“When I was a boy and I would see scary things in the news, my mother would say to me, “Look for the helpers. You will always find people who are helping.” Mr. Rogers
I saw this quote after the Newtown tragedy and now once again I see it today after the Boston Marathon tragedy.
It is the quote that brings sanity, humanity and a lens by which to feel both grief-stricken and heart-warmed.
The Common Core should have this listed as a standard:
Helper; (PreK-12) demonstrates, recognizes and understands helper qualities, ie empathic, risk-taking, creative, innovative, persistent, thoughtful, and kind.
There is no section in the common core for this. No room at all.
Why? It is not measurable in a data driven way.
Yet, what would you define as core or even common within the scope of being a successful, balanced and happy human being?
What are the qualities by which you measure a community and it’s health?
Being a “helper” should be core to everything in education: language arts, the sciences, mathematics, athletics and the visual and performing arts.
It is core at SWS.
It is core to me.
In the studio, the Kindergarteners finished their Stone Cairn projects, which is just a part of the greater concept of “Construction” that has permeated the year.
The project had some beautiful and meaningful surprises. Even more meaningful today. While I posted earlier about the project (It is impossible work and therefor we must do it.), here’s a brief recap and the powerful directions it took:
When the children had completed the construction of the clay cairn, when it had been fired and painted, the project was not done.
There was no visible meaning or intent being transmitted.
What I didn’t want to do, was send home a colorful rock sculpture that children might not explain. That parents would see as colorful glob and not a communication of values.
So, I decided to ask the children to replicate their Cairn in 2d:
This turned out to be way more challenging then imagined, so to give perspective, I gave the kids some time and opportunity to understand and embody height width and depth:
This made the process of sketching a 3d object on a 2d surface more interesting and purposeful. You can see all the color samples Electra tries to truly recreate her ceramic cairn on paper.
The next step became more complex.
Once their 2 dimensional stone cairn was cut out, they were asked
“Where do you imagine your stone Cairn is? What does it represent?
Is it to mark a favorite place? Where is that place? What is it?
Is it to mark a path? Where?
Is it to remember someone who has died? Who is that person? What can you tell me about that person?
Is it to bring good luck or health to someone? Who?
I asked them to look at the documentation, to look at all the different connections. I just sat back and watched as they discussed parts of the project they had already done as well as looking at how some of their peers had preceded to the next part of the project. Often they asked me to help read aloud parts. Mostly, they interacted with the documentation as a working breathing element without me. It was theirs.
They were introduced to using pen and ink, and asked (after experimentation), to create the setting or images that would represent the meaning of their stone Cairn. My intention was to keep this process very slow. The act of stopping to reload the pen with ink gives one space to reflect and envision as they work.
To create an illusion of depth, bottle caps were used. Another design challenge, as the caps had to support the drawing and at the same time remain hidden. (Will, above and below)
The writing portion was an illuminating journey. And the children’s intent, their words with their images and sculpture stone cairns became an entrance into their individual thoughts. Thoughts that were poetic, charming and even even sad. Thoughts that often stay hidden. Thoughts to be shared now, in the context of this project.
Sometimes the sweetness of marking the pizza place or marking a path to the playground reminded me of the “special” places of childhood. Wesley’s path was the highway to his family in Ohio.
Can you see how just the object was just not enough to process, experience, learn and understand? It informed not only each child, but their friends, family and their teachers. It gives context. It gives connection.
This representation by Mikal reminded me of the sanctitude of the home, even for a young child. With all the running around and dreams of Disneyland, it turns out, there really is no place like home.
Many many children revealed memories of pets and relatives who had died. It is a remarkable testimony to the depth of young children. They created moving memorials.
My grandma loves me. She gave me things. She gave me songs. -Mira C.
Conner spent almost 20 minutes writing the intent and meaning of his stone cairn. When I helped transcribe his written manuscript I was struck by the complexities of random occurances and sadness that children must cross throughout their lives. I was honored that he felt in a safe place to express and share and mark this memory.
My great great grandma, you make me happy. My great great grandma, she had to ride in a wheel chair. -Colleen
While family and pet death are traumatic, the remembrances that some children chose to express possess gratitude and life affirming sentiments. Through creating, connecting and relationship in the studio and classrooms at SWS, something pivotal is being taught and understood.
I could go through this project and list common core standards and DC standards in language arts, writing, math, science, art, art history, history and science. Today I would like to recognize the missing common core standard, the one inherent every day, the “Helper.”
They are everywhere in SWS, from the office to the classroom, to the studio, to the custodians, the parents, grandparents, neighbors…all around, in the most unexpected ways are “Helpers.” Most important of all, are the “Helpers in training,” the 4-7 year old children who spontaneously take a risk and demonstrate, recognize and understand helper qualities.
It is the same community that reognizes the opposite in times of conflict, and comes together to teach, nurture, model and support the “Helper” core qualities when they are most needed.
My Grandpa lived a long long time ago.
He died before I was born
but my mom told me it will be alright. -Remiel
It will be alright.
My sister-in-law ran in the Boston Marathon yesterday. Her two children (K and 2nd grade) and husband were spectators. Time was suspended as we awaited word about the four of them. I am reprinting what she sent out today.
We were in Boston yesterday. Elissa G and I were running the marathon and were a half mile from the explosion when they closed the race. We just wandered off about 1,000 yards before finishing….It was truly a surreal scene and a nightmare of panic — so many people furiously texting and calling and unable to get through to the ones they love. And in the midst of this, there were so many moments of kindness. My favorite: Elissa was freezing cold and queezy and I stopped a couple and asked if we could use their phone, frantically trying to find our family. He gave Elissa his brand new bright red Red Sox jacket to get warm. About 20 minutes later when she tried to return it, he said no “you need it more than I do. Do me a favor, wear it to a Phillies game, once.” Elissa burst into tears and we say Go Red Sox! So many Beautiful Bostonians reached out to help and comfort.
We are so blessed and grateful to be safe and our hearts are aching for those not so lucky.
Thanks for all the love!
“You will always find people who are helping.”
We have a lot of work to do.
But it will be alright.
Sometimes life can feel incredibly complex to break down into small digestable bits.
Many rich projects have been occurring in the studio during this time of my playing hookie from blogging. This causes me to feel overwhelmed on what to include. (I mean I’ve been told my blogs are too long already.)
Sometimes I can see this same feeling within my students.
A provocation can seem overwhelming, draw a self portrait, build a chair out of clay, draw your nightmare and tell me about it. A big part of my work is teaching others how to break down what they see, feel, think, or hear into pieces, deconstructing what seems insurmountable.
Some background of what you are seeing: The “Chair Project” emerged in Ms Burke’s PreK class. Winnie drew a picture of the tables and chairs to illustrate the job of “snack helper.” The table had about fifty legs and the chairs were represented as circles on top of the table. Dimensional thinking is complex, let alone representing it with pen and paper as a four year old. Ms. Burke found it fascinating, and we discussed it. I suggested giving the children the challenge of creating a 3d chair out of clay, and returning to the drawing later. The photos above from the studio include Hannah Birney scaffolding or asking questions to provoke understanding that would facilitate overcoming the challenge, examples of chairs in different postions to help children understand how they are constructed, and Zuri giving peer support to Matteo.
50 percent of the children began by making a flat “drawing” out of clay initially.
90 percent of the children struggled with creating sturdy legs and balance. What you see plus the wonderful quality of clay-you can smoosh it when it doesn’t work out, led to enormous leaps of growths.
About 20 percent of the children came up with their own strategies for making the chair upright. Platforms, bucket chairs and a chaise lounge were some of the ways.
When the children finally manipulated the clay and created an upright chair, I had a few figures from the play castle for testing stability. After children “tested” their chair with the fugure, they went off to have some studio freetime.
In one small group, all but one child was done. Fionn was working with great intensity to tackle his chair. When he finally had success, I commented on how he stuck with this project, even when it was hard. I placed Fionn’s chair next to the other chairs still on the table that had a small figure seated.
“WAIT WAIT! He didn’t get to put a person on his!” Michael exclaimed from the floor where he was playing with the wooden castle. I had no idea he was paying any attention at all. I was about to just pluck a figure off the neighboring chair, when Michael rushed up with the small figure he was playing with. “There!” He pronounced, placing the toy he was playing with onto Fionn’s chair.
That small moment of caring, of equity and of kindness struck me as not just kind, but incredibly giving. Memories like these remind me of the tiny gestures which make humanity grand.
How do I hold on to these small moments? How can I catch them, and put them in my pocket, to be retrieved and written down before I forget them? And then, when do I remember to share them, with the person who made the moment, or the small gesture?
“…I wonder how memories can be here one moment and then gone the next. I wonder about how the sky can be a huge, blue nothingness and at the same time it can also feel like shelter. ” p.175 from Memory Wall By Anthony Doerr
After the chairs were fired in the kiln, I placed them on black paper and put up a stand so that black paper would be a backdrop for the chair. I wanted the children to see the negative space black instead of the entire visual field around their chairs.
I wondered if the memory of mentally deconstructing a real chair and physically constructing a clay chair would support their dimensional thinking , allowing them to “see” and draw this complex object.
Mira’s chair with standing figure above.
I told the children that this was difficult for even grown-ups to do, and that they should expect to do a whole bunch of tries. That even grown ups have to do things a lot of times, and even then, it might still be difficult. As you can see from the above photos, the cognitive and tactile experiences paired with the expectation that it would take a bunch of drawings to figure it out, made for astounding development. I witnessed tremendous breakthroughs in this process.
When it was discovered that a seat of a chair sideways makes a letter “L” shape, I showed everyone this finding.
This immediately made sense to Tessa (above)
Bella, below, was really trying hard to figure out how to draw her chair sideways. Her seat was a big circular shape, and the way she saw it, it was more from an aerial perspective. I know she was listening as I urged each child to notice that “L” shape on their own chair. When she didn’t find it, she added it to the bottom of her drawing as a bunch of “L” legs. Sometimes what you see doesn’t look like what others see. If you look closely, there is indeed a side view, just from a different perspective.
With each group, I left time at the end to reflect about what was hard or difficult as well as what they and or their friends figured out.
This intentional practice of teaching and modeling observation, critique and reflection is a way to make it a value or eventually an internalized practice for each child. At first it’s a little like pulling teeth, and then “pop” with ease and surprise great awakenings are verbalized.
Eva, throughout the process kept saying “I can’t do this.” I reminded her that “can’t is a bad word, but instead she could say, “This is hard! Can you help me?” She was however quite successful in in the end representing her chair, which she created on a base.
When we regrouped to reflect, Eva exclaimed poetically:
“If your brain looks into your creation,
Use the power.
And tell Mommy and Daddy, ‘You did it! Whoo Hoo!'”
I returned to transcribing the nightmare paintings. My goal was to complete this important process of writing down each child’s words with their paintings. I find these works by four year olds both brave and playful. While some children turned their nightmare into a dear friend like Simone,
or an element of power like Archer
Ava S. expressed herself in an honest and touching way. I find her nightmare painting and memory as incredible evidence of the importance of parents protecting their child from even the imaginary.
“Then he holds me by the shoulderss and looks me in the eyes and says,
We see things. Sometimes they there. Sometimes they not there. We see them the same either way. You understand?”
p169 from Memory Wall By Anthony Doerr
The intensity in the studio is coupled with the free time children are able to take, time permitting. While sometimes project time will use up the entire slot, I try hard to be cognizant of the merits of free time as equally important to the teacher facilitated period, and make space for it. Some children live for free time, especially those who seek the social emotional release and joys of dramatic play. While they might “live” for this free time, it does not mean it is easy. Negotiating friends, time, space, place and materials takes a multitude of thought and self regulation. Even those who prefer to make something on their own or play alone often have to defend their choices- all important habits of mind.
Here are some memories caught and documented during free time.
Lane over the past weeks has sought out the drum during free time. He keeps a repetitive and steady beat, and loses himself in the concentration and rhythm. A few weeks ago, he began rearranging chairs and stools to make a seat and platform for his playing. He was experimenting with many configurations independently. “Can I sit on this?” he asked, rolling over the clay trash container on wheels. No child had ever asked this, so I told him to go ahead. After some bustling around, I realized the steady drum rhythm had returned. When I looked, I could see that Lane had created a throne for his music making.
Sophie this week chose to use clay to make something for her free time. She spent a long time crafting a teeny tiny sculpture. While she was welcome to take a big wad of clay, she chose to make something small and precious. When she was done she handed it to me. “It’a a platypus.” I turned it around in my hands trying to figure out how to even put one initial on it. When I determined an initial would overwhelm her piece I told her, “Sophie, this is so small, I am unable to put your name or letter on it. Please remind me that you made it after it’s been fired.”
Sophie looked at me in alarm and said, “But Ms. McLean, what if someone ELSE makes a platypus?!”
Robert and Gabriel chose to work together making copious amounts of meatballs and spaghetti. For a half hour they made tiny pinch pots and squeezed out clay through the extruder with great excitement and seriousness. It was an epic amount of clay pasta, and their engagement and spirits were so high. Was this a fleeting moment? or a memory that one day, when they are grown and cook for themselves, will slip into their consciousness like a small little jolt?
What memories do we control? How can memories be utilized as a learning tool in intentional connected ways? How accurate are memories in reflecting or re-experiencing events?
Mant times when I lead classes to a museum, there is no photography allowed of the objects. In these cases, I speak very seriously to the children. “It’s important that you sketch what is interesting or gives you ideas. Since photography is not allowed, these pictures in your sketchbook will be your memory for you to return to.” I was floored by the intensity I observed when I led Ms. Ricks’ PreK class to the Museum of African Art. The line quality and pen strokes conveyed materials, features and intricacies of art and artifacts.
In the art studio, Raigan tends to complete drawings with speed and little effort.In the Museum of African Art she was transfixed, staring closely as she slowly sketched. I never tire of the phenomenon of young children enthralled and engaged in an art museum. So many parents tell me their children won’t draw or aren’t interested in looking when in a museum setting. These very same children, with high expectations that they are competent and able , seem to float into a zone where the rest of the world disappears. They create images, ideas and connections which they know are important and can see are strong work.
Sometimes memory is important just for the reason to share a moment that was delightful. The first week back after Winter Break, folk dancers came to share dances around the world. Despite having an audience of over 80 four to six year old children, the performance was interactive and entertaining and the hour long performance was a hit. Thanks to Arts for Every Student and Class Acts, this program was free.
The hundreth day of school was marked by the Kindergarten students with a lot of numeracy and ritual. This year, I joined each classroom with thousands of craft sticks, wire, glue dots, paper towel rolls, egg cartons and some foam bits and pieces. In both K classes the children were given the challenge of using each one hundred sticks in some kind of sculpture that they make in an hour. A beautiful chaos of “making” ensued.
While most kids consciously or unconsciously gave up on the idea of incorporating one hundred craft sticks, Emma Clare was determined to use all 100 sticks. With shades on, she created a skateboard storage area on her sculpture (that woud be the sticks as skateboards placed tightly in a paper cannister.) Brilliant!
This exercise of exploring and constructing without a plan was filled with engineering and ingenuity. It was however lacking time, so I found myself in a mad rush of cleaning up the gazillions of materials which sprawled, before the kids missed lunch or the bus. When I was leaving Mr. Jere’s class, clutching various materials I heard my name being called and felt a small person quickly following me as I zipped around. “Ms. McLean, Ms. McLean” I hurriedly said “What?” and spun around to face Anja. “Thank you for setting that up in our class. I really like doing that kind of thing.” I felt a wave of gratitude and a little shame for being so curt initially.
I happened to bump into Anja’s parents one afternoon and told the story. It’s not often that someone even thinks to thank you for the everyday work you do, and especially not a 5 or 6 year old. This memory truly stops me in my tracks, and illuminates the great power of a small heartfelt thank you.
Memory is closely related to observation and discovery. I took one group in the art studio and decided to see if they were interested in some water experiments. The Kindergarten classes are in the beginning phases of The Anacostia River Project. Because the first visit to the river was cancelled due to weather, there were no first encounters to rely upon. My idea was to observe water in altered states and sketch afterwards. I was not certain at all.
Dropping a golf ball in the water. Adding oil to water. Adding water color paints to water. Adding salt to water.
Perhaps the memory of the experiment will connect to what they see when they visit the river at the end of the week. To my delight, this one group of children (Jasper, Stephen, Ra’Kiya, Luke and Maya) were eager and enthusiastic scientists. They each documented the shared process and sequence and ideas- their memory of the multi step experiment.
Memory is called upon as a coping mechanism.With children, both the joy and the pain must be revisited with support and care to gain a sense of stability and understanding. “Remember when you were left out of your friends game? How did you feel? How do your friends feel when you leave them out? What do you need to do?” Children spontaneously bring up memories of grief, from a relative to a pet. These are great windows into life. I recently attended a funeral of my uncle. The power of memory and story is not only essential to the grief process but to each and every individual as a human being.
How and what we remember informs our very being.
Last Friday, a former student, Eva Epstein who is now in third grade came to visit me. After a big hug she looked into my eyes and said, “Ms. McLean, I came into here (the art studio) and all the memories came flooding back!”
“We return to the places we’re from; we trample faded corridors and pencil in new lines. “You’ve grown up so fast,” Robert’s mother tell him at breakfast, at dinner. “Look at you.” But she’s wrong, thinks Robert. You bury your childhood here and there. It waits for you, all your life, to come back and dig it up.” p.242 Memory Wall By Anthony Doerr
Slowly, I get to know each child, quite intimately. Helena often creates representations of her baby sister. The drawing above came about when I asked her, “What are you into? What interests you? What is something you think about?” My sister, she replied. When I asked her what her sister can do, she told me “crawl”. I bent a small figure in a crawling postion so she could figure it out.
Previously, during free time she created her sister in her car seat out of clay.
There is an amazing way we, all people walk the earth. We bring our memories from home with us, wherever we go. They are invisible to others most of the time. For young children, they wear their memories on their sleeves. The family memories bubble up and emerge. One moment they are playing happily and the next moment they think of their mommy, and briefly, the tears or yearning is vocalized. The next moment they are a part of a new group, building new memories, creating new pathways in their brains. Like Eva Epstein, who visited me, someday these memories will just bubble up. And define them.
“…every hour…, all over the globe, an infinite number of memories disappear, whole glowing atlases dragged into graves. But during that same hour children are moving about, surveying territory that seems to them entirely new. They push back the darkness; they scatter memories behind them like bread crumbs. The world is remade.” p.242 Memory Wall By Anthony Doerr
I love stories, especially stories that speak to insight and research. This year, I began the process of looking at the Anatomy of Mark Making. This is because so many people proclaim that our school seems to produce children who are prodigious at graphic representation. Also, I had been asked to lead a course through Innovations/Wayne State University on said topic. This offered me a challenge, because the source of the inquiry is not a story.
I have always looked at clouds, initially to “see” an elephant, witch, crocodile or face. However, I vividly remember being thrilled in elementary school when I learned to recognize cloud varieties– Cumulus, Stratus, Cirrus.
In learning to name or classify clouds, the joy and the magic, the “seeing” did not cease. It actually gave me a new possibility for looking, and in many ways an opportunity to see deeper.
In the spirit of cloud watching, I began the process of naming and then classifying children’s drawings. (I did not include children’s writing as part of this process) I too, became curious of this culture of drawing at our school, and wanted to move from the more intuitive to the more intentional in my research. My first developed classifications were: Graphic Representation as Abstract Thought/Idea, Graphic Representation as Memory, Graphic Representation as Observation, Graphic Representation as Plan, Graphic Representation as Fantasy.
Soon I realized that my classifying system was slightly flawed, because there was hybrid or combined categories. I relate this to Cumulus-stratus clouds, that forms combine.
I was fascinated to learn that by classifying the representations of children, you not only begin to see more nuances, but you begin to widen your ability to understand and see meaning and intent.
So what does this teach me?
More than anything it supported my thesis that graphic representation/drawing is thought. It is language. Young Children are complex thinkers, and when given the tools and time and respect to do so, become fantastic communicators. This work is profound. It shows expressed theories, connections, ideas, and imagination.
While many adults look for schools that produce children who can decode and read above their age level, I theorize that these very children have been robbed of their voice and possibly their intellect. I can read a medical journal-but I have no understanding of content whatsoever. I devour fiction, art, education books and more – but I can add to the field of thought and conversation, and develop new ways of thinking when I read these books. My neuro pathways are engaged and challenged.
What if my parents never looked up into the sky and exclaimed, “Marla, do you see the castle?” (Whereby I most likely responded, “Where? Because I see a ship!”)
There is a solid possibility when the chapter on clouds surfaced in my 3rd grade science text; I would have lamely memorized the types to solely pass the multiple choice questions quiz.
(“I am thankful for my Grandma’s garden.” Julia)
Valuing and researching children’s drawings are more than sorting and classifying. It’s research of both creativity and thought. It is an ongoing provocation and a continuing conversation.
In the context of our school, it is powerful curriculum (and caring).
It is as glorious and grand as the clouds.
The Art of Inspiration
The Arcimboldo exhibit entitled Nature and Fantasy is on display at The National Gallery of Art. Last week I led a Kindergarten class (Ms. Rick’s) on an exploration of his surreal paintings. For those not familiar, this is a painter from the 1500’s who made portraits out of things such as fruits, flowers, books, poultry, mammals. It’s fantastic stuff for any age.
I chose to not tell the kids that the paintings of fruits, flowers & vegetables became distinctive faces. I wanted them to experience the element of surprise and excitement. With the teachers, we prepared them for the trip, by talking about being observant, noticing details, using color thoughtfully, as well as the idea of inspiration.
What does it mean to be inspired?
The museum does not allow photography in this exhibit, so of the many tasks I gave the children, an important one was to choose one of their favorite paintings, and draw it in their sketchbook as a “memory” of the exhibit.
Henry gathered a lot of information, using both notes and representations, with the help of a chaperon:
Lia, used a different approach for her “memory.” She used expressive marks, creating a representation with great feeling:
Camille, I noticed sitting in the middle of the floor in one of the gallery rooms, intently sketching. The exhibit is popular and I noticed that patrons were walking in front of her and blocking her view.
“Camille, it’s getting crowded. You are welcome to get close to the painting.”
She replied, “No, I see it better from back here.”
This surprised me, because in general, kids often go so close to displays, they are craning their necks. She was serious and in fact, correct. To get perspective, one does have to step back.
She chose the painting “The Librarian.”
Her dedication to representing this painting was intense. You have to picture the scores of adults walking around and in front of this small body, hunched over on the floor space, gazing in between the bodies to create her memory.
Before the trip was over, she showed me her sketch. “Can you make me a copy today? I want my Mom to paint my picture.”
When we returned to school, we all discussed what we saw. Camille raised her hand, “Did you make the copy?”
I immediately did, and added a post-it note to inform mom of Camille’s plan.
It was a Friday, and Camille’s mom, Susan was to be out of town. On Tuesday morning I received an email.
I got in Camille’s folder a copy of her sketch from her field trip (dated 10/15/2010… this must be in her sketch journal that is kept at school), and a Post It note from you that Camille would like me to paint a painting based on her picture, so I stayed up way too late tonight and painted her a painting… I liked Camille’s composition and so I tried to stay true to her picture… The painting is attached. What a fun thing to do! I named the painting “It’s Time to Cook.” Medium is oil on canvas. 🙂
When I told Camille that I received an email from her mom, and saw the painting, she grinned ear to ear. “I know!” she said.
I asked her if together we could share this story of inspiration with the class, and she was thrilled.
When we shared with the class the story of Camille being inspired by a 500 year old Arcimboldo painting,
and then her Mom being inspired by Camille, a 5 year old, they were enthralled. There were rich observations and questions made by the class.
Reginald: Why did you want your mom to paint your picture?
Camille: Because I like the painting.
Beck: Your mom’s painting is cool because at the bottom it looks like a carrot with a watch, but the carrot holds up the book.
Frederick: If you look really close you can see a hand.
Ruthie: Those two bent things look like fingers that are holding a book.
Lia: The painting looks like a bumble bee. The bent fingers look like wings, and the part in the middle looks like a body.
Sam: I think there’s a celery for the nose.
Owen: The eyes look like glowing beads.
A kindergarten student inspired by a 500 year old painting.
So inspired, she wants her Mom to be inspired.
The Mom is then inspired by the 5 year old.
The entire Kindergarten class is inspired by Mom’s painting.
Everyone now wants a copy of their “memory.”
Tomorrow I am taking another class (Ms. Burke’s) on the same trip. I spoke with the class in order to prepare them.
“I think you will be inspired! What does inspired mean?”
“You can’t believe your eyes”
“You want to look at it for a long time”
“Really really really really pretty”
“I know what inspired means, it means,
You change them (the paintings)
but it can still be them”
I am looking forward to tomorrow’s adventure with Ms. Burke’s class, and then Ms. Scofield’s PreK’s in November and Mr. Jere’s class in December (PreK parents, try not to show the Arcimboldo paintings before!)
While the trip was originally planned to align with “The Story of Food” grant work, the deepest work went beyond the fun scavenger hunt of identifying and finding the hidden eggplant or onion in a face.
This type of deep work, can be revisited in life endlessly:
Making marks to create memory.
What Mani said, is a succinct definition of inspiration.
“You change them, but it can still be them.”
It is also a beautiful metaphor for teaching.