Paper offers endless opportunities for exploration, creativity, and learning, allowing children to engage with it at their own pace .As educators, we can introduce paper as a medium that encourages curiosity and skill development, while also teaching children about the importance of sustainability. I believe, “We should offer art materials in ways that communicate both intention and abundant possibilities.” (Pelo, 2016.pg-18)

By using recycled paper, fostering awareness of waste, and encouraging thoughtful handling, we can instil a sense of responsibility in children. Ultimately, paper becomes more than just a material—it becomes a tool for creativity, learning, and environmental consciousness. We offer art materials in ways that communicate both intention and abundant possibilities.

Landscape architect C.T. Sørensen had designed the first "junk playground" in Emdrup, Denmark, in 1943 where child could express themselves in a free and unrestricted manner. When the “junk playground” concept began to gather momentum, Lady Allen of Hurtwood reinforced the idea to London in 1946. She coined the phrase "Better a broken bone than a broken spirit," encouraging children to take risks and embrace challenges.

As an educator, it is interesting to observe children how they explore junk/loose parts- how they look, touch, feel, observe, sort and they do all these in their own pace. In “Beautiful things” Topal and Gandini (1999) also stated that some children interested to make new things out of junk, but others just want to touch and feel. We should respect the intention of children and explore the beautiful world of junk with them. (Topal, Gandini.1999)

For me, to 'Think with light' means using light as a tool for exploration and creative expression. It’s about asking questions and experimenting with different light sources, angles, and materials to understand how light shapes the environment

Since “Experiences involving light and shadow enable children to appreciate the awe and wonder of the world around them and provide a rich environment in which to develop their natural curiosity” (Teaching expertise. May 12, 2013) as an educator, I will always encourage and provide opportunities for my children to investigate how light interacts with different materials and environments and promote curiosity, creativity, and sensory engagement.

Centro Internazionale Loris Malaguzzi, 2015. https://www.youtube.com/watch?v=W-R5oXaqs0U

Ipswich Art Gallery, Light play,2016.yoytube video. https://www.youtube.com/watch?v=2nJzsT-S40o

Pacini-Ketchabaw, V., Kind, S., & Kocher, L. L. M. (2024). Thinking with materials. Encounters with materials in early childhood education (2nd ed., pp. 1–23). 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-

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-

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

Teaching Expertise, May,2013.Exploring Light and Dark with Early Years. https://www.teachingexpertise.com/articles/exploring-light-and-dark-with-early-years/

Topal, C. W., & Gandini, L. (1999). Listening to children’s thoughts. Beautiful stuff: Learning with found materials (p. 16). Davis Publications.

ISBN: 087192388

In “The Language of Art”, Pelo (2016) describes how children develop a relationship with clay in two stages. In the first step, she emphasizes the importance of children forming friendship with the material, while in the second step, they explore the behaviour of clay. This process ultimately leads to the creation of their final product in the nest stage. (Pelo, 2016). This reminds me my role an educator, that  I should always invite children to engage in the present moment while learning and growing through their hands-on interaction with the material. Because in an early childhood setting, it's not just about the final piece. The process itself—the feel of the clay, the rhythm of moulding and shaping, the exploration of its changes—becomes just as important as the result.