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An assemblage resembles a "human-nonhuman working group" in which each piece is interconnected.
Assemblage art involves the creation of new and innovative artworks from what were once considered objects of waste. Through their use in assemblage pieces, reclaimed objects are endowed with a new, sometimes paradoxical meaning. Assemblage is linked to this unit as we have studied paint and assemblage and its use in early childhood education. I will explore this concept and will also discuss its implications in early childhood education.

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In this artefact, I have used recyclable bubble wrap as my brush to see its texture with paint. Paint, which is a standard medium in early childhood schools and has become a tool for thinking rather than a tool for developing sensory abilities in children. It would not be wrong in saying that paint serves as both a verb and a noun in this fashion.
While doing this activity I noticed the difference in thickness of every colour and how it changes its effect.
Undoubtedly, improvised assemblages are most dynamic and capable of expressing themselves. Watercolours, music, children, fish, a book, educators, and an octopus meld into one. The assemblage strives for a becoming-paint, a symbiotic, resonant, and creative flow of intensities moving in lockstep. Paint gives the kids a voice and gives them a place in the assemblage. The paint assemblage transforms into a realm of strong emotions and intensities. In this case, getting proficient or comfortable with paint entails bridging the gap between the manipulations required in a developmentally focused early childhood school and those required in the classroom where this experiment took place.

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The second artefact of the assemblage was making a leaf pot out of a recycled white bucket, green leaves and using colourful fingerprints to design it. It was fun as I had an empty bucket which I painted with fingers then wrote the first letter of my name on it at the back of it. This artefact will not only help children to invent a new object but also enhance their language as they will draw the first letter of the alphabet on it.
"As youngsters use their thoughts and hands to act on the material using gestures and tools and begin to gain abilities, experience, tactics, and norms, structures. Children also learn the alphabet and develop grammar" said Reggio educators (Gandini, 2005, p. 13). In other words, through interactions between the child and the content, children build an alphabet or language. The possibilities of modification, transformation, and structure of the material show themselves during the building of that relationship so that the modified material can become a conduit for expression that expresses the child's thoughts and feelings.
Moreover, In this intricate process of language acquisition, the teacher's involvement is not overlooked. Rather, via concentrated discourse during each child's creative discovery, the teacher plays an important role in facilitating children's interactions with materials and objects. Each child's experience with object-centred enquiry practise, language development, and the artistic process is aided by the teacher's attention and support.

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The third artefact of assemblage is a cardboard truck, children always love cars, trucks, buses and trains. I made a little truck and used colour bottle lids as wheels and also made a headlight with the help of black colour. I really had no idea, how to use a little cardboard box, initially, I was thinking to use it as a jewellery box child then I ended up making a truck.  In the same way, in an early childhood setting, children are always encouraged to acquire individual understandings of the world and items within it, which is a key element of the Reggio Emilia educational philosophy. During knowledge construction, young learners are encouraged to use a variety of representations. The atelier, a specific art studio in Reggio schools, houses a variety of objects for students to explore. These pieces may have been purchased recently, recycled from earlier projects, discovered by students, and/or donated by community members, and are frequently reclaimed materials from REMIDA, Reggio Emilia's recycling centre. Young students select the objects they want to investigate and incorporate into artistic works. Children can be provided with a number of objects and can leave freely to invent, then they will use their understanding, knowledge and imagination to create new things. When students employ salvaged materials in the art classroom, they have a unique opportunity to connect common, abandoned objects with unique, customised artistic works.

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The fourth artefact is using different empty, filled and different metal bottles to produce different sounds. Children love music and playing with musical things.
I noticed that different material for example a bottle made of glass, plastic and a bottle filled with water produces different sound when tapped. In early childhood, educators expose themselves to improvisation as educators, children, and researchers immersed ourselves in the rhythms and intensities. "To improvise is to merge with the world," Deleuze and Guattari (1987) write, as "one ventures from home on the thread of a tune... along sonorous, gestural, motor lines that indicate [a] path" . This improvisation isn't necessarily linear: "various loops, knots, speeds, motions, gestures, and sonorities graft themselves onto or begin to sprout 'lines of drift' with diverse loops, knots, speeds, movements, gestures, and sonorities".

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Artefact 5 is made of paper, where have been cut into a design to make a flower.  Young children benefit from discussions, When we introduced this kind of activity, they ask questions like:  “what it is, how it was made and from what materials and whether it is from our culture or another”.

“It is during the construction of that relationship that the possibilities of modification and transformation of the material present themselves; the transformed material becomes a conduit for expression communicating the child’s thoughts and feelings” (Gandini, 2005, p. 13). Children using found objects in their artworks have opportunities to modify, transform, and restructure the object in ways never before imagined. In that sense, the found object becomes a means for children to engage in meaningful, imaginative explorations.

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In the sixth artefact, natural materials have been used in this, this kind of materials can be easily found and children can use their imagination to create something new from them, as I was looking for something in red colour to make a flower, I could just found red tomatoes. After making a flower, I tried to use different objects to make different flowers.
Deleuze and Guattari and Spinoza gave one example of moment-by-moment activity and propose that in educational contexts, activity should be viewed as a direct and continuing interaction of three dimensions: children's moving bodies, the classroom, and its contents. Children's ongoing movements, I suggest, provide opportunities for 'doing' and 'being' that flow across and between them. I argue that thinking with assemblages can draw attention to both the potentiality and the power dynamics inherent in the present moment, as well as counter preconceived notions of individual child agency and linear literacy development, as well as the inequalities that these concepts can perpetuate within early education settings.

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Children and teachers can use discarded materials in the classroom to expand their artistic languages and activate their imaginations. "Materials have their own inner life and their own narrative to tell," Alba Ferrari said. However, they can only be altered by coming into contact with humans" (Gandini & Kaminsky, 2005, p. 6). Visual arts educators may help students receive the most out of these co-constructed, transformational experiences by paying attention to the cultural-historical aspect of things and the reimagining of previously discarded artefacts. Using recovered materials and encouraging classroom discussion, arts educators can help children develop a repertoire of expressive, aesthetic languages through arts practises that encourage creative reuse.

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Assemblage Activity after Louise Nevelson

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Pacini-Ketchabaw, V., Kind, S. and Kocher, L.L., 2016. Encounters with materials in early childhood education. Routledge.
Eckhoff, A. and Spearman, M., 2009. Rethink, reimagine, reinvent: The Reggio Emilia approach to incorporating reclaimed materials in children’s artworks. Art Education, 62(2), pp.10-16.