Reflection and Student Work
Reflection and Student Work
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The following reflections and analysis of my teaching is based on a review of video recordings of my 5 lessons conducted at PS 329Q and teaching artifacts such as lesson plans, project examples, and student work. Analyzing my instructional methods and decisions made in class and employing them as resources, I refined my approach and developed a more comprehensive unit plan for future implementation.
Analysis of Material Exploration
As the foundation of studio practices, materials aren’t merely substances and tools; they are expressive media and carriers of meaning. (Hafeli, 2005) Understanding the properties and possibilities of different materials empowers students to become more independent and expressive during their creative processes. I had the opportunity to use students' work as a lens to analyze my teaching methods. Although we didn’t reach the painting stage for the sculptures by the end of the sequence, their work still provided valuable insights into my teaching approach for sculpture building. Reflecting on my lesson plans, I noticed that the after-school program's scheduling structure has limited students’ opportunities to explore the materiality of paper form sculptures. This constraint was reflected in their work, particularly in the transition from 2-dimensional to 3-dimensional forms. It becomes evident that there are interconnected issues concerning both scaffolding and open-ended exploration that need further attention.
The Lack of Scaffolding
Scaffolding, essential for introducing new concepts or skills, was not fully integrated into this sequence. The only lesson dedicated to material exploration is Lesson 2, where students have the opportunity to create various paper forms with newsprint paper and tape. However, this exploratory lesson fell short of bridging the gap between understanding materials and the later sculpture-building process in Lesson 3. The sculptures made by Student 1, 2, and 3, alongside their chosen reference images (presented to the right), illustrate varying skill levels in transitioning from 2-dimensional images to 3-dimensional forms. Student 2’s sculpture particularly highlights the need for more time allocated to sculpture building, as many of the students' sculptures could be further developed.
During the process of constructing their sculptures using premade paper forms, I observed that students encountered difficulties in manipulating the materials. These challenges included connecting pieces, stacking, and achieving curved lines. These difficulties can be attributed, in part, to the lack of scaffolding. Lesson 3’s focus shifted to composition, guiding students to select bases from rectangular, circular, and oval shapes. While composition is crucial, this emphasis overlooked the essential skill of building 3-dimensional sculptures based on 2-dimensional reference pictures. Students were prompted to create sculptures from references without adequate prior experimentation with and understanding of the materials. Consequently, students' comprehension of paper form sculpture remained insufficient. Realizing this, I recognize the need for a refined unit plan centered around material exploration. By providing students with more opportunities to understand and manipulate materials before starting on final projects, I can enhance their creative potential and depth of understanding.
Open-ended Exploration
The sequence's structure, beginning with a thematic lesson, inadvertently constrained students' creative exploration. This 5-sequenced lesson started by prompting students to discuss the work of contemporary artists and explore a singular theme. At the end of Lesson 1, students were asked to brainstorm ideas for their protective object in response to personal fears, thereby determining the concept of their final project from the outset. While the thematic approach provided a focal point, it potentially limited students' freedom to discover the full potential of the materials.
In the first chapter of Exploring Studio Materials, Mary Hafeli (2005) points out that “a lesson or project involves special art material and making things doesn’t mean it’s an optimal creative experience for the artist” (p.19). Hafeli emphasized two key aspects of open-ended studio processes: firstly, “experimenting with art materials is purposeful play” (p.20), and secondly, “the goal of purposeful play is to understand how the variety of effects you create can suggest different meanings in artwork” (p.20). Placing material exploration, which occured in Lesson 2, after the thematic lesson, could confine students’ exploration and hinder their ability to engage in purposeful play. This limitation may restrict their opportunity to explore ideas beyond the predetermined theme.
For the revised unit plan (see Teaching Material Section), dedicating initial lessons to hands-on experimentation with paper forms could equip students with the necessary skills to create their sculptures later in the sequence. Moreover, creating an environment of open-ended exploration throughout the entire sequence, where students are encouraged to explore materials freely and generate their ideas, can cultivate creativity and foster deeper artistic engagement.
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