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In this video, I placed my finger directly into the paint. I then proceeded to use my finger to cover a leaf in paint. I then used the leaf as a stencil to dab a pattern on the page. I’m doing exploration of the materiality of leaves, stems and my fingerprints and noticing how all these textures interact with the paint. I was thinking with materials, as described in Pacini-Ketchabaw, Kind, & Kocher (2016), and these materials were guiding my process, which can be clearly seen in the curious look I have when applying my finger to the leaf and combining these textures. I’m feeling empowered in this moment because I have seamlessly combined multiple textures. As I placed the leaf onto the page, I thought about Malaguzzi (as cited in Edwards, Gandini, & Forman, 2012, p. 83) and how imagination, nature and paint combined, particularly with the deep green colour. I felt inspired to create a rudimentary butterfly, although this was created subconsciously as I let my feelings overtake my thinking.

Edwards, C. P., Gandini, L., & Forman, G. E. (2011). The hundred languages of

children: The Reggio Emilia experience in transformation (3rd ed.). ABC-CLIO.

https://ebookcentral.proquest.com/lib/vu/detail.action?docID=820317
ISBN: 9780313359620

Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2016). Thinking with materials. Encounters with materials in early childhood education (pp. 1–21). Routledge. https://ebookcentral.proquest.com/lib/vu/reader.action?docID=4649662&ppg=14&c=UERG

ISBN: 9781317588573

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Painting blue colour on the paper with a brush and music on the background

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Painting blue colour on the paper with a brush and music on the background

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In this video, I decided to use a blue colour because the music immediately enchanted me with a cold feeling that I instantly related to blue. When thinking about Malaguzzi’s 100 (as cited in Edwards, Gandini, & Forman, 2012, p. 83), my assemblage was the brush and water to thin out the paint. I believe the water allowed my brush to flow with the music and my feelings, acting as multiple languages speaking together in a non-linear manner. I repeatedly made circular motions with my paint brush which reflected my swirling feelings about the music. I felt as though some tunes of the music were melodic and lulled me into these motions. I was thinking about how the swirling blue paint reminded me of the deep ocean, alongside some watery-sounding music. In this moment, when considering Malaguizzi, I was allowing my thinking to be transmitted to the page via the materials of water and blue paint.

Edwards, C. P., Gandini, L., & Forman, G. E. (2011). The hundred languages of

children: The Reggio Emilia experience in transformation (3rd ed.). ABC-CLIO.

https://ebookcentral.proquest.com/lib/vu/detail.action?docID=820317
ISBN: 9780313359620

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Colour mixing experiment and experience with blue and red painting

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Colour mixing experiment and experience with blue and red painting

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In this video, I initially used a thick paintbrush to lightly dab the page with red paint. I then proceeded to use me instead as a natural paint brush. I made swirling motions with my finger to form a circle. I then did the same with a different colour (blue) right next to the first circle. My curiosity led me to combine the circles and make the new colour of purple. This was a sensory experience for me because I was doing the painting with my own fingers, meaning I could feel the cool, slippery texture of the paint on my skin. My expression reminded me of Pucci (n.d.) because it was a multisensory expression using my eyes to combine the colours and my fingers to feel the colours. I was feeling curious and then accomplished because I was able to create my favourite colour. I was thinking about the deep physical connections I had to this painting, forged by my fingers which weren’t my initial assemblage choice because I initially used the thick paintbrush. I certainly had more feelings and emotions by using my fingers, instead of the brush, because I developed the extra layer of connection to my painting.

Pucci, S. (n.d.). The hundred languages of children: A Reggio Emilia approach. Reggio Children. https://www.reggiochildren.it/en/reggio-emilia-approach/100-linguaggi-en/

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Painting with pom-pom on the stone and paper

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Painting with pom-pom on the stone and paper

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In this video, I wetted a pom-pom with paint and then dabbed a rock until it was blue, contrasting the natural light stone colour with the deeper blue. I then dabbed the page with the pom-pom in a manner that resembled a butterfly. I also alternated between dabbing the stone and dabbing the page. I was engaging with the rock with care because the contrast between the hard rock and soft pom-pom caused me to slow down. I was feeling quite serene when dabbing the pom-pom to make a butterfly and taking care with the soft assemblage. I used a methodical rhythm to ensure full use of the pom-pom (Hanna, 2016). The consistent rhythm and movement created the beautiful butterfly. I was thinking of the repetitive movements and the energy required for these. I needed to focus on precise movements to display my feeling.

Hanna, W. (2016). The children’s music studio: A Reggio-inspired approach.

Oxford University Press.

https://ebookcentral.proquest.com/lib/vu/detail.action?docID=4747980

ISBN: 9780199384808

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In this video, I used a sparing amount of paint and placed this on the end of a scraper. I then slightly wetted the page with paint and then moved the scraper from side to side quickly. The smooth edge spread the paint and created an interesting texture that was both precise and unpredictable. I was doing something unplanned which aligns to Pelo’s view of art as discovery (Pelo, 2016). I was discovering new ways for the scraper to be used by thinking with my materials and exploring new possibilities of the tools. I was feeling adventurous because I was using the scraper in an almost aggressive swiping fashion, allowing me to get sharp lines. I was thinking of how the music was at a fever pitch with sharp instrumentals, and I knowingly incorporated these musical tones into my sharp work.

Pelo, A. (2016). Clay. The language of art: Inquiry-based studio practices in

early childhood settings (pp. 92–114). Redleaf Press.

https://ebookcentral.proquest.com/lib/vu/reader.action?docID=4674378&ppg=105

ISBN: 9781605544588

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In this video, I initially broke a stick and then rubbed it on the page. I then put paint on the end of the stick and swiped this across the page, covering some of my previous work in the process. I then covered a rock in the same blue coloured paint. I was doing some thick and bold strokes with the stick which were mostly uneven, giving the result a more natural look due to the stick instead of a brush or finger. This highlights how each material carries its own possibilities, but also limitations because of the imperfect nature of the strokes. This reminds me of Vision for the Arts in Education by Wright (as cited in Roy, Baker, & Hamilton, 2015) because of the unique and symbolic ways of knowing. I was feeling as though this was the most unique result of creativity on my page and symbolises the limitless possibilities. I was thinking of how the rock contrasted the stick in terms of what textures can be produced and how the different elements of nature shine.

Roy, D., Baker, W. J., & Hamilton, A. (2015). Excerpt from: A vision for the

arts in education. Teaching the arts: Early childhood and primary education (2nd

ed., pp. 11–13). Cambridge University Press.

ISBN: 9781107433670