Liao Hsien-Yi – University of Brighton speaks about her sculpture workshop at Heathfield Community College.
When I just started the placement at Heathfield in the first few weeks, I was looking at some of Year13 student’s sketchbook and found the content were mostly covered with the exploration on 2D material experiment. Therefore, I came up with the idea of planning some of the 3D material experiment into Year 12 scheme with Mrs. Damazer.
The idea for planning plaster experiment for Year 12 lesson is generated from my past experience when teaching year 11 students in an IB school back in Taiwan. The link below is the recording of the plaster scheme I planned for Year 10 students, who decided to take DP Visual Art course when they turn Year 11 in the next few months, during the summer school in 2022.
Week 5 – Lesson preparation and experiment
Mrs. Damazer and I were looking into a plaster artists called Maria Bartuszova, and we were discussing about how we can lead students to make the thin shell plaster sculpture like Bartuszova did. After doing few of the plaster experiments, we had some potential outcome that we think could implement to the lesson
Week 8 – Deliver the lesson
The students are mostly new to the plaster, but they were all engaging during the session with the step-by-step demonstration and instruction from us. After the plaster sculpture, we planned for the students to do the photo shooting for their own sculptures, and then draw the sculpture from the photo with the graphite powder.
Students’ working progress and outcome / Plaster sculpture instruction page in slide
The photo shooting set up and drawing sample I did for Year 12 as the demonstration
Students were concentrating on taking pictures for their own plaster sculptures
https://inktober.com/
Jake Parker created Inktober in 2009 as a challenge to improve his inking skills and develop positive drawing habits. It has since grown into a worldwide endeavor with thousands of artists taking on the challenge every year.
Inktober rules:
1) Make a drawing in ink (you can do a pencil underdrawing if you want).
2) Post it*
3) Hashtag it with #inktober and #inktober2024
1) 4) Repeat
Note: you can do it daily, or go the halfmarathon route and post every other dayjust be consistent with it. Inktober is about growing and improving and forming positive habits, so the more you’re consistent the better. That's it! Now go make something beautiful
*Post it on any social media account you want or just post it on your refrigerator. The point is to share your art with someone.
Inktober at The Gatwick School: A Celebration
of Creativity and Wellbeing
– Rena Kerimova
At The Gatwick School, we’ve turned Inktober into one of our most exciting and anticipated annual art competitions a tradition that grows bigger and better each year! It’s an event that students talk about long after it’s over and eagerly look forward to as soon as they return in September.
Inktober is an incredible way to boost students’ confidence while fostering imagination and creativity. To keep the experience open and inclusive, I encourage students to use any 'ink-like' medium they prefer, such as biro (coloured or black), fine liners, watercolours, or even digital tools like Procreate. The flexible approach ensures that every student can participate in their own unique way. Students can participate as much or as little as they like, submitting entries for one day or all 31!
Every entry earns house points and a participation certificate, but the excitement doesn’t stop there... First, second, and third-place winners receive special art-themed prizes such as sketchbooks, fine liners, or Faber Castell colouring pencils (which is surprisingly the most wanted prize, especially by our GCSE students)
To inspire participation, we place posters throughout the school, and tutors remind students of the daily prompt word. The art room is open at lunchtimes for art club, where students can work on their entries and enjoy creating in a supportive environment. As the month progresses, I create a display of the submitted works, which not only celebrates their efforts but often encourages even more students to join in.
Inktober at The Gatwick School is so much more than an art challenge it’s a celebration of creativity, community, and joy.
What makes Inktober truly special is how it transcends the curriculum. It brings together students from all year groups, sparking conversations and ideas that they share with each other. For me as a teacher, it’s a wonderful opportunity to connect with students outside of lessons, gain insights into their imagination, and strengthen our relationships.
Harvesting Dreams:
Cultivating Art and Self-Discovery in Early Years Education Through Nature and Its Seasons
Written by Lucy Albone
In this article for the UBATO, I will explore aligning the early years of art education with nature and its changing seasons. This topic is close to my heart, particularly concerning my pedagogical approach and fortunate experiences working in a Montessori and Reggio Emilia-inspired preschool in the beautiful rural area of Waldron, East Sussex. I will attempt to outline the benefits of naturefocussed art and suggest practical strategies for incorporating seasonal activities into using inspiration within my setting, its talented team and my artistic influences.
While it may not be a revolutionary idea, it is important to emphasise that engaging with nature appears to significantly help children understand their environment and foster a more profound sense of identity and belonging. A part of achieving that is how you connect your spaces to immerse individuals fully in the rhythms of nature. It is essential for nature and its seasonal changes to be integral to educational experiences in order to cultivate a strong connection and balance with the natural world
Many of Richard Louv’s books, such as ‘Last Child in the Woods’ and ‘The Nature Principle’, effectively highlight the advantages of naturebased learning, which enhances creativity and supports both emotional and cognitive development by encouraging curiosity and reflection. Additionally, Barbara Stieff’s insightful book, ‘Hundertwasser for Kids: Harvesting Dreams,’ about the Austrian artist Friedrich Hundertwasser, illustrates how ecological harmony and artistic expression can unite to foster a balanced relationship between our hearts, minds, and the natural environment.
When American author, naturalist, and philosopher Henry David Thoreau wrote, ‘I took a walk in the woods and came out taller than the trees,’ in his memoir Walden, he invited us to view nature as a boundless source of wisdom and inspiration. Allow me to extend a similar invitation, guiding you into our setting and awakening your senses to this very moment. Picture this: a cool, crisp breeze brushes against your skin, carrying whispers of the season. Beneath your feet, the ground comes alive with the crunch of fallen leaves, their russet-gold hues scattered from sycamore, beech, and oak trees. Twigs snap softly underfoot as the moist earth yields slightly, grounding you in the moment. Autumn’s layers unfold around you, with crispy leaves, scattered sticks, and soft patches of mud forming a sensory symphony unique to this place and time. Now, in front of you lie tools for creation: water, glue, and powder paint, ready to mix…
What colours do you blend? How do you feel? What sights, smells or sounds capture your interest? What is it about them that holds your attention? Do any of these sensations bring other associations to mind? If so, what are they? I could go on, and I am sure you could, too. My point is that nature provides us with rich multisensory experiences that are complex and multifaceted. For me, these experiences are alive with a buoyant energy that feels both grounding and uplifting. Through expression, we can bring to life the inspirations and provocations that nature ignites within us.
My description may resonate with you and fill you with similar impressions, yet none of your responses will be exactly the same. This speaks to what Hundertwasser cherished: a ‘mind of one’s own’ and celebrating the subtle uniqueness within us and nature. As Stieff suggests, try writing your name, then write it again on top, each iteration will differ, no matter how slightly. Every moment in time shifts in ways that make it singular, giving us comfort in patterns and familiarity, yet always with the uniqueness of change. It is worth treasuring and sharing with children, especially as they explore and develop their artistic expressions.
This brings me to the application: as teachers, we understand that hands-on experiences, which are revisited and repeated in different formats, enhance recall and learning. In the images above, you can see the bubbling water trickling down the stream that we observed in the woodlands behind Young Haymakers. The children then had opportunities to explore colours and bubbles, stirring and swirling them using bowls and spoons. These repetitive, circular motions were translated onto paper with crayons and pens, where the energy transformed and carried over, revealing both similarities and differences each time. These marks inspired words that formed poems, explanations, and songs. Thus, the cycle of creativity continues to flow.
Maria Montessori emphasised the importance of connecting with nature and allowing children uninterrupted time for focussed activities. Disruptions can break their concentration and diminish the benefits of deep engagement. She referred to these extended periods as the ‘cycle of activity’ in which children become fully absorbed in meaningful tasks
Montessori noted that when children follow their interests without interruption, they frequently experience a state of deep focus, often referred to as ‘flow. ’ This sustained concentration is essential for their development, fostering independence, resilience, and a sense of accomplishment. From my perspective, experiencing 'flow' in art is a magical process that allows me to lose myself in creativity where time stands still. I re-engage with the world through fresh lenses and gain new insights in these moments. For instance, while painting or listening to nature, I often uncover perspectives on life that enrich my understanding of both art and the world around me.
I want to highlight that every space can offer opportunities for connection, and nature finds ways to reach us, including urban settings. For instance, there are many ways to embrace seasonal changes, and the ideas in ‘The Wild City Book’ by Jo Schofield and Fiona Danks inspire creative ways to interact with an urban environment.
While studying at the University of Brighton, one of my treasured lecturers and activist, Joanne Smith, introduced me to the podcast ‘Class Divide’, which examines educational inequalities in Brighton and Hove, shaped by postcode lotteries affecting access to funding and opportunities. Simon James, an activist, podcaster, and artist from Whitehawk, teamed up with local youth this summer to transform the ‘Neolithic Camp’, a place of celebration and ritual, into a compassionate listening environment. This project illustrated the joy and vibrancy of Whitehawk through sound, merging elements of archaeology, psychogeography, and activism to provide a new viewpoint on this frequently overlooked community and its landscape.
I will conclude with the poignant words of the reverend George Pitcher, the wellrespected vicar of Waldron All Saints Church, who is now retiring after years of service. Recently, he shared his thoughtful reflections on BBC Radio 2’s programme, ‘Pause for Thought’,
about his visits to Young Haymakers each year to celebrate Harvest with the children. He listens to their songs, reflects on the seasons, and emphasises the importance of their contributions to Harvest Festival, which supports local food banks. In his reflections,
George beautifully describes how he often wonders about what we are truly growing, which he refers to as ‘The Human Harvest.’ He notes how easy it is to think of children as seeds planted in the world whose fruits we will see as they grow. Yet, he reminds us that this view is incomplete. Instead, he believes we are all seeds capable of growing a ‘heaven’ here and now.
Children, with their boundless joy and innate curiosity, remind us of the importance of nurturing growth, not just their own but ours as well. These experiences reinforce the idea that engaging with nature is vital for children to gain a deeper understanding of their surroundings and develop a stronger sense of identity and belonging. Creative expressions, such as art, can enhance this connection and help us cultivate a harmonious relationship with the natural world’s cyclical rhythms.
By designing spaces that immerse us in these rhythms, we create opportunities for everyone to rediscover the wonder and connection that nature offers. As George so beautifully illustrates, children show us how to build our own ‘heaven,’ a place of joy, wonder, and connection with the world around us.
Young Haymakers Montessori Nursery - Waldron
Genevieve Miller, PGCE Art
and Design trainee teacher speaks about the new ITaP weeks introduced as part of Initial teacher training.
As part of a new initiative the DfE requires all PGCE courses to include four Intensive training and practice (ITAP) weeks The first of which in November with a focus on routines and expectations with the purpose of providing teacher trainees with the opportunity to consolidate theory and pedagogical research into structured practice
Monday- University led overview on Routines and Expectations.
Tuesday- Discussion with fellow art trainees on routines that were required specifically Art & design and how to enact these through a clay workshop led by Julie Howard.
Wednesday- Teaching a Y8 lesson on the illustrator Eric Carle.
Thursday- Teaching a Y7 lesson on half and full drop patterns.
Friday- Reflection at university with other trainees across different subjects as well as a reflection specific to Art & Design.
At the start of the week, we used a traffic light system to assess how confident we were at enacting 20 different routines and expectations. I assessed myself as mostly amber and red with a few green. In addition to this we were instructed to write a guided daily 200-word reflection on our progress and by the end of the week my progress astonished me.
Combined with the daily written reflections I could see clearly how much I had improved and grown in confidence, which was a huge boost to my wellbeing. I think without the structure of the ITAP it would have taken me longer to initiate so many routines and expectations into my teaching. This week was a huge step for my progress as this week put a little bit of pressure on me to be experimental in my teaching practice! This foundation has prompted me to plan routines into my lesson plan and now a month later I can teach these routines with confidence. Intensive training and practice (ITAP)GOV.UK
What is Neurographica?
Meditative and intuitive artistic process
Neurographica art is a meditative and intuitive artistic process that combines elements of art therapy, neurobiology, and mindfulness.
Developed by Russian psychologist and artist Dr. Pavel Piskarev, it allows individuals to unlock their inner creativity, express emotions visually, and gain insights for personal growth.
The process involves drawing specific geometric shapes and patterns that resemble neurons and cells
It is therapeutic to create. The art form is a way to capture how the inner being reacts to the outer world. Neurographical art is a way to transform the fear and chaos of our world into something more calming and peaceful.
Neurographic Art Step by Step
Step 1: The Quest
• Write your quest on the back of my paper. This can be your worries and concerns or a goal or ambition you want to achieve but are struggling to get there at the moment.
Step 2: Stressing Yourself Out
• The next step in the process is stress yourself out so you can have a release of emotions. Scream or yell out your emotions as you make a fluid motion with a pen. Go back over any lines and continue some off the edge of the paper.
• Continue by adding in some neurolines. The more you work on it, the better, the more comfortable you are meant to feel.
Step 3: The Power of Transformation
• Law of attraction states you will attract into your life whatever you focus on. Whatever you give energy to will come back to you. Any sharp points that have been created in step 2, are now actively curved. Curving out is the process of transforming your reality. From whatever it is that’s causing you stress into something more positive.
• By drawing and “Curving it out”, you are meant to start feeling more relaxed at this point as you release from the stress of everything going on preventing you from your quest.
• This is controlling the uncontrolled!
Step 4: Neurographic Art Colouring
• Colour in the sections as you feel drawn to the shapes that have been created. This can be in any media.
Neurographic Art with Images
This time the artwork was focused around an image. There was somewhat of a similar process, but not as heavily focused on transformation.
Julie Howard says - Neurographica Art helped me process what it meant to lose both of my parents in fairly quick succession. Here is a selection of the pieces I created as a response.My technique evolved into incorporating patterns, lines and marks.
Lucy Ratcliff – Speaks
Leap then look is a great workshop that happens during the school holidays to promote creativity in young children from the ages of 8-15. The workshops range in skill and ability to engage all learners and ensure that every child has a chance to excel at something. As well as this they dare to push the boundaries of what can be used to create art, which in turn is very sustainable, and the permanence of art itself
On the first day we broke the ice by playing a few warm up games to help the children get comfortable and feel prepared to create! Our first artistic activity involved drawing to music,
children were encouraged to mark make in relation to the sounds they could hear (were they fast or slow? Loud or quiet? Intense or gentle?). A highlight was introducing Sandstorm by Darude to the students and seeing how wild and rigorous they got with their mark making.
The afternoon was spent making collages based on the children’s interests and artistic style. We used old books and craft paper and let the children lead their collages. The day ended by viewing the photo gallery next door to get the children to feel inspired
On the second day we began by making mobiles using beads and acetate exploring the idea of balance within artwork. The children started working on their individual mobiles to then build up to working in groups to create huge mobiles that used found objects.
https://leapthenlook.org.uk/
All of the groups were children lead, the volunteers were there to simply make their visions happen. The afternoon was spent making sculptures using old socks and fabric; a great way to show children that anything can be art.
The last day was spent consolidating all of the artwork together for the family exhibition. The exhibition layout was all child lead with them drawing signs and arranging lights with the viewer in mind. This was a great experience for the children to feel a part of an exhibition that was all of their creativity.
Leap then look is very different to your average school classroom in many ways which is so helpful to the children’s ability to feel creative. All of the tasks were child lead and we were simply encouraged to work alongside them, helping when there was a difficult part of the task (e.g. tying off knots etc) The children were free to create what they wished at all times, they all took part in all of the tasks but the option was helpful for more apprehensive children. One of the girls spent the majority of their time making a sketchbook zine exploring what they had made throughout the workshops.
I certainly feel like I have learnt a huge amount about child creativity and how to bring it into my classroom. Children thrive when there is no limit given to their creativity I found that the children enjoyed working alongside us rather than us instructing and circulating; I have started doing live demonstrations in my class so students feel as though I am working alongside them, which has received a positive reception. I also learnt so much about sustainable approaches to art in teaching, one of my favourite tricks I saw was using zip ties to hold pieces together, rather than glue, as it meant everything could be easily disassembled and reused again for another workshop. Lastly, the most important thing I learnt was to have fun! The children responded to us ,the volunteers, when they could see we were enjoying ourselves alongside them. Bringing fun into your art classroom, I feel, is paramount to a conducive and trusting department
This collection of teaching resources presentsideas and strategiesfor helping young peopleexplore personal themes relating to mentalhealth and wellbeing through photography. Many young people grapple with complex issuesaround identity, emotionalhealth, sense ofself or social and educational pressures.Photography can help young people articulate and make sense ofpersonalexperiences andthe challengestheyface.
Photography can be an effectivetool not only for individuals to engagein creativevisual expression,but also for groups as a collectiveand shared experience thatbuilds resilienceand increases confidence.
Themes introducedrelateto the Personal, Social, Health and EconomicEducation (PSHE) curriculum,and the5 Stepsto MentalWellbeing: connectingwith the people around you, being physically active,taking notice of your surroundings, learning new things, doing somethingfor others.
Exerciseslink with proven techniquesfor improving wellbeing, incorporating mindfulness,skills developmentand collaborative storytellingand mayalso be usedas aids for creative storytelling,promoting increasedunderstanding and awareness of young people’sexperiences. Daniel Regan
Wellbeing | Photoworks
Use this link to access more of Photoworks resources for inspiration. Excellent ideas for teachers and students.
Don’t forget to sign up to the monthly Photoworks newsletter designed specifically for teachers and the young people you support at photoworks.org.uk/learn. Each month we share news from the Photoworks programme, highlight opportunities to get involved and feature a selection of our teaching resources.
Follow us at @Photoworks.Lab on Instagram. It’s the best place to find out how to get involved. Join our community of young photographers and those curious about visual arts and you’ll be the first to find out about Photoworks opportunities, get news on offers from our partners, and a peek at what happens in our workshops.
Clinical evidence shows that being ‘in the moment’ or present in our daily life can help us become more aware of our immediate thoughts and feelings instead of being overwhelmed by them all at once. We can apply a mindful approach to photography by engaging in simple, visual exercises that encourage participants to slow down, notice the often unseen, and improve their observation skills.
Discussion
Begin with a brief introduction and ask students what being mindful might mean to them. How does it relate to being observant? In today’s fast paced society we are used to rushing from one place to another, multi-tasking and operating on autopilot.
pause to take in your surroundings?
Explore what it means to be mindful. Together as a group try to stop, take notice and consider different ways of looking. Support the group by offering different perspectives:
How often do you look up, down or around you?
When did you last pause to take in your surroundings?
Make
Set the group a short challenge to improve their observational skills by photographing things they see around them right now. Set the parametersfor this challenge:
•Choosesomethingcolourful
•Photograph an object, or view that leavesyou with a feeling
•Choosean unusual perspective
•Photograph an object that tells a story
What did this challenge bring up for students? Did they notice things that they normally wouldn’t? Did image choices relate to their current mood in any way?
Ask the group how this kind of simple activity might be incorporated into daily life. What effect might this have?
We were delighted to welcome Sam Hobbs from Brighton & Hove Museums to the university..SamisHeadofArtatAngmering School in West Sussex and has been an art teacher for over 20 years. Alongside her school role, Sam is also Secondary Schools and Colleges Coordinator at Brighton & Hove Museums. Sam is also a recent graduateofourFineArtMA.
Sam spoke to the student art and designteachersaboutherselfasapracticing artist and how this informs some of her work in school as well as for the museum. She then ran a three-hour creative workshop, based on protest art, whichisbeingpilotedforsecondaryschools.
The workshop included stories about localpeopleandplaces,withobjectsin the museum’s collection. Then, using the inspiration of suffragette Minnie Turner, the students created textile banners that communicated political messagesofprotestandactivism.
Thegroupwewereabletoeachcreatean important piece of artwork, as well as appreciate the cross curricular– learning through art by also discussing issues related to society, politics and the environmentinaheritagesetting.
Home - Brighton & Hove Museums
Schools - Brighton & Hove Museums
ArtandDesigncourseleader,JulieHoward said: “It was a great creative workshop for the student teachers to experience firsthand. It affirmed how powerful art can be as a vehicle and how they can use it to connectlearningwiththeirownstudents.
“Partnershipswithmuseumsandgalleries such as Brighton & Hove Museums are hugely important in helping us to create memorable and valuable experiences for ourstudents–theteachersoftomorrow.“
Sketchbook Circle is a year-long collaborative project established to encourage artist educators to make time for their own personal work.
Sketchbook Circle began in 2009 when Elinor Brass and fellow artist educator Tanya Paget brought together artist educator friends using sketchbooks as a vehicle for collaboration. They were looking for a way to commit time to their own making around their busy lives working in education and wanted to develop a community of practitioners. By 2013 TEA Sketchbook Circle was established with the support and encouragement of Susan Coles, who at the time was the President of NSEAD. This circle was set up in support of TEA (Thinking Expression Action) an initiative established by the NSEAD, Campaign for Drawing and NADFAS to develop the use of drawing in art education. Alongside talented artist educator Georgia Naish, Elinor has continued to run the circle and has seen it grow significantly with artist educators taking part across the United Kingdom and Europe.
Sketchbook Circle
How Does it Work?
Each January a circle is established and then every artist makes work in a book of their choice. They post their books to the person next to them in the circle by the end of January. Then every artist makes work in response to the work they have received and posts the book back to where it came from.
This means that there are two in-depth artistic conversations occurring over the course of a year . Artists work in any medium and on any scale. The structure of having a deadline ensures artist educators make time for their own practice and there has been a lot of feedback from participants about the importance of committing regular time. It means a commitment to yourself and your own wellbeing and development but it can also build your confidence in what you deliver in the classroom. It is a demanding project as it is stretching to respond to someone else's artwork, but it is also incredibly rewarding.
The Sketchbook Circle community is also very important with a lively and supportive Facebook group sharing their work and ideas. For the last few years Elinor has sent out a monthly postal mail-out, which has been curated by artist educators from the group as well as some exciting independent shops and artists. Each month circle members receive a pack with materials, ideas and triggers to give ideas for their own practice both as artists and educators. Circle members also contribute through blog posts and a regular enewsletter and by leading courses for the circle and there is a regular ‘Meet and Make’ on Zoom for people to get together. Running courses has been an important part of the Circle over the years, where participants can learn new skills and techniques as well as getting to meet other artist educators.
Participating in Sketchbook Circle means belonging to a community of artist educators who are like minded and passionate about engaging with making and collaborating with others. You will be paired with 2 partners, with whom you will establish an in depth dialogue across the year. There is a lively and supportive Facebook group where you can share your work and ideas. Becoming a member also means you will receive a monthly e-newsletter featuring guest artists, products and other news.
Julie Howard, University of Brighton speaks: I have wanted to join the sketchbook Circle since I first heard about it, but never quite got around to signing up. For 2024, I made it my personal challenge to join and have thoroughly enjoyed participating every month I was concerned that I wouldn’t have the time to do it properly or would run out of ideas, but I found myself looking forward to the sketchbook arriving in the post each month and wanting to make time over the weekend to devote to it Knowing that I had to return it at the end of the month to someone was enough of a deadline for me, but I didn’t feel under too much pressure.either. It felt great to have someone give me ideas which I could use and extend each month Continuing the creative conversation has been really good for me and I look forward to signing up next year to see where it leads another time.
Attachment Theory – That’s so
interesting! – Laura Bissonnet, Patcham High School.
Attachment theory IS interesting but for anyone who works with children it is of the highest importance to understand and use to inform the work we do.
In 2019 I completed a MA in Sequential Design and Illustration at University of Brighton. My research and project focussed on my experience of Attachment Theory as a parent. My children at the time were still young so my experience of early parenthood was still very recent. I was working as a supply teacher at the time and this allowed me to take on a Masters. I thoroughly enjoyed all of it! What I didn’t expect was that it would change me as a teacher, from how I teach Art and Design to how I understand and relate to teenagers.
The more I have learnt about attachment theory the more I see examples of different attachment styles playing out in the classes I teach. Once you start to develop an understanding of it, I have found you can’t unsee it. This doesn’t mean I am getting it right all the time, I don’t, “Good enough” (Donald Winnicott) is always what I am aiming for, as a parent and a teacher.
I know for some of them they will not have had the consistently secure attachment I was lucky to have and that my daughters have had. I also know that this doesn’t mean they have bad parents or ones that don’t care. Parenting is hard; we get some things right and some things wrong (back to good enough parenting!) We need to be curious about all behaviour and ask where it is coming from and why it is happening.
Now I have a 14 and a 12 year old I have become increasingly interested in how attachment theory impacts the teenage brain. Having a teenager and a nearly teenager I am very much aware that they are still children with children’s brains with years of development ahead of them.
Understanding attachment theory has changed some of the things I do, the language I use, and the empathy I have. I still find myself thinking and saying “Why can’t they just…. behave/listen/do the work” but when my amygdala has come out if it’s initial reactive state I am able to try and understand why.
Last school year I started to explore how to communicate the importance of attachment theory to my colleagues. I read books and articles, listened to podcasts and found other illustrators visually exploring this or similar subjects. I shared what I had learnt so far in a 15-minute forum session that my school runs allowing teachers to share ideas and skills.
I started by explaining my understanding of how the brain works and creates memories. I also talked about what happens when we “flip our lids” (Bryson/Siegel) It is important to acknowledge that even as adults we are not always in control of our amygdala, and sharing that information with students can help them to regulate too.
How
do teachers build a secure
attachment?
It can feel hard enough to create a secure attachment as a parent with two children but for a secondary school teacher with several classes of 30 is might feel impossible. Consistency is something schools talk about all the time and with good reason. However I am starting to understand that being consistent doesn’t mean treating every child exactly the same way or having exactly that same expectations of them. I don’t do that with my own children, my family or friends. I think as Dan Siegel and Tina Payne-Bryson put it in the title of their book – The Power of Showing up , Showing up is what is important. That doesn’t mean we won’t have days off or off days, it means the students we teach know we are doing our best for them as much and as often as we can.
The book I made for my MA - Attachment and Me communicates visually what a secure attachment might look like between a mother and her baby. Softly drawn illustrations exploiting the inconsistencies of mono-printing, carefully chosen words, type and colours. I am trying to develop that style into a series of illustrations that will help teachers access more understanding about the importance of attachment theory and how it can help them work with the students in their classroom. The images need to be clear and concise but show warmth and empathy as well as communicating the science and solid research that supports attachment theory.
Instagram – @laurabissonnet
Website www.laurabissonnet.co.uk
Bibliography - Reading and listening List
Winnicott D,1964/1991, The Child, The Family and The Outside World London, Penguin
Sielgel D, Bryson T, 2012, The Whole-Brained Child, Great Britain, Clays LTD
Worth Publishing/CourseWeDo, 2021.Conversations with authors - Heather Geddes. [online video] Available at: https://www.youtube.com/watch?v=6sWhGqerKo [Accessed March 2022]
Know me to Teach Me – Louise Michelle Bombèr Available here
I produced a series of illustrations based on quotes for this books for www.touchbase.org.uk you can see my illustrations here
Attachment in the Classroom – Heather Geddes
UBATO’s guide
Recommended Local exhibitions to visit.
The Towner Art Gallery, Eastbourne
ExhibitionDrawing the Unspeakable
Curated by David Dimbleby & Liza Dimbleby
Galleries 2 & 3
5 October 2024 to 27 April 2025
Drawing the Unspeakable is a curation of works by David Dimbleby and Liza Dimbleby, exploring how the medium of drawing can express complex and difficult human emotions
Grayson Perry: A Temple for Everyone 25 September 2024–2 March 2025, Charleston in Lewes Exhibition
Tickets £6.50 | Concessions available
This exhibition takes place at Charleston in Lewes. From textiles and pots to ceramic tiles and woodcuts, ‘Grayson Perry: A Temple for Everyone’ tells stories of home, asking questions about how those stories shape who we are. How does our definition of home affect our sense of identity? What does it mean to be British today?
The exhibition of over 30 works features elements from Perry’s collection.
Pallant House, Chichester
Pattern: Rhythm and Repetition
9 November 2024 until 27 April 2025
Drawing upon Pallant House Gallery’s collection, this exhibition showcases how artists have used pattern, repetition, and rhythm to engage our senses and communicate ideas. Working across different times and mediums, artists from Pierre Bonnard to Hormazd Narielwalla.
UBATO’s guide
Exhibitions to look forward to in 2025.
Ditchling Museum of Arts and Crafts
Tadek Beutlich: On and Off the Loom
Tadek Beutlich: On and Off the Loom
Textiles / Prints / Drawings
Sat 18 January 2025 - Sun 22 June 2025
Discover the distinctive work of Tadek Beutlich MBE (1922 –2011), a visionary textile artist, printmaker and teacher. From monumental tapestries to intricate textile constructions and vivid relief prints, On and Off the Loom offers an in-depth look at Beutlich’s remarkable career, affirming his reputation as one of the world’s leading textile artists.
UNDERSEA - Hastings Contemporary
UNDERSEA
29 March 2025 - 14 September
2025Art and life beneath the waves
Exploring the mysteries, myths and life that lurk beneath the waves, Undersea brings together paintings, prints, drawings and objects from across different cultures and artistic movements. Undersea follows Seaside Modern (2021) and Seafaring (2022) to complete a trilogy of exhibitions curated by renowned art historian James Russell.
Dive into an underwater world and explore over 75 artworks that span four centuries and a range of cultures.
Carne Griffiths - artist teacher workshop
Saturday 23 November 2024
Carne works primarily with calligraphy inks, graphite and liquids, such as tea.
Carne’s fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His latest series is all about iconic portraits
His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.
. Learn more about Carne’s work on his website. Paintings in Ink, Tea and Alcohol | London | Carne Griffiths Artist
Artist Teacher Day
November - Carne Griffths workshop
Beth Savage, University of Brighton.
Speaks about her experience of the workshop as a trainee art and design teacher.
Attending the artist workshop by Carne was a very freeing experience. The day started with an inspiring introduction from Carne about his background in the art and design industry through to his career today. Hearing and observing his thought processes and technique that goes into his art was fascinating and I immediately felt connected as I follow similar processes in my own art practice
For the rest of the workshop, it was time for us to complete some experimental pieces followed by a large-scale piece where we had an opportunity to express ourselves using the same methods as Carne.
As well as gaining practical skills from this workshop, it was also a great opportunity, as a trainee, to get to know the other UBATO members through their artwork and conversations.
I find that working in a loose, expressive way with the materials that we used such as ink and tea was very therapeutic as I was so absorbed in the process and relationship between the media on the page. It’s a form of escapism for me. The unpredictability and using household items such as tea is something that I’d love to bring to the classroom to allow the students to realise that art has limitless possibilities. I would like to take this opportunity to thank Carne again for a wonderful and grounding experience
Darrell Wakelam artist teacher workshop – Saturday 5 July
Our second artist workshop of the 2024/25 is cardboard artist Darrell Wakelam.
Darrell Wakelam has been creating artwork with children for almost 35 years. Fundamentally he has always focussed on making three-dimensional artwork more accessible and exciting for children, and he has gradually built up a strong reputation as an innovative and highly skilled workshop facilitator. Darrell originally trained in design and illustration, but working with children reignited his own childhood passion for model making, allowing him to revisit the world of ‘junk sculpture’ and papier maché with the eyes of a designer and teacher.
Darrell has provided workshops for countless clients, including many hundreds of schools, museums, theatres, and as a part of large-scale festivals and events His involvement with projects nationwide has given Darrell the experience of working creatively with children of all ages, and from a wide variety of backgrounds, cultures, and abilities.
•Saturday5July2025withDarrellWakelam
Most of Darrell’s artwork consists of 3D models, sculptures, and masks, made predominantly from scrap cardboard and other recycled materials. Over the years he has refined his methods and techniques, becoming more aware of the sustainability of his work, and more mindful of the materials he uses.
Darrell has also spent many years sharing his expertise, through training sessions, online tutorials, and more recently, through his highly acclaimed book ‘Art Shaped’.
“I love what I do, and I hope that is apparent in the work that I create. I enjoy working with children, I admire their adaptability and resourcefulness, I appreciate their honesty, and I am always amazed by their energy and enthusiasm. In return, I try my best to match these attributes ” – Darrell Wakelam 2024
For UBATO members Darrell’s workshop is one of two options included in membership for the 2024/25 academic year – members can purchase a ticket to attend the second workshop for £60. A limited number of tickets are also available for non-UBATO members to attend. Buy a ticket for the DarrellWakelamworkshop.
Join us for the UBATO
Residential Trip to Leeds 17th – 21st
February 2025
If you have any questions about the Leeds residential trip please contact Julie j.howard2@brighton.ac.uk
Monday 17 February
travel to Leeds
evening meal at accommodation and collaborative printmaking workshop
Tuesday 18 February
Morning – Leeds Art Gallery workshop and tour
Afternoon – Henry Moore Institute visit and free time to explore Leeds
Wednesday 19 February
All day visit to Yorkshire Sculpture Park – includes workshop and sketching time
Thursday 20 February
Morning – visit to Hockney Salts Mill
Afternoon – Leeds city centre with opportunities to visit Crafts centre and Design Gallery, The Stanley and Audrey Burton Gallery or the University of Leeds public Art Trail
Evening – group meal
Friday 21 February
travel home with an opportunity to visit The Hepworth Foundation
Don’t forget to tell other
educators about UBATO
How to join | University of Brighton Art Teachers Organisation
The organisation works due to its amazing members. Please continue to spread the word to gain more members for the future. A discussion about Art teachers teaching DT and visa versa…
We look forward to seeing you all at the next CPD workshop on
February 8th 2025
Please
where are the overlaps between the subjects? The benefits of combined faculties and the dangers of SLT thinking they are the same way of teaching and learning
