Education – Emily van Lidth de Jeude

Why Public Art by Kids Matters so Much

There's a rambling little debate going on in my community right now about what kind of mural should go up on the lock-block retaining wall that acts as the de facto welcome sign to our island. This wall faces the ferry dock, and forms the north side of the pedestrian walkway from the dock to the rest of the island. This is the plain concrete wall that, for generations now, has welcomed commuting adults and teens, newcomers and old-timers as well as untold numbers of tourists to our small island. Sometimes it sports blackberries trailing down to catch our shoulders as we pass by, sometimes obscene or public-shaming graffiti, and almost always an assortment of hardy edible weeds that pop out from its crevices. But most noticeably, it's a boring grey wall of concrete lock-blocks.

Once this wall had a vast mural painted by kids from the local school–each block was painted with scenes of local wilderness or animals. Another time there was a big plywood mural of the island and local information, painted with students from our middle school. Yet another time, the wall was the stage for a temporary piece of public art made by one of our local artists, which peeled and disappeared over time. For a few years now, it's been just a boring grey wall of concrete lock-blocks.

A very wide photo of an eight-foot-high lock-block concrete wall, painted pale blue, with a diversity of children's paintings on it. It looks like each child has used one block to paint. The lowest tier has mainly paintings of whales, dolphins and fish (and a rainbow), the middle tief has mainly paintings of trees and land animals, especially deer, and the top tier has paintings of trees, landscapes, many birds, a sunset, and a big rainbow. — The Nex̱wlélex̱m/Bowen Island lock-block wall, as it was once painted by local kids.
Photo by Singne Palmquist

So now there's a call out for proposals from artists who would like to paint it, and an ongoing debate about whether it should have been offered to the island's children. I'm an artist; I'd love to have my work up in my own community and in fact have been talking with other artists about a collaborative work depicting local wildflowers for this wall. I love the idea of something that pleases and educates at the same time. But now I'm going to champion kids' art, for this wall. Because I think the many benefits of a mural painted by local kids far outweigh those of a more polished, "adult" mural.

Belonging

One of the best ways we can build sustainable community is to encourage engagement and concern for home and community. We need people to care that this is their home and feel that it deserves looking after. We care about things we feel ownership of. Kids feel ownership of their artwork–especially artwork that was designed and developed by them and displayed publicly in their home.

Why not just put their artwork up on the fridge? Well we can, of course, but not "just". It's not the same as being given the respect of one's community by being welcomed to paint right on our most visible wall. Being welcomed by one's community is, of course, the nature of the meaning of "home", and we want our kids to feel at home. We want them to grow up with the idea that this is their home, that their home matters, and that how they engage with it matters. We want them to feel seen; to feel responsible; to feel that what they do makes an impact on their home and future. So we have to give them that responsibility.

Imagine how it feels to children who painted the wall, say, in grade five, to then be walking past it twice every weekday on their way to and from school in grade eight. Some will tease each other about it; some will feel embarrassed, some will ignore it, and some will feel a quiet or even loud sense of pride. Almost all of them will feel connection. They'll feel a sense of belonging. Maybe they'll walk down to the dock to meet visiting relatives, and escort them past the mural they painted. Maybe they'll take selfies with their contributions. Maybe they'll move away and come back to find their marks still here, a few years later.

Not every child will have an opportunity to paint this wall. Maybe just one or two grades, and maybe it will be repainted every five years. But the kids who didn't paint it may have siblings who painted it. They may just have witnessed it being done and feel the tendrils of connection reaching out. They'll know that this mural was done by and in honour of the children of our community, and they'll feel valued.

A large plywood mural is almost square, with a large painting of a green, tree-covered island, with beaches, houses, lakes, and a few sailboats, sea mammals, and birds in the blue water around it. The frame of the painting is covered with a series of small paintings of landscapes, seascapes, and other wilderness. — Nex̱wlélex̱m/Bowen Island plywood info-mural painted with local youth.
Photo by Singne Palmquist.

Learning

As a parent and educator I'm quite horrified by the many ways children are silenced in our culture; their ideas and skills unvalued, as they're seen as "still developing" in the system that is meant to develop them. Have we forgotten the meaning of development? It means growth. Children are not vessels into which we dump our own ideas for eighteen years and then trust to follow along like good little citizens. Children are growing people with their own ideas and skills and values, and they learn from experience.

Everybody learns from experience. You can read as many manuals as you like about how to fix your appliance, but the first time you actually open the appliance up is when you really start learning. So what do kids learn by painting a mural in their community? So much.

They'll learn simply from experience about materials: what type of paint is needed for this project? What chemical properties make it suitable and why won't classroom acrylics do the job? What types of scenes are acceptable, and why? Why has the council requested local flora and fauna, and what exactly are our local flora and fauna? What is the political and social work that goes into a project like this? And all the various applied maths, sciences, communication and language skills that come as a matter of course in the creation of this mural.

Why can't they just learn those things in school? Why can't they paint the school walls? Why does this painting have to be making a visual chaos of our lovely manicured community?

Chaos = Development

Because growth, development, and learning need chaos to thrive. It was the chaotic and random assortment of elements that evolved to become life as we know it, today. It was and is a chaotic assortment of peoples, places, climates and experiences that make humanity as we are, today. It was the chaotic rambling experiments of toddler-hood that gave our children the chance to develop skills they now depend on, like language, social skills, gross motor skills and dexterity. They learned all of those things from observing and experimenting, free-range, under our benevolent supervision. They didn't learn them in a school, from textbooks. They learned them because they felt at home in their homes, and made big messes and had big accidents. Our homes were chaotic. Now our kids are older, and it's time for them to be out in their wider community.

Our children are part of our community, and they are our community's future. Instead of being tucked away, seen and not heard, they need to feel they are part of it, so they can grow and thrive here.

A two-and-a-half-tier concrete lock-block wall is covered with medium blue paint, and images painted by children, including mainly fish and indigenous motifs, stars, sun and rainbows, people paddling indigenous canoes on the water, and Spongebob. — Kids' mural on lock-block wall at the Alert Bay ferry marshaling area.
Photo by Emily van Lidth de Jeude

Responsibility

We look after what matters to us. If we want our children to grow up to look after their home and community, we need to allow it to matter to them.

We used to have an old cherry tree near the lock-block wall in the cove. Kids would climb it and hang out there, waiting for their commuting parents to walk off the boat. But eventually someone injured himself falling out of the tree, and then the tree was deemed too old, so was surrounded by fencing, off-limits to our kids. Now the area has been beautified as part of an effort to create a more visually-pleasing entrance to our community. There are all sorts of gorgeous plants there. I love them. But do the kids? Do they care about a tidy garden that they were expressly excluded from, and forbidden to play in? I asked my kids. My daughter says, "It's just another place you can't go." And how long before that garden is a dumping place for their litter and midnight beer cans, because it was never something they cared about in the first place? We look after what matters to us.

So how about a playground? What if we put in a playground at the ferry terminal, and the kids can play in blissful harmony with the commuters and traffic and beautiful gardens. Sure, but what kind of playground? Is it creative, dangerous, messy; fun? Because those are the things that make a playground worthwhile. Imagine an area full of tools, wood, climbing-trees and ropes; dirt and shovels and paint. That would be an amazing place for feeling belonging, learning new skills, and developing a sense of responsibility. But these playgrounds tend not to be condoned, these days, because of the chaotic look of them in our otherwise manicured landscapes, and because parents are afraid of danger. But danger–risk-taking–is essential for learning and for developing a sense of responsibility.

A close-up photo of a different part of the lock-block mural shown in the previous image. All medium blue background, with paintings of hearts, suns, rainbows, and fish. The mural boldly says "Home", and "Say NO to farmed salmon". — *Another section of the Alert Bay mural. Photo by Emily van Lidth de Jeude.*

Risk-Taking

If we never take risks, we can't learn to manage or mitigate them. Learning is all about taking risks, and risky play is a big part of progressive education all over the world. Just like babies learn to walk by taking risks and falling, teens learn to navigate social situations by taking risks and making mistakes; suffering heartbreak and social exclusion. We take risks as adults when we choose partners, careers, or make big purchases. We learn from all of those risks, and that's how we grow as individuals and how we evolve as a species.

Our kids are part of our communities; our species. They need to take risks like painting a public wall or climbing public trees so they can learn how their community works. You know what the boy who fell out of the tree learned? In addition to some of his physical limits, he may have learned that he was valued in his community, when he was seen, held, and tended to by an adult who was not his parent.

Kids who paint walls take many risks, in choosing what and how to paint, in consulting with their peers, their supervisors, and their community, and they take social risks in walking past the mural they painted every day for a few years and navigating the conversations that arise. They take personal emotional risk in putting their artwork in a public space and facing the opinions of their community. And that social risk helps them to grow into their community–to become a part of it, deeply and permanently because they grew and thrived there.

A community that sits in stagnant contemplation of its perfectly manicured surroundings is not growing, thriving, or evolving. And who wants that?

It's not only kids taking risks in this scenario. It's us, too. It's the adults who give the kids our most prominent walls to paint and just trust them. That's a huge risk, especially for those of us who are quite afraid of the chaos of childish experimentation. But it's a risk we have to take if we want to grow as individual adults or as a community. Is it like giving our living room wall to a bunch of monkeys with paintbrushes and walking away? Maybe. But I'd rather have something unexpected that I can learn from than live in a stagnant community. It's a risk we have to take if we want to grow.

As a community we are growing. Our kids quite literally are our future, and if we want them to grow into responsible adults who care about their home, then we need to make them a part of it, now.

Originally published in May, 2021.

On Teaching Art: Playing In the Wilderness Is the Core of a Good Education

In a forest of moss-covered cedar trees and logs, a giant mushroom is in the foreground. Four children appear from behind a tree on the left, looking very surprised; three of them with their mouths open, looking at the mushroom. A fifth child stands on a log on the right, gesturing towards the mushroom. — *Discovering a gigantic (and partially slug-eaten) mushroom here in Canada.*

My first outdoor art class was rather an accident. I was working with a group of kids from the American School in Wassenaar, the Netherlands, and decided we'd make a mural to revitalize the wall of a local underpass that at the time was covered with white supremacist graffiti. Taking the kids outside to paint the mural they'd designed was just the obvious next step in the process, and it required the city to drop off a ladder and high-vis barricades to keep us safe from passing cyclists. The city obliged, and we cloistered ourselves up against the wall and painted that mural.

Under an overpass, white graffiti-covered walls stretch across the middle of the photo and up to the left. A young man stands on a ladder, scrubbing algae off the wall, while two children stand on the ground below, scrubbing the graffiti. Orange barricades separate the people from the rest of the brick bike-path they are standing on. On the right side of the photo, a bus, a van and a smaller vehicle can be seen passing behind the wall, under the overpass. In the foreground of the photo, the edge of a field of grass is visible. — *Preparing the Wassenaar wall for mural-painting.*

But really we had to stand back quite frequently to look at the job we were doing, which meant stepping out of the barricaded area, across the busy bike-path, and onto the unkempt grassy area beside the overpass. That's where we took breaks, where we sat in the long grass and weeds and chatted, ate our snacks, pondered the mural, and generally did the work of assimilating all the learning that comes with designing and then painting a large mural in a public location–and confronting racism as a group of culturally displaced children. There, in the grass, we found little beetles climbing up the blades; we dropped breadcrumbs by accident and wondered about the safety of picking them up to eat them. We watched all the cyclists zooming by between us and the mural, and we soaked up the sunshine on our faces. We talked about neo-nazis, flowers, bicycles, the various countries we came from, different species of flies, the American School, flies stuck in paint, and languages of racist graffiti. I was nineteen, and really had no idea what I was doing with these kids, as a teacher, but the act of teaching taught me.

It took me quite a few years, more art classes taught for practical reasons outside, and parenting my own two kids into an unschooling paradigm before I realized the importance of that time spent sitting on grass in Wassenaar. I didn't originally take my classes outside because I knew it was the best place to learn. I took them because it was a place to let off steam; a place to find interesting textures for rubbings, collages, and still-life arrangements, or just the place we had to be to make the big art. Back in those early days I didn’t realize we were doing so much more than art. I took my own kids out just to escape the monotony of our living room, and the boring routine of meals, diapers, nursing, and play time. We did meals, diapers, nursing and play time in the forest, and let me tell you—that was not boring! And it wasn't long before I realized that we didn't actually need anything other than a snack and a spare diaper to go into the woods—that what we were doing there was so much more than just home in the forest: it was everything. Very soon, books, toys, and the stroller were irrelevant, and sticks, mud, water and plants became my kids' playthings. And playthings are learning tools. It wasn’t long after this that I started taking all my art classes outside for at least half our time together, and realized what I’d been missing, all along: connection.

The ecosystem that surrounds our curated homes is vast and complex and interconnected. It’s the seeming chaos that we tried to tame with our cities, boxes, and rules, but in actuality it’s the perfectly-tuned balance of millions of organisms, ideas and functions that we have not yet nearly achieved with our human-made system. Every concept humans dream up has roots in our basic understanding of the world and its natural systems.

Human-Designed Environment vs. Wilderness

The confines of a classroom or home are the curated attempt at a kind of intellectual ecosystem by a species that has become accustomed to putting things in boxes: to looking so hard at one object that we forgot to see the context it exists in. We put everything in boxes. We hang alphabet posters on the wall, keep fish or hamsters in a tank on a shelf for observation, and keep a stack of books, papers, or laptops for recording our observations. In this, we teach ourselves to exclude. We teach ourselves not to consider the wider context of whatever we’re seeing, because we’re afraid it’s too much for our small minds to fathom.

But our minds want to fathom! Our minds need to expand; to take time to sit and observe and wonder; to take subconscious note of all the millions of things that happen in the wilderness, from the slope of a leaning tree to the plants growing on top of it, to the smell of the soil, the mechanics of wings, jaws and elytra to the taste of sap. Our minds draw the connections between these millions of things long before we could ever articulate them.

One of the greatest tragedies of the current education system is our need for documentation and evaluation of learning. Students and teachers spend so much time documenting, testing, and evaluating that there’s no time left for sitting out in the wilderness, just assimilating. I can understand that, given the centralized nature of our system, the people at the top want to be sure every child is receiving the same instruction and meeting the same standards. But this is old. We’re progressing beyond the industrial society this system was designed for, where humans are needed to follow directions and work in factories. We’re on the edge of a new enlightenment, where the work we do with our minds is valued as much or more than our ability to assemble products. We don’t need the over-simplified, over documented fact-sheets of the industrial age, that break reality into such small pieces that it’s meaningless in the big picture. Our minds need a rich environment full of wonder, intrigue, and uncertainty to grow. The wilderness offers that.

Boxes vs. the Big Picture

As unschoolers at home, my kids were welcome to play and explore whatever interested them, free from the school system. But the fear I developed growing up in that school system led me to buy them a series of workbooks designed for their grade-levels. At some point my son was working on the science section (the only section he was willing to look at), and became furious. “This is a stupid book!” he declared. “They don’t know anything!” He was talking about the page that claimed killer whales eat other whales. He knew they ate salmon—at least those whales inhabiting our area at the time. And he knew that other killer whales ate seals and sea lions, but he didn’t care because they weren’t anywhere near us. I tried to explain that transient killer whales might, in fact, eat smaller whales, so maybe the book wasn’t wholly wrong. But both of us were dismayed at the description of something we knew to be a very complex system, as something so simplified as to be incorrect.

Humans are forever trying to make things simpler to understand them. It’s definitely simpler and less risky to put something in a box for observation than it is to go get to know it in its natural environment. If you put a killer whale in a big box with a smaller whale, I bet it would eventually eat it. But then you wouldn’t know anything about either species at all.

Boxes are more predictable, and we like predictable. The trouble is that the world and everything in it is not that simple. So in boxing everything; in teaching our kids “the simple facts” of, say, anatomy, combustion engines, or long division, we ignore the greater context of not only how these things fit into the vast ecology that we’re a part of, but why they matter. That’s why it’s OK to forget them when the test is finished and we move on to the next subject. They were never important in the big picture because we never saw the big picture: The ecosystem of everything.

The thing is, though, that that ecosystem is the context of our lives. We didn’t come from nature thousands of years ago and then progress beyond it with industry and technology, we are nature. We are the ecosystem, and our minds, unbeknownst to us, are naturally evolved to live in, observe, and understand it. Everything we are is the same basic particles that comprise a killer whale, a turtle; a beetle, or a piece of sandwich fallen into the weeds and digested by microbes, on the side of the bike path in Wassenaar. Everything we have built came from nature. Not just the raw materials, harvested unseen behind a slim screen of trees by the highway, but also our ingenuity. It comes from nature. It comes from people walking through the wilderness getting to know it; people living for thousands of years in their own ecosystem, learning and understanding the ecology of that place until they know how to heal themselves with specific plants, actions, and technologies. Humans learned medicine from the wilderness, and then learned to make it into pills. I learned about my own body’s anatomy by butchering rabbits with my family, as a child. Humans learned engineering from stacking, digging, and weaving pieces of wilderness to make homes and all other manner of ingenuity—like birds build nests and bears prepare dens for winter. Children build forts and mats; crowns and shoes and gardens in the wilderness. And this play is where they learn the core skills they need to become engineers, physicians, caregivers, fashion designers, mathematicians, and politicians.

That’s a lot of things to become! And you know it’s just my random little list. It looks like hyperbole but it’s really a gross understatement. I can’t think of a single career that wouldn’t be ideally begun in the wilderness. Why? Because our minds are capable of more than we know, and more than we can articulate. In sitting, playing, or living in the wilderness we give our minds space to learn. That’s why we learn better, there.

Two large moss-covered maple tree trunks jut up on the right and left sides of the photo, leaning out, away from the centre of the frame. A boy in black shorts and t-shirt leans on the left tree, playing with some vines he is holding. A girl with a ponytail and blue t-shirt and pants appears to point upwards, clearly communicating with the boy. In the background, sword ferns cover the forest floor, and a screen of cedar branches fills the distance. — *Natural play in the forest.*

The Whole Picture: Interconnection

Getting to know our own ecosystems isn’t quantifiable. It’s not really so much about seeing or learning more as it is about seeing the interconnection of all things. What was missing from that infamous killer whale page in my son’s workbook was indeed just a lot of information, but more importantly it was the connection between all that information. Salmon is to killer whales what smaller fish are to salmon. And our local residents prefer chinook salmon. But where do they find them? And how do they interact or share territory with the transient (now Biggs) killer whales, who eat pinnipeds, dolphins and minke whales? What do minke whales eat? Who eats their poop? Oh yeah—whale poop is the fertilizer of the seas. Like rabbit, horse, and chicken manure on my garden. Like deer poop in the forest, and the leaves and berries that went into it, feed the ferns, trees, and the grasses that later were picked for the robin’s nest; the corvid that later stole the robin’s scrawny babies to eat; the blue eggshells that fell to the ground to be gnawed by insects and harvested for calcium. The picture goes on and on forever. It’s not just big; it’s whole. Try to put that on a spreadsheet and send it to the ministry for documentation of learning.

Really. I’ve tried. As an unschooling parent still enrolling my kids in a DL program in order to access community resources and group activities, I had to quantify my kids’ learning on paper once every term. I learned very fast that what my children were learning was absolutely unquantifiable; that an “education” in our province constitutes a list of checked boxes, but that what my children understood of the world was much more important. School-going kids also understand far more than is noted on their reports; more than they are seen knowing, by a system inclined to look at them mostly for the purpose of checking boxes. They understand the social connectivity of their class and school, of their families and the landscape of the places they are given to explore. If we want our children to know more about the world, we simply have to give them more places to explore. And if we want them to really become comfortable and fluent in complexity, we have to give them plenty of time exploring in the wilderness.

Exploring: Curated Experience vs. Free Play

Exploring doesn’t mean hiking along a trail. I mean, it might, if that’s where interest led you. But it might mean going off-trail, crawling into the underbrush, or sitting down to dissect a pile of bear poop. It might mean sitting smelling the wind, and maybe it’s autumn, and the wind carries a musky smell that turns out to be a very large rutting deer watching you from afar. He saw you first because he’s accustomed to this wilderness and used to noticing the changes. You’re the change in his wilderness, and now you’re a part of it. And you discovered something you didn’t expect when you sat down to smell the wind.

When kids play in the wild without direction they probably learn more than they would if the play was curated. Most times school kids are taken outside to play, the play is directed by a teacher. Maybe we play capture the flag; maybe we sit and read our books or go on a scavenger hunt. These aren’t harmful activities, but in the expectation of specific activity, they don’t leave much room for exploration. We learn to see outdoor spaces as locations for performing human-designed activities, as opposed to ecosystems to be a part of. But it doesn’t have to be that way.

Take a group of kids into the woods with no expectations, supplies or instruction, and leave them to play. They will use their previous experiences, their broad complex understanding of the world, and their inquisitive minds to take stock of the situation and adapt. They’ll explore their surroundings. They’ll use whatever objects they find around (clothing, sticks, leaves, water) to act out and explore their ideas. It’s a lot like documentation, but freed from the constraints of ministry check-boxes and expected reporting methods, it will look like play. It is play. And it’s essential for learning. Just like in playing, a crow learns where the robins are nesting and where he might find his next meal. He learns how to slide in snow and dig for grubs. Play is essential for learning. In playing with kids in the forest, I learned the best things I know about teaching.

The wilderness provides the best playground for our imaginations, because it’s complex enough to house all our ideas. It provides the best place for learning, because, when we give ourselves time to just be there, we can discover and come to understand—intrinsically—the roots of everything. Without constraints on space, complexity, or imagination, we really can be wholly educated. We can become everything we want to be.

Originally published on Earth Day in April, 2021.

Teens

"Children are the most disrespected group of people in the world."

She turned her small face and looked at me intensely, maybe to see how I would react; maybe to be sure I heard her. She was one of a group of three teens who had just come through an installation about children's rights and left her comments behind. I hoped she felt respected by me as she walked out of the gallery.

Text written by a teen in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I would like them to know that just because we are kids doesn't mean that they treat us badly."

And then it hit me: "Group of people." That's how we see them. We see them as separate from us until we judge them to be old, wise, or experienced enough to earn our respect – as adults. We determine their clothing, their food, their education and other activities, their freedom to come or go and quite often we even determine their friends and hobbies. They tell us their fears and hopes and great big plans and we pat them on the shoulders and ignore them; carry on with our lives. When do we look them in the face and ask them to tell us more? When do we ask their advice? When do we heed it?

Text written by a teen in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I'm trying to find myself and be the best version of whoever that is."

I grew up and eventually returned to raise my kids on a small island. For longer than I've been alive, the teens from this island have boarded a ferry five or more days per week to attend school on the mainland. Unchaperoned. As a teen I got up at six-thirty, washed my hair under the tap, dressed, put on my makeup and left to walk to the ferry at seven. In the winter I arrived at the dock with my hair frozen like brown sticks around my face. Unlike some of the other girls, I did not push into the crowded washroom to fix it in the two tiny mirrors. I sat at the end of my age-group of kids, watching the same kids get beat up day after day, watching the animated conversation of some girls I wasn't friends with, picking at the Naugahyde seats and avoiding the splash of the food fights. I moved further down when people started bringing compost to throw.

Twenty minutes each way. Morning and afternoon. The ferry commute was a drag, and a shared ritual, and also the rocking, floating bridge between the confines of childhood and the expected freedom of adulthood. In the 80's we skipped school by going en masse to the mall first thing, then arriving at school before lunch to report that we were all late because the ferry was late. We sometimes argued about the ethics of how to accomplish this feat. We shared time every day, but we were individuals. We had different stories, different values, and different lives.

Text written by a teen in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Try to consider what it is like to be me."

Our island also has a history of ferry exclusion. As a public-private entity, the ferry corporation has the right to ban people, and they have done so on various occasions that I remember. They banned a teenager in my grade for vandalism and mischief. He eventually took the ferry with a chaperone to attend school. They also banned our local petty criminal because the police thought it would do him good to get out of the community where he regularly slept in parked cars and picked drunken fights in public. It didn't help. Community members transported him back to the island in the trunks of their cars. My point is that these people, too, are individuals.

At various times we've had issues arise on the busiest ferry runs, like unidentified persons vandalizing the boat or flooding the toilets, and sometimes the first response is for the captain to make announcements to the teens. He tells them, as a group, to smarten up and behave themselves. He tells the adults on the next commuter run to rein in their children. Recently people in the community have been wondering aloud in public why teens (again, as a group) can't just behave themselves for twenty minutes at a time. Few, if any of us, know what the current transgression is, but we know it's been committed by teens. The captain has reportedly announced to our teens that if the unnamed incidents don't stop, the police will be involved and the surveillance footage will be reviewed. For me that crossed a line.

If criminal acts are being committed, it's perfectly reasonable to check surveillance footage and involve police. It's perfectly reasonable to expect people not to commit such acts, and to take steps to ensure that they stop. It is not, however, reasonable to reprimand, admonish, threaten and sometimes (as I have witnessed) deny service or civility to an entire group of people based on the premise that one or a few of them are suspected of having done something wrong.

Text written by a teen in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I can do things by myself. I am trustworthy."

When adults smoke on the ferry (which is wholly a no-smoking/no-vaping zone), they are asked to butt out. If they refuse, they are taken to the chief steward's office and spoken to, as individuals. I've seen this happen. I've stood at the chief steward's office while an adult smoker was being spoken to, and every effort was made to treat me with respect and provide me with service despite the fact that I, too, am an adult. The same can't be said for our teens' experience. Every teen is a suspect in some people's reasoning.

Text written by a teen in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Just because I'm a kids doesn't mean I don't have a voice."

What do you think that does to a person? Imagine if every day you walked to work only to be eyed suspiciously at the door to the building, and every time a toilet overflowed, people called all the adults in the building together to reprimand them. How would you feel about using the toilet? Imagine if, when some person stole from the vending machine, they denied all adults access to the vending machines. Would you respect the people who judged you? Would you still care about upholding the values of your community if you weren't expected to uphold them anyway?

I'm responsible for denigrating teens as a group, too. When I was barely more than a teenager myself, a truck full of students from a nearby high school pulled up to my grandmother's lawn, dumped an assortment of fast food wrappers out the window, and drove off. A few years later, walking along our island road with my four-year-old son, we spied some litter in the ditch. He immediately shook his head and muttered grumpily, "ach… teenagers". I can't remember how I led him to that assumption, but I am certain I did. Now he's seventeen. He and his sister have somehow managed to get through a bunch of teenagehood without dumping their trash. Even more than navigating teen years myself, parenting teens has taught me to see them as individuals.

Text written by a teen in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I'm human too."

Teens are worthy of our attention as individuals. They are humans learning to be adults, and counting on our respect and exemplary modeling to help them navigate their surprising, sometimes frightening individual journeys. If we want them to see adults as individuals rather than a homogeneous, brooding group, we need to model to them how to do that. We need to see them, and we need to show them how seeing people is done well.

Some teens are children. They have an innocent wisdom not yet drawn out of them by the pressures of growing up. Some teens are also adults. They know their own minds and they know when they haven't done wrong. Some teens see us when we're wrong, and they know when we aren't hearing their voices. Some teens know when not to bother speaking up, because we've lumped them all into one disrespected group and we can't hear their individual cries. In fact, when teens report crimes committed by adults, they are often ignored.

It's time we look into the faces of the children and teens we pass and see them as simply humans. It's time we see them as individuals with wisdom, needs, values, and human rights. It's time we respect them.

Text written by a teen in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I'm not perfect, but I try to be, for you." There is a heart after the text.

*The handwritten statements accompanying this article were contributed by teens at a 2019 installation of a piece called "Building Blocks: What do you want the adults in your life to know and respect about you?"

Originally published in October, 2019.

What Children Need Us to Know

Two stacks of 4 translucent storage cubes with white fabric edges, standing side-by-side. Each stack forms a black-and-white hand-drawn portrait of a child (feet on the bottom cube, upper legs above, torso above that, and heads at the top). The children are holding papers that say "I am more sensitive than I look", and "don't call me gifted".

My 2019 exhibit included, as its central installation, this piece about children's rights. It's made of plastic clothing storage boxes, which I covered in portraits of children, holding signs that state their various answers to the question, What would you like the adults in your life to know and respect about you?

The children who contributed the answers for this sculpture range in age from 5 to 17, and the sculpture is interactive. Visitors to the installation were encouraged to put on white gloves and play with the cubes, rearranging again and again to make a vast assortment of different children.

The installation included a small tray of black paper, where young visitors could write their own answers to the question. I hung these answers around the installation as they appeared.

These are the voices of our children – mostly anonymous children, and therefore everychild. These are the things that all children need us to know. They need us to shed our busy-ness, our righteousness and our preoccupations and hear their voices. And their voices keep coming. Let's be good listeners.

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "People are like chocolate. Every bar is slightly different, but all good in it's own right. Don't say you dislike dark chocolate just because it's bitter."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I'm human too."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I should be able to like stuff i like and do stuff i like too."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text is not legible, but might say, "I am..."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I do not need people asking about my first life. I am a second hand child. I KNOW THAT. I am a T.C.K. It is hard to explain where I am from. I can't hear! Accept it! Stop testing my hearing please! And before you ask, I never want to meet my first parents!"

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "That I want to stay home."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I'm here, fool! Don't forget about me!"

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Just because I'm a kid doesn't mean I don't have a voice."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I can do things by myself. I am trustworthy."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Children have a voice. Let them talk. Don't act different just to make yourself look like the good guy. Just because you said one thing doesn't mean I'll think of you differently."

Text written by a very young child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Me big brain."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Just ask yourself WHY before you do it."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Sailing is a sport!"

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "If you like being treated equal, treat others like equals."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "What if you have two minutes to live but every time you breathe the timer resets and every time you smoke breathing gets harder?"

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Yelling doesn't change what you said."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "Not every kid in a hoodie is doing something shady."

Text written by a child in white pencil on a black square card, hanging from a thread in a gallery installation. The text says: "I wish they would understand what I like."

Originally published in October 2019.

Community as a Way of Life

Outside on a lawn, with leafy green trees in the background, dancer, teacher, and community organizer Mara Brenner sits surrounded by a large group of her young dance students in brown, green, and orange leotards and flowy skirts. Most are gesturing with their arms, and three of the younger children are being held aloft by others. — *Mara Brenner with students of Gabriola Dance, 2019. Photo by Inspired Spirits Photography.*

When I was 26, bewildered and a bit in shock with the reality of new motherhood, I took my baby to our local Family Place, and sat around the edges of the activity, watching. Whining lines of Suzanne Vega ran through my head: "in the outskirts, and in the fringes, on the edge and off the avenue"… as my baby nursed his way through the stress of a new situation. Out of the fray of mothers and toddlers and snack foods and plastic dishes came the most welcoming smile. This woman actually held out her arm to me, beckoning me to join the group. And Mara became my friend.

Years later, as we sat around her trailer home together, watching our kids play and leap from the furniture, I complained about my back issues, and Mara deftly used the opportunity to attempt to convince me to take the adults' ballet class that she taught in the evenings. I told her 'no way'. I explained that ballet left me behind when I was nine and had a pot belly and knees that didn't straighten all the way. She convinced me anyway, and next term I cautiously and inelegantly stepped into her class.

Mara doesn't just teach ballet. She's an accredited Pilates instructor, and a passionate life-long-learner of human anatomy and movement. She looked at me while I attempted the ballet moves and explained exactly what my muscles and bones were doing and how I could optimize for my personal development. When she didn't have an answer, she went away and researched or thought about it until she figured it out (yes – that's the definition of being a life-long-learner, and an expert!) She sees people not only as moving, learning bodies, but as humans with struggles and opportunities. I soon became one of Mara's 'Tequilarinas' – the group of adults who danced until 9pm and then went for a tequila at the pub, together. After a year, my back was healed. I started wearing superhero costumes to ballet.

Through her friendship, clear strong vision, and unflinching determination, Mara gave me more confidence and opportunity than any other teacher I've had.

A group of dancers in brown and green leotards and flowy skirts stands around a tree stump, while two of them perform a lift, downstage. The dancer being lifted appears to be in a grand leap, with one arm reaching for the sky. — *Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.*

Mara Brenner taught our island's children and adults ballet, and also used her company MaraGold Productions to bring world class artists to perform not only on our small island, but at various Canadian venues. She worked her dancing feet off one hundred percent of the time, not just giving to her community, but building it. She exemplified a kind of character strength and courage that's hard to maintain, but essential in a thriving community. Eventually her community turned its back on Mara and her family.

Our land use bylaw only allows trailer-living for a brief period of time while landowners are building a permanent dwelling. As you can imagine, building a home on the wages of a ballet teacher and a glazier, while also raising two young children, takes longer than it otherwise might. Mara and her partner, Stu, lived in a trailer on land they owned, while slowly building their permanent home. At the point they were forced to leave, they had only built the foundation. Theirs was almost an idealist story of dreamy island living, until our snooty bylaws pushed them out.

A group of dancers in brown and green leotards and flowy skirts lift the oldest dancer along, where she has fallen from the stump she initially stood on. They represent an apple tree, falling.
An older boy dancer in a brown shirt and black leggings stands off to the left, his hands crossed over his chest, looking solemnly in the direction of the tree. — *Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.*

So they left! Mara and her family found their new home on Gabriola Island, and quickly turned the small outbuilding into a dance studio. Around the same time she was gifted her own ballet teacher's extensive collection of ballet school costumes, and she threw all her extensive skill and passion into Gabriola Dance. Last weekend I went to see her year-end showcase, and I was moved to write this article.

A collection of dancers in brown and green leotards and flowy skirts stands smiling and gesturing. They represent an apple tree. An older boy dressed in a black t-shirt and leggings holds a basket in one hand, and looks towards three younger dancers on the right side of the stage: A young oy also dressed in black, and two very young ballerinas, in pinkish-orange tutus. — *Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.*

Finally with a permanent roof over her head on Gabriola, Mara pulled everything out of her heart and poured it into ten years of parenting and teaching in her new community. This 10th showcase felt to me like watching my friend stitch up all her passions and skills into one beautiful, powerful package. It was in many ways her gift to the world.

Two contemporary dancers in brown leotards and flowy green skirts stand centre-stage. One leans forward, while the other one leans over her, back-to-back, in an expression of sorrow and exhaustion. — *Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.*

I think we all hope we can make a difference in the world – at least leave it a slightly better place than we found it. These days many of us are just hoping we save enough of the world that our children will grow old before it's gone. So Mara developed a dance performance of Shel Silverstein's 'The Giving Tree'. The piece brings together students of many diverse ages and training levels. It's profound and moving, but Mara didn't leave it at that. Working on this project brought up a great deal of conversation among students about climate change, and it became clear that she needed to deal with the prevalent angst and anxiety that today's children harbour around this topic. So she had all the conversations with them, and at the end of the dance showcase, she hosted a talk back with biologist Melanie Mamoser and registered clinical counsellor Caitlin Kopperson, to discuss the affects of climate change on childhood anxiety. One of the most urgent questions, of course, is 'what can we do?', and although there's no clear answer to that, there were some good ideas, and the conversation at least left me feeling hopeful that people were talking about it, and that children's voices are being heard in this discussion.

A tableau of dancers in brown and green leotards and skirts represent an apple tree. An adult dancer in a brown leotard and green skirt reaches out to hand a red apple to a boy in a a black t-shirt and leggings, who stands on the left side, ready to put the apple into a basket. — *Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.*

With The Giving Tree, Mara does something I hope we all manage to do in our lives: She orchestrates her many gifts into one grand oeuvre, showcasing not only the work of her students and other community members, but pulling them all together in a kind of hopeful community invocation. May we all have the courage to live our hearts' dreams and create a better world in doing so, each in our own ways, and all within community.

A black and white image of an old man sitting on a stump, leaning on a crutch. In front of him, a young dancer dressed in black kneels on the ground, his hands resting on the backs of two very young ballerinas in tutus, curled up on the floor, in front of him. — *Gabriola Dance year end showcase, 2019: The Giving Tree. Photo by Inspired Spirits Photography.*

Resources:
Gabriola Pilates and Dance: http://maragoldtheatreproductions.blogspot.com/p/dance.html

Inspired Spirits Photography: https://www.inspiredspiritsphotography.ca/

Originally published in June, 2019

Supplies and Practice of Open-Ended Art Exploration

A close-up view of a wooden box filled with a large assortment of coloured pencils.

When I was in high school there was a poster on the door of my art classroom that displayed the then-ubiquitous 3 R's (Reading, wRiting, and 'Rithmatic) along with a 4th: aRt. I think Mrs Sunday never knew how much that poster influenced my life. In grade twelve I spent nearly every lunch hour in the corner of the art room, using up her acrylic supply for finger-painting, and paint-squirting. To her enormous credit, she let me do it. I still do it, and I encourage everyone to do it – to get as messy and unexpectedly creative as possible with whatever supplies they're given.

I spend a lot of time on my other blog talking about explorative wilderness play, but many readers know I'm also an artist and art educator, so I am often asked about "real" art supplies, and what kinds of simple art projects are good for various situations. I feel like it's time I give a nice solid answer to that.

First, let me be clear: The best way to learn art is by exploration. Art is also a wonderful explorative activity for learning everything else. The Council of Ministers of Education, Canada (2012) states the following:

"The benefits of play are recognized by the scientific community. There is now evidence that neural pathways in children’s brains are influenced and advanced in their development through exploration, thinking skills, problem solving, and language expression that occur during play.

"Research also demonstrates that play-based learning leads to greater social, emotional, and academic success. Based on such evidence, ministers of education endorse a sustainable pedagogy for the future that does not separate play from learning but brings them together to promote creativity in future generations. In fact, play is considered to be so essential to healthy development that the United Nations has recognized it as a specific right for all children."

So all those wonderful prescriptive art projects where you know the outcome before you begin, and the process of creation means following instructions? Those awesome craft kits that come with the pictures of what it will look like when you're done? They're junk. Throw them away. Or at the very least, get rid of the packaging and present the included materials with no expectations or directions and let the kids do whatever they want with them. Yes little ones might eat the crayons. So make sure they're non-toxic. Older kids might also melt them to make candles or wax prints or just to see how cool the melted colours are when pouring them around. Awesome! All of these things are actually done by professional artists all the time, so it's not even a stretch of the imagination to see their value. In fact, a stretch of the imagination is exactly where the value is to be found – because that is where the learning is. When I apply for an art grant for my own artistic practice, it always includes funding for "research"… which in the art world means experimentation and playing with material, form, and method.

It's important to think about how the presentation of the materials influences the way we use them. My father used to own a toy store, and supplied the Waldorf school in North Vancouver with the wonderful beeswax block crayons they use. He always had a lot of blacks left over, because they don't use those in their program. How does a child's thought-process change if they are never presented with the option to colour with black? We can't know for sure, but I am positive there are some interesting associations, there. I give me children all the colours. But do I always present them in rainbow-gradient? No. And amazingly, the kids end up sorting them themselves, into a myriad of different patterns, either because the sorting itself is fun, or because it's useful for whatever they're doing with the crayons. This, too, is an important part of their learning. It's how they familiarize themselves with the materials they're using, and with the colours they're working with.

Now for some material suggestions. I'm going to go most often with the cheapest alternatives, because we live in a disastrously consumerist society, and none of us needs to be buying new materials when they're not essential. Even on a tight budget you can get a load of materials at huge stores, but you don't need to. Going with unexpected chance finds from the local thrift shop, recycling depot, or other people's refuse not only saves money but also opens all sorts of new avenues for experimentation and problem-solving that will teach your kids more than a pristine new package from a store will.

Art-making space: Whatever your circumstances, just make sure you provide a large area where mess-making is acceptable and clean-up is easy. A large table is great but if you don't have one, or don't have suitable chairs, a corner of washable floor can be great too. Outside, a sheet of plywood on the ground suffices. I've done this often. Cover the space with a heavy paper that can be used for mess-making, drawing, or notes, and replaced when necessary. You can also cover it with a heavy plastic table-cloth, but glues and acrylics will eventually make the plastic lumpy, so I still recommend the paper-cover on top to make cleanup easier.

But… don't keep art confined to this space. Take it to the kitchen. Bake cookies and cakes and decorate those; fill the sink with water and drip paints in or use the surface for oil-resist prints. Take art outside. Do tie-dyeing or papier mache there. Paint the lawn; paint your car or bicycle or front door. My uncle once gave his young children house paints and had them hand- and foot-print the front entry room. Decades later, their beautiful creative creation is still the welcome that guests first receive. Make everywhere art space.

An Easel: Not only does it give a new perspective to have your workspace upright, but dripping paint is wonderful, and should be encouraged. However, you don't have to go get an expensive easel. A stable propped board will do, as will an old sandwich board on a table. The best accessory for your easel, though, is a pair (or more) of large bulldog clips to hold paper in place.

A white hexagonal art caddy filled with coloured felt pens, glue sticks, rulers, tape, paint brushes, pencils, permanent pens, erasers, and a drawer with pencil sharpeners and shavings.

Storage: If you want to have a beautiful art corner, you still can, even if it's not colour-coordinated or tidy. A bunch of large bins and a very few smaller ones will do well, or similarly a chest of drawers. We do have a great art-storage carousel that has been in use in our house for many years, holding an assortment of whatever the currently-most-used supplies are. This makes a greater number of supplies more easily accessible to various people seated at a table, and a handy place to put them away quickly. But it's not essential. A bunch of materials rolling around the table can actually inspire new ideas.

Some kind of drying rack is a great idea. We never had space for one, but the end of our dining room table was usually used for drying. Still, if you have space, old oven racks or baking racks can be a great thing to have in your art area. A permanent set of wire-rack shelves is amazing.

Paper: It really doesn't matter what you have – just have some. Preferably lots. We commonly have whatever papers people have passed on to us, including old letterheads, those old perforated printer-papers, construction and manila papers, some old used sketchbooks that people threw away with 80% of their pages still unused, and various types of white and coloured printer papers. I also supply my kids with the seemingly endless supply of graph-paper which they love. No papers have specific intentions. It's OK with me if fancy sketchbook papers get used for note-taking or construction or torn-up little shreds of I-don't-know-what, or even crumpling into balls and called 'cat toys'. Getting the paper second-hand helps me let go of my own hang-ups about 'intended use' and 'value', which gives the kids a broader explorative environment, and greater learning opportunities.

Cardboard: You could go all out and have some gigantic boxes for construction experimentation (my kids have built cars, rocket-ships, stores and villages, and most recently, as teens, a vending machine which they took into public for entertainment). But at the very least you should have some old boxes or scraps around in case construction starts happening. I hope it does!

Cutting Devices: Good scissors, appropriately sized for the people using them. An exacto knife. Obviously not for young ones, but you might have one handy to help out with big cuts. And a serrated bread knife! This has been very helpful to us for cutting cardboard, especially. Also never underestimate the usefulness of a good hole-pucher, and things like skewers for poking holes in cardboard.

String, ribbon, and other tying materials: Especially for constructing with cardboard, but also comes in handy for making books and all manner of other things. You never know when this will be just the thing you need in the moment!

If you're going to get a stapler, get a fabulous one like this that can reach into very big projects.
And take a look at this Stockmar box from my childhood. The box has been replenished piece by piece over the years, and the crayons have been chewed and used by multiple generations.

Mark-Making: It's important not to narrow our kids' ideas of what constitutes a proper mark. So much is lost to a narrow mind! So provide lots of different options, and let the kids mix them up. You might want to keep some expensive felt-pens out of the acrylics, just to keep them in working condition, but experimental mixing of media in general is a highly educational activity, so do it! You don't need all of these but at least have many.

chisel-tipped pens – for older kids sharpies are awesome.
a great assortment of colourful felt-pens. Those cute stubby pens are a huge waste of plastic, though, since they run out frustratingly quickly and have to be thrown away. Tip: Store felt and ink pens tip-down, which means they last longer before drying out.
pencil crayons (as they are worn down they make many different types of marks)
wax crayons. Lots – and be prepared to see them very, very broken.
those Stockmar beeswax block crayons I mentioned earlier.
paint pucks that fit into a plastic tray – when you don't have time to get out the bottled paints, or just for watery experimentation, these are a wonderful thing to have available.
bottles of tempera or acrylic paints that you can squirt out small amounts of for open-ended free painting (tempera is great for younger kids who might ingest it, but acrylic is great for the ability to paint on many surfaces).
brushes! The best in my experience are natural stiff-bristle brushes, flat or chisel-shaped, because they give more opportunity for a variety of marks than round ones do, but others can be fun too.
pencils, erasers, and fine black markers.
something smudgy like chalk or oil pastels. Sidewalk chalk can be used inside and chalkboard chalk can be used outside.

A cardboard box labelled "adhesives", filled with bottles of glue, glue-sticks, and rolls of tape.

Glue sticks: Glue gets two sections because you need both. We always have a few glue sticks around, as they're the best way to stick papers together without soaking or wrinkling them. I recommend acid-free strong-hold glue-sticks. Don't bother with those silly school-glue types. They often don't hold.

White glue: While basic white glue will work for many applications, such as stiffening fabrics, gluing together cardboards, fabrics and layers of paper, we keep a bottle of Weldbond universal adhesive around because it glues almost everything! That's a great advantage when you're mixing up sometimes unexpected materials.

Fabric scraps and found materials: Without getting into the wonderful worlds of sewing and yarn arts, fabric itself is indispensable as an explorative material. With a bin of such materials for free creativity and exploration, you can create costumes, forts, decorations for those cardboard constructions, head-dresses, jewelry, dolls, doll-clothes, and really an endless list of delights. Have a bin of scrap fabric! And to this add found materials like plastic, corks, sticks, wires, etc. You never know what random things will be fabulous. Discarded CD's and cutlery for example. You just never know.

Something to squish and build with: A great block of clay and a big clay board to work on is awesome. That would be my favourite, although to be honest I didn't often have it on hand for my kids. We mostly used natural clay from the creek outside, and mud. Of course there are plenty of polymer clays available and while they're fun for building with, I don't personally like the environmental burden they bear (wanton use of plastics that end up in the garbage). I'm not really suggesting slime, either, because while slime-making and playing is a fine explorative activity, and fun, I think we get so much more mileage out of materials that stay put when shaped. A biodegradable glue mixed with sawdust or ground/shredded newspaper, by the way, is a pretty cool modelling material. So is salt dough, and gingerbread, if you want to eat your creation. One brand name product my kids did love and use for a long time was Stockmar modelling beeswax (no I'm not paid by Stockmar; they just make a few really fabulous products!).

***
So you see, the main thing is to have a fabulously free space and some stuff to play with there. Get messy. Play with the kids (or teens or adults!). They will learn a huge amount from watching what you do, so make sure you're exploring and have no idea what your outcome will be. This will help them learn to do the same, and together you'll make wonderful discoveries.

Originally published in August, 2018

The Importance of Printmaking

I am a printmaker. It's one of the things I'm proud to say about myself. Printmaking is not just a craft, but a way of looking at the world. And one of my life's greatest delights is when I can share this craft and lens with others. Today I was fortunate to have the opportunity to share it with a bunch of kids.

How to make a simple dry-point intaglio print:

Two children sitting at a table drawing on zinc plates with sharpie pens. — **First scrape down and round off the edges of your plate. Then plan your work with a permanent marker on the plate.**

An image of a pair of hands scratching into a white plastic plate with a metal scribe. — **Then use an etching scribe to scratch the design into the plate. We used acrylic plates first.**

An image of a hand holding a metal scribe and scratching a drawing into a metal plate. — **Then we used zinc for the second round of prints. The scribe cuts a groove into the surface that has a burr on one side (and sometimes on both sides). This groove will hold the ink during printing.**

And image of a hand holding a metal plate with a drawing and a hole in the middle, and a hand scraping the plate with a sharp-edged tool. — When the plate is run through the press, the wet paper is pressed into all the grooves, and around the plate, giving a noticeable relief to the print. We can take advantage of this by carving the plate to form an interesting 3-D effect when it's printed.

A child leaning over a metal plate with a tree drawn onto it, and scratching the design into the plate with a metal scribe. — **When using only lines for depth of colour, texture, and form, it can take a very long time to get the whole plate finished.**

A hand holding a metal scribe, scratching a design into a metal plate. — **Some scribes are easier to create deeper lines with, but in the end inking is as much or perhaps even more important to the outcome of the print than the lines themselves.**

A smooth surface covered in smears of wet black ink. — Ahhh… ink. Thick and sticky, it needs to be mixed well on the glass plate using little cardboard paddles. I don't have a photo of the paper, but generally when we start inking a small plate is a good time to start soaking the thick, fibrous intaglio paper. This ensures that the pulp of the paper will be movable and will push well into all the crannies of the plate.

One hand holds a metal plate stable on a table while another hand smears wet black ink into the plate using a square of cardboard. — **Then the ink is wiped onto and rubbed into the etching plates.**

One hand holds a metal plate covered in a scratched-in image, and ink, while another hand wipes the surface with a piece of paper. — Using a smooth paper, we then have to wipe all extraneous ink *off* the plate! Technically, all the lines (grooves) should hold the ink while it wipes relatively cleanly from the smooth upper surface. However, the wiping can be tweaked in many different ways to allow for a lot of rich moody tones and layers of depth.

Two children stand at a printing press, one is turning the wheel to move their print through the rollers. — Finally, the wiped plate is laid on the press bed, hands washed (for the umpteenth time in this process!), the wet paper laid carefully over the plate, and then a sheet of newsprint and three layers of wool felt. And *then* we slowly and steadily run it through the tightly-wound press.

A hand is pulling back a piece of paper from the pressed etching plate, and the printed image is clearly visible on the paper. The image appears to be a simple drawing of trees and mountains. — And *this* is what it's all for! That moment when we peel back the paper and discover what we've created!! No two prints are entirely alike, and every time we peel back the paper it feels a bit like a gift.

Between 2-hour-long sessions of intaglio practice, we went out for a very wet rainforest picnic, and to see if we could find some nature-made prints. We found our own footprints, first, then the print left by lichen that has fallen off a tree. We found the hole in the ground left by an uprooted tree, and even an owl pellet! We decided it qualified because, like all prints, it's a mark left by something departed – an impression of the past and a clue about past events.

On a bed of moss, a pile of wet fur and tiny broken bones. It's an owl pellet: undigested parts of prey that an owl coughs up after eating. — **Owl Pellet!**

Prints often have a feeling of melancholy, because of the inherent absence or loss involved in their making. We breathed on the studio windows and made prints of our faces in the steam. They were gone by the end of the day. It's good to think about prints; about the impression we leave upon the world and the impact we have. Prints speak also about memory. They remind us that the impression is not always the same as the original. And like memory, every retelling takes on a different character; a different reality. Prints remind us of our importance in the world, of the many different and multifaceted truths, and of the relative changeability of it all.

Originally published in January 2016, by Emily van Lidth de Jeude