Paper was invented around 105 CE in Ancient China. Over the time the art of paper making spread all over the world. Evolving with new materials such as cotton, recycled fiber.

Exposure to light, temperature, and air can gradually cause paper to become more fragile and brittle. Over time, these environmental factors may also lead to a yellowing of the paper, affecting its appearance and structural integrity.

When I was exploring damp paper it was so calming and relaxing that was providing immersive sensory exploration. During this experience. It made me keep engaging.  As Hillevi Lenz Taguchi and Tim Ingold explains that material act on our thinking process, our thinking influences the materials. It’s a two way interaction. Materials moves us with their properties and we respond by interacting with them making something- is like ongoing discovery. This making is described as “Alchemy” in between materials and our thinking. Where we both influence and shape each other during the process. (Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024). This sensory exploration evoke my childhood feelings and memories. paper can be treated to resist water witho It feels like reconnecting with a part of myself that I often forget but always carry with me.

I wonder if ut losing its natural feel. Can we find the new ways to waterproof paper for packaging or art? This exploration showed me how paper is sensitive but can easily adopt to its surroundings.

 When I first started exploring with clay my expression was how soft and mushy it felt. It is great for moulding into different shapes and structure easy to squish and roll made fun for me to work with it. It was a great sensory play easy to manipulate, stick together well and made myself busy for long, as it was a mindful and relaxing experience. It came to my attention that there is no passive interaction with clay. As I continue working with it, I noticed how it responded my touch and started taking shapes. It was not just material to shape, it was something that connected with me and the space in a unique way. Gabriel Orozco speaks about how clay is a living, transformative material—it responds to touch, air, water, and fire, making it an evolving medium rather than a static one. (Orozco, G. (2025).

  I collected some wooden sticks, stems and barks and small gumnuts to work with clay. It was a wonderful experience. I tried to put these rough materials into soft malleable clay, one thing that stood out was how the clay responded differently depending on its moisture level. When the clay was soft, the materials poked in easily, but when the clay was drier and firmer after sometime, it held the natural materials in place better. As I was in the outdoor area, I continued my exploration. I saw how clay gradually dried over the time,   the clay started to harden as time passes, making it more difficult to press things in or reshape. This directly relates to Isabelle Stengers’ concept of the milieu.  Clay is not just a material but something that responds to its surroundings. Just like in different ecologies (forest, river, atrium), (Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024).  Clay is a universal material. It is deeply connected to the environment. My clay changed as it was exposed to air, moisture, and my own touch.  

Glass jars allows light to pass through, but I have noticed some lights reflects off the surface, creating shine or glare.

Colour transparent object or cellophane paper- this thing change the colour of the light passing through them like I have used different colour cellophane the light changed the colour and it shows to yellow, blue, purple, red, green, orange on the other side.

 Since organza is thin and sheer, it allows light to pass through, but with a soft, diffused effect. The light may take on the colour of the fabric, creating a soft glow. Just as jenny Hozler uses lights to display powerful massages on buildings transforming word into powerful visual image My exploration with light allowed me to discover how light changes the way we see objects. By placing object in front of natural lights or LED lights, we were able to see the transformation. Similar to how Hozler’s light installation create a new perspectives and meanings. Both experience highlight how light can be used as a tool to see and understand things in a creative and imaginative way. (Lebowitz, R. 2017)

https://www.artsy.net/article/artsy-editorial-7-artists-light-radical-ways

Orozco, G. (2025). Thinking with Clay (interview).

https://art21.org/read/gabriel-orozco-thinking-with-clay/

Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024). Clay: Ecologies. Encounters with materials in early childhood education (2nd ed., pp. 54–64). Routledge. https://doi.org/10.4324/9781003322559-

Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024). Paper: Movements. Encounters with materials in early childhood education (2nd ed., pp. 24–33). Routledge. https://doi.org/10.4324/9781003322559-2

Pelo, A. (2017). General guidelines for studio explorations. The language of art: Inquiry-based studio practices in early childhood settings (2nd ed., pp. 17–44). Redleaf Press. https://ebookcentral.proquest.com/lib/vu/reader.action?docID=4674378&ppg=30