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As I was brainstorming my own thoughts and ideas about paper, it came to my attention that I have never thoroughly reflected on the significance the material makes in our every day lives.

Paper is an effective and audacious material that we rely on throughout a regular day-to-day basis. The bold material inspires individuals to be creative and encourages them to explore paper in differentiating ways.

As explained by Pacini-Ketchabow, Kind and Kocher (2016, p.26) materials are closely connected to making in an early childhood setting. They are often set out for students to make or create something, with the belief that children are brimming with ideas that are waiting to be communicated with paper.

During my experimentation with paper in class, I began listening to the paper and focusing on how my arms, legs and body were moving along with it. Throughout the classroom, I was hearing paper being ripped, scrunched up and stepped on. These actions were being completed in a forceful manner, therefore the paper was creasing. I couldn't help but think, where has the paper been before it was in this current room?

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Junk materials are effective materials that allow us to think, feel, imagine, relate and express in contrasting ways. The cooperation of art in our everyday lives is 'located in the border zone, between rational and imaginative, between cognitive and expressive.' (Pelo, 2016).

In a classroom setting, educators collaborate with the students to explore the allure of colour, texture, movements, lines and space. According to Pelo (2016, p. 2), children use the language of art to construct meaning and understanding, together with participating in human conversations about ideas, experiences and emotions. This particular interaction allows children find a purposeful place in society to devote their perspectives, hopes and critiques.

In my learning space, a large amount of various junk materials were present. The materials were being scrunched, shook and carefully placed in differing ways to express our imaginations for everyone to witness. As I was listening to the materials, I heard them rattling, and as I tapped on some of them with my finger I realised that some of the junk materials were more hollow then others.

I held on to a piece of string. This string made my body pull it, and twist it. As I was pulling and twisting the string, it was effecting my body by feeling a discomfort in the inside of my hands. Throughout this engaging experience, I wondered how other junk materials would make me feel physically and emotionally.

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Inquiry Three: LIGHT, SHADOW & TRANSPARENCY

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Inquiry Three: LIGHT, SHADOW & TRANSPARENCY

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The blend of light and materials is a fascinating combination. Both of these substances strengthens the imagination and creativity of others, as it allows us to engage with diverse languages.

Implementing the use of light and materials in a classroom setting assists students to fathom that they can transform on object into something else, that can visually capture someone's attention. As interpreted by Light Play, when children have hands on experiences with light, they are capable of exploring light in various amounts of ways through the shadow, colour, texture and shape. (Light Play 2017)

As I was personally being introduced to the concept of integrating light and materials together, I found the process extremely captivating and visually appealing. I was able to see light through a different perspective, by observing the contrasting visuals on the projector, and then creating some myself. These divergent visuals that were projected on the wall allowed us to see shadows, together with understand the concept of shadows. It was engaging to see how differently everyone's imagination was at that time, as a number of innovative visuals were displayed. Above are some examples.

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When clay was brought to my attention, my thoughts were instantly flooded with joyous memories. I remembered using clay in my primary school and high school's art class, and it was the one material which allowed me to express my thoughts and feelings in a satisfying way.

Clay is an incredibly versatile material which introduces children to a sensory experience. As stated by Pacini-Ketchabow, Kind and Kocher (2016, p.56) you can pinch clay, poke it, press it, shape it, throw it, scrape it, form it and lift it. It emboldens people to use their imagination, as you can create anything with it.

Whilst using clay in a classroom setting, the material will respond to the child's movement as they use it. 'Clay flows through the studio in rhythm with the children's movements. It demands transformation through its easy malleability and flexibility.' (Pacini-Ketchabow, Kind & Kocher 2016) It is a messy material, however that isn't the important factor when introducing it to the classroom.

As the clay was in front of me in my learning space, I immediately felt excited and engaged. The sensitivity and smell was nostalgic. I held it in my hands, pressed into it, and it instantly moulded into the shape I wanted it to be. Al though it was messy, it brought me great comfort as I could express my feelings and creativity into the material I loved when I was younger.

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Inquiry Five: ART & LITERACY, STORY CREATION/BOOK MAKING

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Inquiry Five: ART & LITERACY, STORY CREATION/BOOK MAKING

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Introducing materials to children at a young age is necessary. You are allowing children to engage with a variety of different materials, and providing them with the opportunity to express their thoughts, ideas and emotions in a visionary manner. Once you have incorporated materials such as paper, junk, light, shadow and clay, then children can create their own story.

Prior to sending the children off to create their own story, it is important to openly discuss with the children about what they learnt, what they enjoyed, what they didn't enjoy, and how all of these different materials made them feel. It is crucial to also brainstorm points about each material that was discovered as a class, to build upon ideas.

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Light Play 2017, Light Play: Education Resource, Ipswich Art Gallery, Queensland, booklet.

Pacini-Ketchabow, V, Kind, S & Kocher, L 2016, Encounters with Materials in Early Childhood Education, Taylor & Francis Group, New York.

Pelo, A 2016, The Language of Art: Inquiry-Based Studio Practices in Early Childhood Settings, Redleaf Press, Minnesota.