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Atkinson, K 2016,  A Touch of Paint: Transgressing Unspoken Boundaries in: Journal of Childhood Studies – Ideas From Practice, viewed 3/4/23 <https://www.researchgate.net/publication/319298206_A_Touch_of_Paint_Transgressing_Unspoken_Boundaries>

Britt, K n.d., Papermaking, Britannica.com, viewed 7/4/23 <https://www.britannica.com/technology/papermaking>

Brown, P 2022, Shining Light on the importance of Explore-before-Explain Experiences for Early Childhood Learners in: Science and Children Volume 59 issue 3, viewed 5/05/23 <https://www.nsta.org/science-and-children/science-and-children-januaryfebruary-2022/shining-light-importance-explore>

Carr, K 2017, History of Clay – History of Art, Quatr.us, viewed 8/4/23 <https://quatr.us/art/clay-history-art.htm>

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Department of Education and Training 2009, Belonging, Being, Becoming: The Early Years Learning Framework for Australia [ebook], viewed 4/4/23 < https://www.acecqa.gov.au/sites/default/files/2018-02/belonging_being_and_becoming_the_early_years_learning_framework_for_australia.pdf>

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Edwards, C, Gandini, L and Forman, G 2011, The Hundred Languages of Children: The Reggio Emilia Experience in Transformation, Praeger, viewed 2/4/23 <https://www.amazon.com.au/Hundred-Languages-Children-Carolyn-Edwards/dp/0313359814>

GcCeramics n.d., Clay Types, Geological Origins and Working Properties of Clay in: Clay Geology, GcCeramics, viewed 7/4/23 <https://sites.google.com/site/meeneecat/educational-materials/clay-types-geological-origins-working-properties-gccceramics>

Lakeside Pottery 2021, Clay and Pottery – Brief History, Lakeside Pottery.com,  viewed 8/4/23 <https://www.lakesidepottery.com/HTML%20Text/brief%20history%20of%20clay_pottery.htm

Pacini-Ketchabaw, V, Kind, S, and Kocher, L.L.M. 2016, Encounters With Materials in Early Childhood Education, Routledge, New York, NY, viewed 6/4/23 <https://ebookcentral.proquest.com/lib/vu/reader.action?docID=4649662>

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Stone, S, and Chakraborty, B, 2011, Process Art vs. Product Art: The Teacher’s Dilemma in: Childhood Education Volume 87 Issue 3, Association for Childhood Education International, viewed 4/4/23
<https://go.gale.com/ps/i.do?id=GALE%7CA250133823&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=00094056&p=AONE&sw=w&userGroupName=anon%7Ea0ef3397>

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History of Paint - where was it initially resourced?

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History of Paint - where was it initially resourced?

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The history of Clay and how it comes about 

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"Because you don’t notice the light without a bit of shadow. Everything has both dark and light. You have to play with it till you get it exactly right." - Libba Bray

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Children in the Kindergarten environment explore Bugs in pyrex, using bright lights  to take a deeper, closer look at the insects' properties and features

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Light and its' capacities: an in-depth perspective 

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“As music is the poetry of sound, so is painting the poetry of sight and the subject-matter has nothing to do with harmony of sound or of color.” – James Mcneill Whistler

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Children creating a mural on the walls during renovations - Glen Bentleigh East Kinder 2019

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Video - Conceptualising Paint play processes during creative Art experiences

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Video - Conceptualising Paint play processes during creative Art experiences

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Have you tried this Fun Kids Process Art called Scrape Painting? #kids #art #shorts

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In this super fun lesson we are going to learn how scrape paint.Supplies Neededpaint and an old credit card or squeegee📺 SUBSCRIBE to our channel and clic...

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What new understandings came from plaint play?

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What new understandings came from plaint play?

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What has become more evident for me through experimenting with paint play opportunities is that I am more ofay with the idea that paint does not necessarily need to have a specific, closed-ended objective; it is capable of serving numerous purposes when ‘unspoken agendas and boundaries’ (Atkinson 2016, p.60) established by hesitant educators are transgressed into accepting the dynamic outcomes established through holistic paint play experiences. Paint reinforces its’ dynamic nature and its propensity to splot, splash, flick, splatter, transfer, roll and stamp when the user is given autonomy to holistically explore its capacity in a range of environments and with the opportunity to transport it as needed. Another fundamental message I took out of this is that paint, in its’ gooey, soft nature opens the door to reflexive thinking opportunities that, when amalgamated harmoniously with factors such as music, amimals, books and pictures, fosters a sensory engagement process that organically encourages children to convey meaning with purpose, establishing new connections between play processes and non-verbally communicating the functionality and manipulative properties paint can serve for children (Pacini-Ketchabaw, Kind and Kocher 2016).

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Examples of the chidren's creative thinking with clay

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Examples of the chidren's creative thinking with clay

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Exploring memories and vision from Australian Media presented through a lens projection - visual printing 

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Envisioning new light - exploring light function ACMI 

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Envisioning new light - exploring light function ACMI 

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Enhancing teaching approaches through Clay exploration: my new learnings 

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Enhancing teaching approaches through Clay exploration: my new learnings 

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Working with clay and experimenting with its functionality supported us, both as a group and individuals, to reconsider authentic introductions to play that foster organic provocation development. Inquiring with the material itself helped me to broaden my understanding of meaningful ways to offer clay in a more flexible range of environments - including outdoors - that enhanced its’ natural capacities for prodding, poking, and manipulation, and limited Educator intervention to support holistic understandings of the purpose clay can serve in the context of temporal and creative art mediums (Yazbeck 2013).

Working collaboratively to consider the means clay facilitates in the context of sensory play from the child’s perspective (through in-depth personal inquiry) and adapting my understandings to enable opportunities to embed natural resources (water, sticks, leaves ect.) based on the environment it is offered in has made me become more alert to how learning dispositions such as reflexivity, creativity, persistence and commitment to the task at hand are innately embedded in play when educators are responsive to the children’s idea’s, interests and remain flexible in adjusting their boundaries to provide play in appropriate learning environments (EYLF 2009: ‘children are confident and involved learners’, p.36)

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"Research is a formalised curiosity. It is poking and prying with a purpose." - Zora Neale Hurston

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What did I learn from experiencing my own kind of light play?

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What did I learn from experiencing my own kind of light play?

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Exploring light with the children in a classroom environment demonstrated the importance of uninterrupted play to fully explore the functionality and capacity to manipulate light for a range of purposes. Whilst the play outcomes may not have a specific objective, what I felt I took from observing the children’s interactions through light play is that it informs and consolidates meaningful communication in verbal and non-verbal contexts. Giving the children an unlimited time period to establish and consolidate their understandings of how light can drive their play ideas offers the opportunity for comprehensive investigation, promoting a litany of manners for the children to express and communicate meaning and emotion through temporal art play. This could be, for example, the children collaborating on a shadow play experience to develop roles, scripts, and characters to heighten the complexity of their play and engage with the light for multiple learning outcomes (EYLF 2009, ‘Children express ideas and make meaning using a range of media’ p. 45).

My limited creativity during the inquiry process with light made me consider how we as Educators tend to follow dominant discourses, exploring light with specific resources (eg light tables, gems, mirrors) and need to challenge these typical teaching approaches by considering the children’s emergent ways of thinking, aptly following their conversations to understand their perspective and foster a natural application of trial and error, eliminating our predominant discourse to interrupt their play and correct their thinking (Pacini-Ketchabaw et al. 2015)

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Offering children a variety of tools and means of application, exploring natural/man-made materials and the different implications each tool has to the paint 

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Autonomous Paint-based process art example 

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Autonomous Paint-based process art example 

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I wonder what play concepts can be extended and created through offering naturally acquired resources to accompany clay experiences?

Wouldn’t it be interesting to see how children respond to clay in natural outdoor environments? I wonder how their play would be adapted and transported by offering larger, greener spaces to experiment with the clay to enhance organic encounters with natural materials (Pacini-Ketchabaw 2016)?

I wonder how we can foster the children’s natural exploration of process-based arts, without our knowledge and modelling superseding their play intentions and forming the need for an outcome-based experience (Stone and Chakraborty 2011)?

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Connections to Paper - what did I learn?

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Connections to Paper - what did I learn?

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What I felt was the fundamental message through paper exploration is that, for the most part, it tends to be a neglected art resource – simply from the perspective that it is often considered a singular means to an end, being an application method for process-based creative arts. Through exploring scrunching, tearing, soaking, rolling, folding and smushing collaboratively with the children, we noticed that we developed a greater depth of understanding the functionality of paper, considering concepts beyond standard paper play experiences (eg. Cutting, drawing) and considering new ways to use it. Ultimately, this supported me to expand upon my understanding of process art play, and how paper can be manipulated to facilitate meaningful play in a litany of contexts (eg. Sociodramatic through puppet making, mache-based art process play, symbolic play through sculpture development) dependent upon the supporting materials provided for the paper to amalgamate with (Pacini-Ketchabaw, Kind and Kocher 2016). Adapting my teaching approaches to support play diversity inherently supports children’s opportunities for artistic expression, supporting the dynamic and unique nature of each child’s individual learning - aptly reflecting Malaguzzi’s theory of Hundred Languages of the Child (Edwards, Gandini and Foreman 2011).

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Investigation into Paper - Assessment Task 2 - Stop Motion Animation 

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Investigation into Paper - Assessment Task 2 - Stop Motion Animation 

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Utilising paper for its' functional capacities, offering exploration over a number of days at a time

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I wonder if paper can be manipulated and stretched if it is adjusted with another material?

I wonder how temporal arts can be influenced by the provocation of paper as the mean-making resource?

I wonder what creative experiences I can utilise paper for, that do not revolve around the fundamental of material application to paper?

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Example of shadow play as a means of media and role play - reflective of Malaguzzi's 100 Languages of the Child theory (Edwards, Gandini and Foreman 2011). 

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I wonder how we can establish more flexible boundaries as Educators to support holistic exploration of the functions of paint and process arts?

I wonder what kind of provocations for painting and exploring painting processes can be initiated by engaging with media children are familiar with? Eg. Books, videos, songs

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Children shine a CD shiny-side up directly in light to create a rainbow on the wall through the refraction from the sun to the CD

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Light play example - supporting children to understand reflection and natural light play 

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Light play example - supporting children to understand reflection and natural light play 

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I wonder how Educators can advocate for the exploration of light play in the curriculum that extends beyond light tables and exploring shadows?

I wonder what kind of emergent S.T.E.M. concepts can be explored and expanded upon through applying trial and error in light play experiences? (eg. transparency vs. opaqueness in items)

I wonder how light can be interpreted and embedded into temporal art experiences to evoke meaning? Ex. movement, painting, drama

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Demonstrating mean-making through the manipulation of plasticine (oil-based clay) 

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Offering a variety of materials and tools that can be manipulated and experimented with, in conjunction with visible adjectives about clay in children's sight

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Aesthetic environments - encouraging nature play through Clay

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Aesthetic environments - encouraging nature play through Clay