact with junk materials, you can harness your creativity to transform them into new, functional, or artistic items.

2. Combination: Junk materials can be combined with other materials to create mixed-media art, unique functional objects, or even new inventions.

3. Integration: Junk materials can be integrated into architectural projects, interior design, or DIY solutions.

- Interactions Shifting with Time and Space:
Interactions involving junk materials can shift over time and space due to various factors:

1. Trends and Aesthetics: What's considered "junk" and the ways it's used can change over time due to shifts in cultural, aesthetic, and design trends.

2. Environmental Concerns: With increasing environmental consciousness, the value of recycling and upcycling junk materials can rise over time.

3. Local Availability: The types of junk materials available can differ based on geographic location, affecting how they're repurposed.

4. Innovation: New technologies and techniques can lead to novel ways of utilizing junk materials, altering their interactions and potential uses.

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Amid history's pages, you find your place,
Forgotten fragments, a time's embrace.
From corners unseen, you emerge with grace,
A canvas of stories, a silent trace.

Born of the past, each piece whispers tales,
Of hands that toiled, and dreams that set sail.
In cultures diverse, where memories prevail,
You're woven in journeys, without fail.

From factories humming to homes once grand,
You've witnessed the world, where feet did stand.
In shadows and alleys, on every strand,
You're etched in the fabric of every land.

Junk you're called, but that's just a name,
For within you, histories flame.
A mirror to lives, the joy and the pain,
In your embrace, stories remain.

So here's to you, with reverence we see,
The essence of what was, and what will be.
Junk transformed into artistry,
A reminder of life's grand tapestry.

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Loris Malaguzzi's emphasis on the absence of a single correct answer or interpretation aligns with the very essence of creativity and learning. This notion prompts me to approach ideas and concepts with an open mind, acknowledging that multiple perspectives contribute to a holistic understanding. When considering the statement that ateliers and educators following the Reggio Emilia approach "often discuss and interpret children's work and use it to find new ways to support their learning," I find myself resonating with the idea of collaborative and responsive education. This approach acknowledges the rich potential of children's creations as windows into their thoughts and understanding. It's a reminder that education is not a one-sided endeavor; it's a continuous dialogue where educators, children, and their creations interact to shape the learning journey. This insight encourages me to engage more deeply with the work children produce, to see it as a dynamic process rather than a static outcome. It highlights the importance of being attuned to children's expressions, allowing their work to guide us in adapting and evolving our support to best suit their evolving needs and interests. As I reflect on this, I'm reminded of the value of humility and a willingness to learn from the children themselves, embracing their unique perspectives as vital contributions to the educational process.

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1. How do you see Junk/loose parts supporting children in their play?

Junk and loose parts play a crucial role in supporting children's play by fostering open-ended and imaginative experiences. These materials offer a wide range of possibilities for exploration, problem-solving, and creativity. Unlike conventional toys with predetermined functions, junk and loose parts encourage children to manipulate, combine, and transform items according to their own ideas. This type of play promotes critical thinking, fine motor skills, collaboration, and the ability to see potential in everyday objects. It also nurtures a sense of autonomy as children dictate the direction of their play, leading to richer and more diverse learning experiences.

2. Do you think that the materials are as important as what the children do with them? Why or why not?

Yes, the materials are as important as what children do with them. While the intrinsic value of materials like junk lies in their potential for imaginative play and creative expression, it's the interaction between the child's ideas and the materials that generates learning and development. The open-ended nature of junk play allows for a variety of outcomes, reflecting each child's unique perspective and interests. This process emphasizes the process of exploration, experimentation, and problem-solving rather than focusing solely on predefined outcomes. The materials act as a catalyst for children to construct their understanding of the world, make connections, and engage deeply in the learning process.

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1. Capabilities of Paper:
Paper is a versatile material that has been used for centuries for communication, art, packaging, and more. It's capable of holding printed or handwritten information, as well as being folded, cut, and shaped for various purposes. It's relatively lightweight, easy to handle, and can be produced in different sizes and formats. Additionally, paper can be recycled and is biodegradable, making it an environmentally friendly option for many applications.

2. Interaction with the Environment:
Paper is affected by its environment. It can absorb moisture, which can cause it to warp or weaken. It's also susceptible to damage from sunlight, heat, and physical stress. In humid conditions, paper can become brittle, and in dry conditions, it can become more fragile. Proper storage and care are important to maintain the quality of paper-based items.

3. Paper in Shared Spaces:
Paper can exist in shared spaces in various forms. It might be used for communication (notices, memos), creative expression (artwork, posters), or functional purposes (books, packaging). In shared spaces like offices, classrooms, or public areas, paper can serve as a means of disseminating information and facilitating collaboration.

4. Restrictions of Paper:
While paper is versatile, it does have some limitations. It can be easily damaged by water, fire, or physical force. It's not suitable for applications that require high durability or resistance to extreme conditions. Additionally, the amount of information that can be stored on a single sheet of paper is limited compared to digital storage options.

5. Introduction and Interaction in a Space:
Introducing paper into a space involves placing paper-based items within that space. These items might be hung on walls, placed on surfaces, or distributed to people. The interaction of paper with other materials in the space depends on the context. For instance, paper might be pinned to a corkboard, framed on a wall, or placed on a desk. It can coexist with other materials such as wood, glass, metal, and fabric.

In summary, paper is a versatile and widely used material with various capabilities. Its interaction with the environment includes sensitivity to factors like moisture and light. Paper can be introduced to shared spaces for communication and creative purposes, and its interaction with other materials in the space depends on how it's used. However, it's important to consider its limitations, such as susceptibility to damage and its finite information storage capacity.

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Histories of Paper:
Paper has a rich history that spans across cultures and centuries. It is believed to have originated in ancient China around the 2nd century BCE, attributed to Cai Lun. From China, the knowledge of paper-making spread to other parts of Asia, such as India and the Islamic world. The knowledge eventually reached Europe through the Silk Road and the Arab world. In different cultures, paper has served various purposes, including as a medium for communication, art, and documentation.

Mobilities of Paper:
The invention of paper and its subsequent spread had significant impacts on the mobility of information and knowledge. It enabled the creation of books, scrolls, and documents that could be easily transported and shared. This facilitated the exchange of ideas, scientific discoveries, religious texts, and cultural heritage across different regions and civilizations.

Material's Origins and Creation:
Traditional paper is made from plant fibers, such as those from trees (wood pulp) or other plants like cotton or bamboo. The fibers are pulped, processed, and then pressed into thin sheets. The process of paper-making has evolved over time, incorporating various techniques and technologies to improve efficiency and quality.

Paper in the Classroom and Beyond:
Paper serves as a fundamental material with a wide range of applications beyond the early childhood classroom. It is used for communication, education, art, record-keeping, packaging, and more. Throughout history, paper has been linked to literacy, administration, and the spread of ideas. It has played a role in shaping cultural norms, political discourse, and intellectual progress.

Social, Cultural, Political, Geographical Contexts:
Paper's role extends beyond its physical attributes. It has been intertwined with social, cultural, political, and geographical contexts. For example, the invention of the printing press in Europe during the 15th century revolutionized the distribution of knowledge and contributed to the Renaissance. Paper also played a role in bureaucratic systems, allowing for standardized record-keeping and administration in various societies.

Discourses Supported and Silenced:
Paper has supported discourses related to education, communication, literature, and documentation. It has empowered the dissemination of knowledge and ideas. However, it's important to note that the production of paper historically involved environmental impacts, such as deforestation, and exploitative labor practices in some cases. These issues have often been silenced in narratives focused on paper's positive contributions.

Importance in Early Childhood Classroom:
In early childhood education, paper serves as a versatile tool for creativity, learning, and expression. It supports fine motor skills through drawing and writing activities. It's often used for crafting, storytelling, and introducing children to written language.

Personal Connection and Engagement:
As an individual, you can personally connect with paper through its tactile qualities, historical significance, and creative potential. You might have memories of drawing, writing, or reading on paper. Engaging with paper encourages sensory exploration, imagination, and artistic expression.

Overall, exploring the material of paper reveals its deep historical, cultural, and practical significance. It's a medium that has played a pivotal role in shaping societies, facilitating communication, and nurturing creativity across generations.

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Properties and Functions of Paper:
1. Thin and Flexible
2. Lightweight
3. Writable and Printable
4. Foldable
5. Absorbent
6. Translucent
7. Compostable
9. Recyclable

Ways in Which Paper Moves:
1. Folding
2. Unfolding
3. Crumpling
4. Tearing
5. Rolling
6. Flipping
7. Stacking
8. Cutting
9. Drawing/Writing
10. Collaging

Ways in Which Paper Moves You:
1. Sparks creativity
2. Invites self-expression
3. Facilitates communication

Verbs/Actions that Connect to Paper:
1. Write
2. Draw
3. Fold
4. Cut
5. Read
6. Print
7. Paint
8. Sculpt
9. Collage
10. Sketch

Nouns that Connect to Paper:
1. Book
2. Notebook
3. Letter
4. Magazine
5. Newspaper
6. Drawing
7. Card

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Pacini-Ketchabaw, V, Kind, S & Kocher, LLM 2016, ‘Thinking with materials’, Encounters with materials in early childhood education, Routledge, New York, pp. 1–21.

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Pacini-Ketchabaw, V, Kind, S & Kocher, LLM 2016, ‘Thinking with materials’, Encounters with materials in early childhood education, Routledge, New York, pp. 1–21.

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Themes and Central Concepts:

1. Reggio Emilia Connection: The reading acknowledges the influence of Reggio Emilia's approach to early childhood education, particularly their focus on art, aesthetics, and the studio/atelier. It recognizes how their work has inspired educators and emphasizes the importance of embracing beauty and artistic ways of knowing.

2. Imitation vs. Originality: The reading explores the difference between imitating the Reggio Emilia approach and creating something original. It argues for the importance of not just copying but engaging with the essence of the approach and finding one's own expression.

3. Art and Aesthetics in Education: The reading emphasizes the role of beauty, art, and aesthetics in education. It discusses how art can transfigure the ordinary, open up new dimensions, and create a pedagogy of intensity and affect.

4. Photography and Representation: The reading delves into the use of photography as a tool in education and how it can either represent reality or create a different kind of engagement. It challenges the notion of photography as an objective and detached medium.

5. Diffraction vs. Reflection: The reading introduces the concept of diffraction as an alternative to reflection. Diffraction is seen as a mode of inquiry that embraces the complexities and entanglements of the world, as opposed to the Enlightenment's idea of representing reality.

6. Materials and Pedagogy: The reading organizes chapters around different materials (paper, charcoal, paint, clay, blocks) and explores how each material interacts with pedagogy, generates possibilities, and provokes new ways of thinking.

7. Material Relationships: The reading explores how materials interact with other materials, bodies, spaces, and time, generating different responses and meanings. It highlights the importance of considering these interactions.

8. New Perspectives and Questions: The reading challenges traditional narratives of education and encourages readers to think differently about materials, pedagogy, and the learning process. It prompts readers to engage with concepts in a generative way, creating new understandings and asking new questions.

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Oh, paper, bearer of tales untold,
From ancient lands and cultures bold.
Born from fibers, nature's grace,
Crafted in time, finding your place.

Silent witness to journeys vast,
You carried knowledge from the past.
From China's hands to Europe's shore,
A bridge of wisdom forevermore.

Ink-stained scripts and printed art,
You played your role, a crucial part.
Ideas flowed, revolutions sparked,
In classrooms bright and minds embarked.

From quills to pens, you've seen them all,
In palaces grand and huts so small.
Binding dreams, thoughts, and fears,
Through countless joys and shedding tears.

Oh, paper, canvas for the soul,
Where creativity takes its toll.
I fold, I tear, I draw, I write,
A symphony of senses taking flight.

My hands have felt your textured grace,
Tracing history's lines, I embrace
The stories etched upon your skin,
A world of wonders held within.

From parchment scrolls to books so fine,
You've witnessed tales of every sign.
Geographies crossed, languages spun,
Paper, your legacy is never done.

In my own hands, I hold your grace,
Exploring pathways, a boundless space.
With every fold and stroke anew,
I sense the past, present, and future too.

Paper, you've journeyed far and wide,
A companion through time's endless tide.
In my hands, you find rebirth,
A dance of minds, a tapestry of worth.

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- How do materials connect us to place?
Materials are often sourced from specific locations, and their physical characteristics can reflect the environment they come from. For example, clay from a certain region might have unique qualities that tie it to that particular place.

- How do materials help us to tell a story?
The physical qualities of materials can evoke emotions and convey themes. Rough textures might represent hardship, while smooth surfaces might symbolize calmness or elegance. Colours, patterns, and sheens also contribute to the narrative.

- How can we support and provide opportunities for children to tell a story through materials?

Provide a wide range of materials for children to work with, such as clay, paper, fabric, natural objects, and more. This diversity encourages experimentation and allows them to choose materials that resonate with their story.

Give children open-ended prompts that encourage them to think creatively. For example, ask them to create a sculpture that represents a favourite memory or a character from their imagination.

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Artist: Chun Kwang
Material: Paper

Chun Kwang Young is a renowned South Korean artist known for his distinctive and innovative explorations of paper as a medium in his artwork. His most notable series, "Aggregations," is a prime example of his unique approach. In this series, Chun Kwang Young creates intricate three-dimensional compositions using thousands of triangular paper packages that he individually wraps with mulberry paper, a traditional Korean material.

Through his work, Chun Kwang Young explores the intersections of traditional Korean craftsmanship, contemporary art, and his personal experiences. He draws upon his memories of childhood, his exposure to Confucian teachings, and his reflections on the passage of time. The artist's use of mulberry paper, a material that holds cultural significance in Korea due to its use in traditional crafts, connects his contemporary artwork to the country's artistic heritage.

The meticulously wrapped triangular forms are reminiscent of traditional Korean packaging techniques, emphasizing the idea of preserving and protecting valuable content. However, when viewed collectively, these individual units come together to create visually striking and abstract compositions that convey a sense of unity in diversity. Chun Kwang Young's use of paper in this manner is a metaphor for human existence: individual experiences and moments coming together to form a larger, cohesive narrative.

Overall, Chun Kwang Young's exploration of paper in his "Aggregations" series delves into themes of memory, culture, unity, and the passage of time. His intricate use of traditional materials combined with a contemporary approach highlights his ability to bridge the gap between tradition and modernity, creating artwork that is visually captivating and conceptually rich.

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An example of using paper to create sculptures

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Known as DBAE and developed by Elliot Eisher an American art educator.

This approach says that art should be treated the same as all other disciplines.

When engaging in art practices this approach sees the emphasis being put on the history of art, critique of art, the theory of art and the production of art work.

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My first attempt in creating a stop-motion animation 

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My first attempt in creating a stop-motion animation 

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Here I have used paper as a frame to show the passage of time.

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My stop-motion animation was influenced by the artist Chie Hitotsuyama. She used recycled newspapers to craft realistic animal sculptures. The way she managed to represent life using an extremely flat 2D material made me wonder, how a simple thing like paper can be used to represent a complex idea. Likewise, I have used paper in my animation to give out the message of ‘global unity’.