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I gently stroke blue pigment across white paper. Then, I use red and infuse the pigment with more water, giving the color a heightened sense of transparency. As the red meets the blue already on the paper, the two colors start to blend and bleed, resulting in a beautiful new shade: violet. This embodies the "Blending and Bleeding" process, with the emergence of violet symbolizing "Emergence". I realize the interesting of my current creative process. Creatively, I combine the colors blue and red, and unexpectedly, a new shade, violet, emerges. I realise this is how violet is crafted. My creation at this moment makes me draw parallels to emotions in life that sometimes blend, sometimes intertwine, leading to unforeseen outcomes.

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Standing before a blank paper, every fellowing motion I make is improvisational, devoid of any preset intention or plan. The brush in my hand, saturated with paint, each stroke embodies the sentiments and inner musings of that fleeting moment. As I engage with the brush and canvas, the pressure of each mark varies – at times, the brush merely dots the surface, while at other instances, it delivers a bold stroke, a testament to my surging emotions within. I find myself wholly immersed in the rhythm and intensity of painting, harmoniously intertwined with the paint, brush, and canvas.

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I'm reminded of Deleuze and Guattari's views that improvisational creation is about merging with the world or becoming one with it (2009). Reflecting on this, it resonates with my experience during the act of painting. Each gesture, be it a broad brushstroke or a minute embellishment, represents a collision and communion between my inner realm and the external medium. I transition from a passive observer to an active participant, engaging in spontaneous experimentation and dialogue with the canvas, paint, and tools.

Simultaneously, my curiosity is fervently ignited. I'm eager to discern what insights and experiences this unscripted method of painting might unveil. Each ephemeral instant transforms into a fountainhead of inspiration for my craft. Through improvisation, I've come to recognize that in the process of creation, it's the unknown, the uncertain elements that hold paramount significance. This very unpredictability endows me with boundless creative potential and expansiveness. The brush in my grasp transcends its role as merely a tool; it becomes a soulful companion, journeying with me through exploration, discovery, and creation. Collaborating and mutually influencing other tools, everything becomes possible.

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Reflections in Process: Emerging & Blending and bleeding

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Reflections in Process: Emerging & Blending and bleeding

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Reflecting on my artistic approach, I discern a departure from conventional painting techniques. I choose direct interaction between materials: the intuitive amalgamation of blue and red, the creative introduction of water to the mix, and discover their merging to be more proactive and cohesive. As Gilbert articulates, when we refrain from imposing rigid boundaries, diverse elements are afforded the liberty to coalesce, showcasing their utmost creative potential (2004). My artistry extends beyond mere color application on canvas; it embodies a journey of exploration and articulation of my relationship with the world.

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To further connect with the materials and enhance the experience of thinking through materials, I recognize that my body serves as a salient conduit for perceiving the world. I engage my hand with the paint, sensing its moisture; I observe the varying concentrations of paint on my skin. Replacing the brush with my hand, I directly feel the minuscule granular sensation of the paint on the white paper. However, when I smear the paint on a plastic surface, the tactile experience alters: the plastic feels silkier, and it easier to get colour.

During this process, I also experiment by dropping a bead of red paint into water, observing its dispersion from a pinpoint to the eventual reddening of the entire water body. This realization dawns upon me: the versatility of paints combined with varied techniques can sculpt astounding visual impressions, where each blend of materials unveils its unique style and characteristics.

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As I approach the culmination of my creative endeavor, I integrate my prior interactions with the paint onto a blank canvas to craft the final artwork. The varying intensities of paint interacting with the paper, the mutual interplay between my hand, paint, and paper, and the amalgamation of colors coalesce to produce my final art piece: an abstract portrayal imbued with contemplations on humanities and education.

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Preliminary thoughts prior to the initiation of the process.

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Preliminary thoughts prior to the initiation of the process.

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Today, I utilize paint as materials to craft a piece of artistic work. Concurrently, I adhere to the tenets of Process-Focused Art, documenting my engagement with the paint and reflecting on this experience in light of my understanding of early childhood education. As I delve into 'Encounters with Materials in Early Childhood Education', I come to appreciate the paramount importance of cultivating a relationship between materials and both adults and children. Engaging with and contemplating these materials suggests more than merely perceiving them as passive tools. Instead, they are seen as entities actively contributing to the creative process (Pacini-Ketchabaw et al., 2016). Such materials indeed provoke questions and foster deeper contemplation. As this moment, I employ paint in my artwork, I observe my interaction with it as a dynamic, sensory, and continually exploratory journey.

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I am not merely applying paint to a canvas passively or mechanically; instead, I actively interact with the paint, perceiving its texture, allowing its fluidity to resonate with my emotions. This extends beyond a mere reaction to color; it represents my engagement with the paint, canvas, and the overall spatial dynamics.

Reflecting upon my recent artistic endeavor, I comprehend that my engagement with materials epitomizes a multifaceted, collaborative process, marking my interaction with the larger world. Echoing Manning's emphasis on the creativity and interactivity of the body, the sentient body, senses, and the world at large co-participate, culminating in novel events and experiences (2007). I discern that my body no longer merely passively receives sensory inputs; it actively interacts with its surroundings, forging a vibrant mechanism teeming with endless recombination possibilities. The euphoria I experience from newfound insights and sensations during the painting process signifies that through interaction and recombination with the external world, I am birthing fresh experiences and connections.

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This creative journey evokes reflections on the Reggio Emilia approach, which encourages children to autonomously select their learning activities, consequently enhancing problem-solving and hands-on skills while fortifying critical thinking (Schroeder-Yu, 2008; Edwards, Gandini & Forman, 2011). Through this material-based experiment, I recognize the harmonious fusion of praxis and experience. As an early childhood education student, I discern that individual responses to materials shift based on each unique participatory journey, signaling boundless unpredictabilities. Contemplating the underlying significance of painting connections between materials, space, surfaces, and processes of movement and touch, I gain a clearer understanding that genuine learning transcends mere knowledge transmission; it hinges on the synergy and interaction between its constituent elements. In my future education practices, I commit to maintaining an egalitarian stance, respecting each child, and endeavoring to employ open-ended and creative teaching methodologies, ensuring that every child thrives in an environment suffused with respect and care.