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Mahshulah, ZA, Syaodih, E, Rachmawati, Y 2017, ‘The ray of light: An activity approach of Reggio Emilia’, The 2 nd International Conference on Elementary Education, vol. 2, no. 1, pp. 789-790.

Pacini-Ketchabaw, V, Kind, S & Kocher, LM 2016, Encounters with materials in early childhood education, Taylor and Francis Group, London.

Pelo, A 2016, The language of art: inquiry-based studio practices in early childhood settings, Readleaf Press, New York.

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"An Enquiry into Representation of Art," my digital visual journal, has been a transforming voyage of self-discovery and investigation. I have developed a strong grasp of artistic expression and the dynamic interplay between materials and concepts via exploration and reflection. I have engaged myself in a variety of mediums, such as paper, charcoal, paint, clay, blocks, and light, each of which has its own unique aesthetic potential, while being guided by the concepts of movement, encounter, assemblage, ecologies, and light. I have improved my understanding and added to the larger discussion on art and its representation by outlining my research and engaging in significant discussions.

The visual documentation has proven crucial to effectively presenting my ideas and capturing the essence of my experiments. Importantly, I think that the knowledge and insights I got from my research can be used in an early childhood setting. We can foster children's creativity, improve sensory experiences, encourage self-expression, and improve their visual communication abilities by exposing them to a variety of artistic mediums and promoting inquiry. Overall, keeping a digital visual journal has helped me to grow as a person and has given me ideas for how to include artistic inquiry in early childhood education. The potential for creativity and self-expression is unlocked by understanding the connections between materials and concepts, giving young students a solid foundation for artistic growth and lifetime involvement in the arts.

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Using photography and mixed media approaches, I captured my interactions with light as part of my visual art practice. I photographed the interaction of light and shadow, how it reflected and refracted, and the patterns it created. My documentation sought to illustrate light's transient and dynamic nature, highlighting its transformational impact on the environment and the items inside it.

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Through my exploration of block play, I took pictures of the block constructions I made in order to record the activity and study movement dynamics.

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I used photography to capture my experiences with clay as part of my sculpture and visual art practice.

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I used photography, video, and mixed media approaches to chronicle my experiences with paint as part of my visual art practice. I recorded the dynamic movements of the brushstrokes, the colour interplay, and the layered textures that evolved. My documentary sought to reflect the energy, expressiveness, and sensory experience of painting.

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Using photography and mixed media approaches, I captured my experiences with charcoal as part of my visual art practice.

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I explore the dynamic and changing aspect of both paper as a material and the concept of movement and I captured my experience with picture.

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In my digital visual journal titled "An Enquiry into Representation of Art," I set out on a personal investigation of the languages of art and materials. I decided to have a better grasp of artistic expression and the relationship between materials and concepts via exploration and experimentation. Inspire by the ideas of movement, encounter, assemblage, ecologies, and light, I work with a variety of mediums, including paper, charcoal, paint, clay, blocks, and light, each with a distinct aesthetic potential. I have documented my research and discussions about it using unit materials, and here I have also included a few of my suggestions for adopting it in an early childhood context.

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Paper is regarded as a surface on its what-if approach that we use to meanings, drawings, paintings, stories, and news. When the paper is taken into the studio and placed close attention, the researcher found out that there is no static about it, and everything is in motion (Pacini-Ketchabaw et al. 2016). Feelings, observations, dramatic, collected, coordinated, and barely discernible movements are all possible. The researchers propose that we learn to move with the materials and pay attention to how we are moved in response. The paper has its own set preference (Pacini-Ketchabaw et al. 2016). The paper acts on doors, floors, and children’s bodies. Paper gains the reputation of being receptive, reactive, pliable, absorbent, responsive to touch, and capable of being bent, folded, and crumpled Even if these movements are minor, working with paper requires constant mobility in which one joins forces with the material and responds to its tendencies (Pacini-Ketchabaw et al. 2016).

I investigated paper’s aesthetic possibilities as a material. I'm fascinated by how the paper may be folded, twisted, and unfolded to resemble the flow and rhythm of a dance. I will embody the qualities of paper lightness, flexibility, and fluidity as I participate in improvised movement sessions to explore the potential for expression and connection. This technique allows me to investigate the close relationship between movement and materials, as well as how they can elicit emotions, tell tales, and engage the senses. By immersing oneself in this investigation, I hope to gain a better knowledge of movement as an artistic language and its significance in the setting of early childhood.

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I would host a paper folding workshop for young children where they could make origami figures and collages to improve their fine motor abilities, spatial reasoning, and aesthetic expression. Children can turn flat paper into three-dimensional things by experimenting with different folding techniques. I would also incorporate dance and movement into the activity, including music and guided moves. Children would utilize paper as an extension of their movements during a dancing lesson, promoting physical coordination, imagination, and self-expression. By giving open-ended and entertaining chances with paper and movement, these experiences aim to promote children's curiosity, creativity, and confidence. They can gain a better understanding of art, materials, and the concept of movement while also encouraging cognitive, physical, and social-emotional development.

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A stick of compacted, charred wood exists as charcoal. The researcher believes that unexpected and creative things take place when children’s fingers and skin meat charcoal (Pacini-Ketchabaw et al. 2016). Charcoal is highly hospitable when it encounters others. It draws in, stretches out, covers, and envelops. It is hard to remain neutral with charcoal and unaffected by it (Pacini-Ketchabaw et al. 2016). Chalky softness is drawn in, spread out, covered, and encircled; it compels, repels, and affronts. A motion toward charcoal involves touching it (Pacini-Ketchabaw et al. 2016). Researcher suggests that charcoal produce new visceral bodily relations. When children touch the charcoal, the sensation impacts the body not through the brain but through the representation of signs images, and fantasies (Pacini-Ketchabaw et al. 2016).

I approached this investigation with a sense of wonder and experimentation. My focus was on experimenting and playing with charcoal, letting its expressive capabilities and tactile nature guide my creative process. I wanted to experiment with mark-making, shading, and blending with this adaptable substance. I documented the process of sketching, smearing, and layering charcoal on various surfaces while observing the results. The goal of my documentation was to communicate the textural aspects, contrasts, and atmospheric nuances that evolved from these studies. This investigation has helped me better grasp charcoal as a tool for artistic expression. Its capacity to convey emotions, catch light and shadow, and generate a feeling of mystery and drama has grown on me. Exploring charcoal has given me the opportunity to connect to my artistic intuition, embracing the spontaneity and expressive potential that arise during the creative process. I have not only connected with my artistic self but also recognized the significance of charcoal in early childhood settings by immersing myself in its investigation.

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I would introduce children to charcoal in an early childhood setting by teaching them drawing, shading, and blending skills. I'd set up art stations with various surfaces and supplies like charcoal sticks, erasers, and blending tools so they could freely explore and create. I would motivate children to notice textures, contrasts, and nuances while emphasizing the process of exploration and self-expression. This unstructured activity fosters creativity, fine motor abilities, visual perception, and emotional expression. I create a sensory-rich art experience that improves observation skills, artistic vocabulary, and a lifelong enjoyment of art by embracing charcoal exploration.

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Paint is a typical classroom supply that educators, researchers, and kids all experienced. Paint ceased to be a tool for children to build their sensory skills and instead became something to ponder with. According to the researcher, paint can generate insights and disruptions for both children and educators (Pacini-Ketchabaw et al. 2016). Children, educators, tempera, watercolors, and other effective bodies come together to form each other and break apart (Pacini-Ketchabaw et al. 2016). Both children and educators get familiar with the paint, and they are immediately affected by it. However, neither a personal nor psychological level of affection was involved in these affections. According to the researcher, these effects are something different (Pacini-Ketchabaw et al. 2016). Paint has the capability to compel both children and educators to extend and expand the paint assemblages through various degrees of success (Pacini-Ketchabaw et al. 2016).

This investigation was addressed with a feeling of play and experimentation. My primary goal was to interact with the paint and observe its features such as viscosity, transparency, and texture. I let myself experiment with many approaches and applications, relishing the spontaneity and surprises that came during the creative process. This investigation has helped me better grasp paint as a tool for artistic expression. Colour symbolism, the interaction of light and shadow, and the visual effects obtained by layering and mixing have all captivated me. I've enlarged my artistic language and discovered new ways to communicate and evoke emotions by embracing the process-oriented nature of paint.

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I can add paint activities that encourage play and experimenting in a childcare setting. I would supply youngsters with a range of paints, brushes, sponges, and other instruments to experiment with different approaches and applications. They may see the qualities of paint, such as viscosity and texture, through sensory-rich encounters. I would motivate them to explore colour mixing, layering, and blending, emphasizing the process rather than the final product. Fine motor abilities, creativity, and self-expression are all enhanced by these activities. Children can build their artistic language, grasp colour symbolism, and visually communicate emotions by working with paint.

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Clay is felt on our skin as we work with it with our hands. Working with clay has an intuitive component; over time and several interactions, we get to understand its fluidity and substance. In stage one, children are exposed to clay by physical play (Pelo 2016, p. 73). Stage two explains how clay behaves. Further steps are developed based on the above stages and it explains how children use the knowledge that they gained by using the clay in sculptural forms. These encounters with clay take place for a long period of time (Pelo 2016, p. 73). The above steps intend to be a sequel, physical interaction, and representation. In the first step, children need to understand the identity of clay. The responsiveness of the clay is experienced by young children when they engage their entire bodies in their interaction with it (Pelo 2016, p. 73). The first encounter between children and clay is a playful story to tell. In stage two, clays build a relationship with children by involving full-body play. As they advance to ultimate sculpting work, we encourage young children to continue developing their physical understanding of clay at this stage, observing its movement and texture (Pelo 2016, p. 73).

I like working with clay with my hands, enjoying its cool feel and the transformational potential it contained. Time passed quickly as I became absorbed in the process and gave myself over to the texture and malleability of the clay. I was amazed to see how my sculpture had transformed from a formless mass into a meaningful piece of art as I stood back to look at it. Each curve and line revealed the clay's development as a result of my touch. My knowledge of materials as tools for examining complex thoughts and concepts increased as a result of my investigation into clay and its creative possibilities. It became clear to me the seemingly endless creative possibilities and the fundamental relationship between artist and medium.

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To encourage children's exploration in an early childhood setting, I can set up a specific clay studio with a range of tools. A variety of tools, such as rolling pins, clay cutters, and texture stamps, are available for working with clay, and natural objects, such as leaves or shells, can be used to imprint textures and patterns. Children may bring their clay creations to life by including narrative and dramatic play, which helps them express themselves emotionally and develops their linguistic and cognitive abilities. Children gain sensory awareness, fine motor abilities, and the ability to express themselves artistically through these experiences. They gain knowledge of how materials can change and become more assured in their creative abilities. Children's cognitive, social-emotional, and physical development are supported by incorporating clay into the curriculum because it encourages creativity, imagination, and self-expression.

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Blocks encouraged us to participate in everything that each moment has to offer. These blocks may be constructed from a variety of substances, each having its unique texture, colour, and shape, such as wood, plastic, or foam (Pacini-Ketchabaw et al. 2016). At the time of the block emergence, it is marketed as a way to “boost the effectiveness of children's learning and the quality of their output”. Currently, educators use block play to enhance children’s imagination and creativity (Pacini-Ketchabaw et al. 2016). There are different stages in block play. Guidelines have been implemented on how educators should scaffold during block play. Different materials are also used in block play areas (Pacini-Ketchabaw et al. 2016).

For this artistic exploration, I decided to use blocks as my medium and the idea of mobility as my main subject. I want to explore the potential of conveying movement by manipulating blocks using the language of visual art. I began this inquiry with the idea of exploring, experimenting, and observing the intrinsic movement aspects of blocks rather than having a planned product in mind. I let the blocks lead me as I immersed myself in the exploration, learning numerous ways to represent movement. My understanding of materials and creative representation is in line with this investigation. I tried to capture the sense of movement in my exploration, whether it was through the dynamic compositions of blocks or the investigation of balance and stability. Overall, this investigation has broadened my artistic palette and provided insights into how the movement might be shown using blocks.

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As an early life educator, I would use what I learned from investigating movement through block play to create engaging experiences for young children. I would create f ascinating block play areas that encourage children to explore movement ideas by giving blocks of various shapes, sizes, and textures to spark their imagination. In addition, I would promote collaborative block projects in which children work together to construct structures that incorporate movement aspects, so encouraging problem-solving abilities, communication, and cooperation. Integrating block play with other subjects such as math, art, and language would strengthen their grasp of movement and representation. Children would gain fine motor abilities, spatial awareness, critical thinking, creativity, and teamwork through these intentional experiences, laying a firm foundation for their holistic development.

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The characteristics of light are it keeps flowing and it can emit to a distance and infinite place. Light is an object that spreads to any space (Mahshulah et al. 2017). The use of light in early childhood education is not always maximized, and sometimes the way the concept of light is presented is not appropriate (Mahshulah et al. 2017). Children will struggle to comprehend the concept of light, even in its most fundamental features, if the educator fails to explain it to them in the right way (Mahshulah et al. 2017). The Ray of Light Atelier, a space to explore the use of light in various forms and foster children's creativity, is a hallmark of schools that employ the Reggio Emilia method. By using the light table experiment, children can develop their creativity, thinking, and social skills (Mahshulah et al. 2017).

I chose for exploring the material of light in relation to the concept of exploration in my creative inquiry. Light, with its ethereal and transformational properties, is a one-of-a-kind medium for artistic expression. I'm fascinated by light's ability to generate moods, elicit emotions, and shape perceptions. I tackled this investigation with an open and fun attitude. My main goal was to explore light and see how it interacts with various surfaces, objects, and environments. I engaged in improvisational and spontaneous play, allowing the light to lead my creative process. This investigation has helped me to better comprehend light as a medium for artistic expression. I've come to value its power to augment and change my perspective of space, textures, and colors. I've also learned about the aesthetic and metaphorical characteristics of light, as well as its connotations with enlightenment, illumination, and discovery. This artistic investigation into the light has allowed me to embrace the material's and concept's possibilities, extending the boundaries of my artistic practice and visualizing its use in early childhood settings.

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To put my knowledge of light exploration to use in an early childhood setting, I would designate a special area where children may freely experiment with light. This area would have a variety of light sources, such as projectors, colored lights, and natural light filtered via translucent materials. Children would adjust the intensity, direction, and color of light while observing its interactions and transformations using prisms, mirrors, and translucent objects. I would also include light-based creative activities to help children comprehend the expressive possibilities of light. They may make shadow puppets, experiment with light painting with flashlights or glow sticks, or work together to develop light displays using transparent materials and colored filters. These exercises would foster artistic expression while also expanding students understanding of light as a medium. In addition, incorporating light-themed storytelling and theatrical play would spark children's imaginations and improve their language skills. Shadow puppetry or shadow theatres could use light and shadows to bring narratives to life, and dramatic playrooms outfitted with light panels, fabric, and costumes could encourage light-related role-playing and storytelling. Children would gain cognitive, social-emotional, and physical skills as a result of these experiences. They would hone their observation and inquiry skills by examining the qualities and behaviors of light. Light collaborative tasks would encourage collaboration, communication, and problem-solving. The light play would improve sensory integration, spatial awareness, scientific curiosity, and fine motor skills.