Housekeeping: Artroom Display

Look at what leftover paint and gesso primer do to plain-looking mache letter! The art room wall is slowly filling up. Thanks to my fearless colleague, Candice, who can balance on the wobbly ladder and put up the letters with neon tapes :D

Art Class: Water art

The P2 children ended the semester with water art! We did orizomegami and water marbling. I was really glad to discover that my DIY paint holder could hold water well for the entire class duration. It was the right size for the children to contain water and empty it on their own. The first time when I tried this, I had to prepare everything myself using 7 excessive large plastic containers and that process was deemed too ineffective. 

The first 2 photos below show orizomegami by adults and I omitted a step to facilitate the artmaking process in class. Before I conduct any lessons, I will run the entire process and anticipated any hiccups in my mind's eye. Even though the children will not have define patterns as I decided to simplify the artmaking, they were still very fascinated by the process.

Art Class: The Colour Experiment

Behind the scene...

Substitute palette paper with freezer paper. I got mine from the supermarket. It works as well, is a cheaper alternative and you can customise the dimensions. In this case, I'm using my art room tiles (x2) as my measuring ruler :D

For my P3 pupils who will be learning about Diversity, we began the class with a story The Colors of Us by Karen Katz. This unit introduces socially-sensitive issues about racial identity through self-portraits. While most of the children in my school are mostly Asians, a number of them belong to cross-cultural families or second-generation immigrants. When we held discussions about skin colours, a boy aired his misconception that a person's culture can be determined by his/ her skin colour. Another talked about the evolutionary reason of the skin responding to the sun. 

I collected the lids of the paper reams and use them to distribute acrylic paint to the groups. Throughout the lesson, no water is needed. The children will clean their paintbrushes on the cleaning paper (which are essentially the wrappers of the A4 printing papers) and throw them away after use.  

The children were given a worksheet to record their tests and observations like an artist/ scientist. Their task is to try to get a shade of skin colour but not necessarily theirs. We had a discussion of some of the children's observations and getting them to articulate their thoughts instead of just doing the experiment as a means to an end which I think is more meaningful. Painting is definitely interesting, it encourages sensitivity to colours by rejecting the idea of teaching children culturally-agreed object colours.

Art is more than merely the expression of ideas and expression. In the development of artistic competence and enjoyment, children are encouraged to explore the potential of materials. Their ability to control these processes are learned through the freedom of spontaneous expression which can deepen their understanding, failing which, would produce a sense of incompetence and frustration (Robinson, K. 2008). 

Last month's issue of Nat Geo is such a coincidence!

Listen to photographer Angélica Dass on how her work challenges the way we think about skin colour and ethnic identity here.


Dr Ken Robinson, 2008. The arts in schools: Principles, practice and provision. Lightning Source, UK.

Art Class: Emotions

When people say that you have to know your students as a teacher, it's really not just about understanding their ability and skills in executing the artwork. Often, it's also about understanding the emotional aspect. Dr Tim Elmore, author of Generation iY: Our last chance to save their future, wrote that "most young people are advanced biologically and emotionally backward". In other words, their emotional maturity is not as advanced as their biological, cognitive and social aspects. In 2003, MOE introduced social and emotional learning (SEL) into schools to improve the current status of students' social skills. I've met many children who are so advance in their academics but they struggle to self-regulate their behaviour. On the other end of the spectrum, I have children who are so uncertain of themselves that they tried to seek my approval at every stage of their artmaking process. Thus, I like to incorporate discussions about human's emotional responses such as anger and fear of failures. 

In this unit, we discussed human emotions through Pablo Piccaso's The Weeping Woman (1937) and Edvard Munch's The Scream (1893). Conversations revolved the artist's chosen palette and non-verbal language of humans and animals. We started with blind contour drawing and the children worked in pairs to observe each other. The drawer poked their pencil through a paper plate to prevent them from looking at their drawings. They were encouraged to do drawings of their friend's front view, side profile and a freestyle. Next, they do individual drawings of a self-portrait by looking in the mirror each.