Revisiting old images with new devices!

I just published an image on my new blog [project]- it is a visual blog meaning well have you seen it yet? This it what it looks like - link at the end of the blog. Oh go have a look and come back...

Its kind of a transition blog while I get my head around designing and setting up a website. Yes. Everything has to be able to be found in one place, I've got to make sales easier! For 2014 I want things to be simpler, I've gone back to my roots creative visualisation that's what really going on over at http://roisinmarkham.wordpress.com .
 But the reason I'm blogging about the project here is that the image I took and posted today is one of the first images I used as a social media avatar over five years ago! It really struck me as I posted it - full circle but with a better quality device... I'm smiling my shadow along the beach!
But it led me on a wander through some of my published online spaces the poem link to 2009 and to this link about loss, love and a smile Of Earth and Soul work.
I've a new quote I'm thinking of making work around.

Heart felt

Heart Felt Art
Roisin Markham © 2012

I've been busy never even got to post that I opened a shop on Facebook which sits on my CreativeDynamix page. But if you read or have been following my main blog http://creativedynamic.blogspot.com/  you will have seen the blog post about opening the shop and about what is a hug token.
In January I needed to sit and just make practical work something small to sell. Artist make work for different reasons and this year I just needed to sell my art and have that sense that yes people liked it enough to put their hand in their pockets and part with their cash. There is something very satisfying about selling an item you have made, created - constructed with intent.
The added bonus for me was also to discover and remember what making images with a camera was like. I found myself writing poems to accompany the images I was making and the images I wanted to construct or express with the little felted hearts. They became props for a further expression.
"The heart knows
that love can
not be contained
Love demands to 
be amplified and
shared, so it is
between us.
King of care
queen of kindness
you are that to me."

Heart Felt Art
Roisin Markham © 2012

Writing this blog post I'm realising that I still get surprised by my writing - it has always been a part of my painting and in the last year or so has become more obvious with my textiles and surface stitch. My exhibition last year at the Wexford Fringe really saw the words sit on top of created background surfaces 'Of word and stitch' you can look at some of the work just before it went to framing here.

Perhaps its progress? 

The words presents themselves along side my work not layered with the visuals but taking a more even role equally beside the handmade carefully crafted visual art. Neither the words or the crafted pieces are enough by themselves. As I was putting the framed pieces together the balance in the frame was important - words, visual elements, photographing it...
mixed media creations
I see the multiple images I have made they feel illustrative. Words/images - which came firsts? I celebrate that it is no longer important all I know is that I really enjoyed this creative process although small and central to my being it made me happy to express myself freely. It made me happy that people liked the hug tokens enough to buy them.
The illustrative images with the hug tokens will and I have a feeling that they may all fall into a book to be offered and celebrated for "when my heart sings".
If you did n't catch those image head over to the Facebook page and have a look through my wall photographs, leave me a comment or ask me about when the book is due out?

making work in 2012 personal

Semi natural habitat for a feather. Roisin Markham 2012

I've taken Christmas off did you notice the social media blackout? The only thing I've really done is doodled a bit. Did you take a good break over the festive season? How did it effect you?
When I put down the paint, the pencil, the textiles, snip the thread, turn off the computer and only pick up a camera to take happy snaps well what happens is I create some space for myself. When I give my brain stopping time from physically making work... I start to dream of work, I think about ideas in new ways, my associations are different and my musings more measured.
This holiday season I think I've had some insight around the theme of what is the texture of my map? a question I have been sitting with since the summer and meeting Con Conway. More on that in a while.
Themes of identity are an important component in my work. The elements start with oneself, to family, to community, clubs, associations and then into the landscape of geographical community and national identity, race, belief systems and before we know it themes of displaced diversity, economic migration and cultural contexts.

We are all different, we are all the same. Roisin Markham 2011

For a while now I have been wanting to make a project and arts residency around the theme of identity with people living and working in Gorey, Co. Wexford, it is the town near where I live. In the last two years I've been building relationships with people and groups in the area. I've been thinking about how to start? How and where to establish a project - where to make that space? ...space for people to question what it means to live, work or study in Gorey.
How do we relate to the people around us, the geographical location and what exactly is our cultural context? 
Space, questions, time and people to explore, share and realise what is the texture of ourselves and cultural identity in North Wexford. I'm not necessarily talking about transformation. I think we have to have reality and acceptance and then see where that takes the conversation.

blow in, outsider. Roisin Markham 2011

My involvement with Bluedrum's think tank during the summer and the follow up in November lead me to think about a cultural compass. So in November during the session in Dublin I shared what I had been thinking about - how to bring the conversation back to a local level while maintaining a bigger cultural vista and being relevant? My thoughts of a cultural compass had pivot points around identity linked to four directions; rural, urban, national, local. This is specific primarily in an Irish context however our European context would be considered also. Research is forming around a project context and framework to explore the texture of our maps both socially, geographically and culturally.
I have a larger project in mind for this work., Gorey would be the Irish hub of the project. Initially I'd like to have two other pivotal sites in Europe and develop further research in other locations. The work may or may not be artist lead but always context lead. It would be very exciting to develop a unilaterally project working with other artists where we would pool resources research, methods and critically our work with others would inform the development of our arts practice and the further work of the project. Each of the artists would work in all three locations over a period of time. We would migrate, integrate, communicate and make space for new ways of work bringing different elements to each cultural location.
So this idea of outsider, insider that arose during the summer as a direct result of my mini installation in the studio it comes to mean more then just feeling it - I want to express it clearly.
I took a long walk on the beach New Year's day 2012; I came across all this stuff that I questioned "does this really belong on a beach?" Because the stuff is often found there, the stuff has developed a semi-natural or associated habitat with the beach. Feathers on the sand, fishing nets not in the sea, wood where no forest or trees are near by. They are blow-ins to the beach, swept up on the shore. There they remain until nature or someone changes something. It becomes the habitat, we accept it as is. It seemed very symbolic to me. So I do what I do with a camera not touching observing. Editing with the lens. The picture of the stones the reddy brown stone is from a red brick not natural to the area but shaped and curved by the sea and thrown up the beach with the rest of the stones. Notice the circular space near by.

...so the clarity I got in the last few days Con, the texture of my map... I've known for a while the work starts with me but now I now where to start.

"Footprints in my heart"

This was the title of a solo show I made in 2007. It was a pivotal moment for me as an artist
"the exhibition became a dynamic fulcrum that caused me to change how I approached my arts practice" from this blog posted SATURDAY, JUNE 27, 2009.

Detail of felt used on exhibition invitations. 2007

I refer to it seldom now but the quote that the title of the show came from sits near my desk still, a fridge magnet delivered to me via M.I.L.K. products,

"Many people walk in and out of your life, but only true friends will leave footprints in your heart." Eleanor Roosevelt 

It resonates deeply with me and continues to link my work from past to present.
I mentioned the quote during a conversation with Rose Hughes, she loved it so I decided I'd write about it here. Actually that conversation generated lots of connections and links, clarity and ideas, see my facebook page for more about that.

Threaded stories commission. Roisin Markham 2011

The reason I mentioned the exhibition and quote was that the handmade felt used in "a stitch in time" I made in 2007 for that solo show. Amazingly I made that felt around themes of community, friendship and kinship and they were a last minute inclusion in a bag of material I was taking to the stitch workshop with St. Brigid's community group at the Family resource centre. Nearly everyone choose to work with the felt... and I love that layer of meaning is within the finished piece of work that now hangs in Waterford.
The reason I decided to blog about this is that the product is by a company called M.I.L.K. they have excellent photo and make great cards. If I see there cards I buy them. But trying to find them online has been difficult I wanted to post Rose a link because I really like their products.
But this is what I discovered and it's great M.I.L.K. means

Moments of Intimacy, Laughter and Kinship - (M.I.L.K.)

There is an unofficial Facebook page and then I found the site http://www.milkphotos.com it seems PQ Blackwell now owns M.I.L.K. publishing and licencing (a New Zealand-based publishing and licensing company specialising in originating illustrated books and associated licensed products worldwide.).

I think that adds something even more and I simply delight in that.

Happy International Labyrinth Day.

Process labyrinth.

 Why I'm interested in labyrinths?
They are an ancient symbol, a motif of mysticism,
they represent pathways of discovery, destination, reflection.
I love their use in gardens design, heritage and monastic sites.
I love the potential of their use in land art, community art and playful engagement.
They represent journeying.
When you draw or make a labyrinth you work with negative and positive space, the walls and pathways.
When you walk a labyrinth you can use it as a mindful meditative walk.
I found labyrinths to be a powerful symbol to work with in my visual art and land based art projects.

Other posts on Labyrinths you might like to read or discover some of the imagery

July 2010
Labyrinth making... Land art
Labyrinths for your fingers!
September 2010
Labyrinths and process as my creative pathway,
what a relief,
October 2010
Labyrinths and your creative or mediative process,
Labyrinths and other forms of mazes
more tactile labrinth making,
December 2010
A winter solstice snow labyrinth Land art

Snow Labyrinth Land art

Altered book labyrinth. Roisin Markham 2010.

Art NOT chocolate for Easter 2011

Art NOT chocolate for Easter 2010 Campaign Year 3

Roisin Markham, Ballygarrett Art Studio is continuing the 'Art not Chocolate for Easter!' campaign in 2011. Now in it's third year we suggest the following reasons why everyone should be supporting this campaign:

1. Art has no calories.
2. Art lasts much longer then flowers and out lasts some relationships, it adds something to memories... 
3. Original art is affordable. Prices at Ballygarrett Art Studio start at €25 for small original paintings, prints and textiles,  Whatever the budget or occasion a piece of art is the solution you will find something to suit and take away.
4. Support and patron me as an artist, purchase a piece of my creative work  

5. Patron your local artist 

What you can do;

Instead of buying chocolate view and purchase a piece of Roisin Markham’s art work other options include commission work, gift vouchers for art and creativity coaching are also available. 

Forward this to all the people you know and ask them to forward it so that this campaign can gain support 

If you are an artist steal the idea and start your own campaign

In 2009 I started and shared this campaign with others. 2010 saw me deliver the idea through social media and some galleries and creative craft spaces in Ireland. This year  I hope this year to extend it's reach and get other artists and galleries to steal this idea, share it and garner support from their communities. 

All I ask is that you share with me how you used the idea and how it went for you. Let me know how it goes at ballygarrettartstudio[at]gmail.com or tweet me @creativedynamix follow and support the campaign progress on Facebook.

working with people, 1:1 sessions

I've always enjoyed working with others and watching them take courageous steps towards reaching their own goals. My community arts practice revolves around creativity for boosting morale and self esteem, actually a lot of what I do in CreativeDynamix could be linked to that theme with a health side order of empowerment. 

Recently I've had a steady stream of people coming to me for one to one sessions. You might have seen me refer to them as ...illuminating personal pathways. I love them! Yes people & the work. It functions at what ever level you need it to.

I often make work or doodle when people are in session we've been finding it usually adds a layer of meaning. This was a doodle I did for a client recently during a phone session as we were talking...

as we were talking
doodle from 1:1 phone session, Roisin Markham

The 1:1 illuminating personal pathway sessions combine active listening, grounding, running energy to clear and connect, intuitive response, creative making & sharing using art materials to translate and make tangible like prototyping. Sometimes sessions have been walk & talk, involved spontaneous dancing, laughing sometimes tears as things get realised and released and sometimes there is homework!

What do you see?

I have been walking in the forest at Courtown Woods, Wexford on and off  for the last two weeks partly for exercise and partly to be in nature. Holly and ivy abound. But this tree above is in a most interesting clearing. On the day it was taken the sea was howling. What can you see?

Do you mind map?

Mind mapping is a fantastic technique I use when I want to get all my ideas out, vision forward and clear my brain so new ideas can come in. I am often fascinated that people are not aware of mind maps. It can be as simple or as complicated as you want to make it, same goes for the teaching of it.
I'm a fan of paper rather then software when it comes to Mind mapping as will be demonstrated by the contrasting images below.

Roisin Markham, Mind map 2010 

Roisin Markham, Mind Map Bursary Application

Do you know the technique? What do you use mind maps for?

A winter solstice snow labyrinth

During the last snow Deirdre ní Dhubhghaill @2DGraphicDesign asked me was I going to make a snow labyrinth. It just did n't seem like something I wanted to do.
We have had 28cm - 44cm of snow depending on where you stand in the garden since 7.45am GMT. Before the sunset I was out with my youngest too trampling around the garden. The snow is powdery and fine. After the children went in I pottered around. At the front right of the house there is a space which was un touch and it seemed perfect to walk a winter solstice labyrinth and I did.

Solstice Snow Labyrinth Wexford 2010

My digital camera has finally died so I'm back to the camera phone so photos are not great but it will give you an idea of what it looks like.

 There is more snow forecasted. Tomorrow I will build the walls higher and place little tea light candles along the path.

Although it would be lovely to go out and walk it later lighting it with candles. Saying good bye to the dark days and linking this year with next year on the 21st December 2010...
I will be posting more pictures on Facebook later so keep an eye there.

#GGPP and Labyrinths connect

If you've been following me on social media or reading my blogs you will know that Julie Ann Turner and I have a Global Gratitude Postcard Project #GGPP over on http://consciousshift.posterous.com/ and out there in the real world. People have been making postcards with intent and sending them in love and gratitude.
Julie Ann is an amazing woman and you can read more about her creative arc's and how she works on her website http://www.creatorsguide.com/. She also has a weekly radio program where she did interview me for the #GGPP project and yes if you have n't listened to the audio it gives you a good insight into the intentions behind the project and how Julie Ann and I got connected via Twitter. The itunes listing for ConciousShift Radio can be found here and there are fanstastic interviews that I have really enjoyed listening to.
My great discovery yesterday - and thank you Julie Ann - was SARK, Susan Ariel Rainbow Kennedy. Listen to the interview it is wonderful. I went to SARKs site and was really enjoying having a look around. SARK has just published an new book and she is standing in the middle of a fabulous labyrinth right beside the sea, go look http://www.sarkjournal.com/.
So I asked her where it was and Julie Ann, Lands End in San Francisco I found out. Yeah.
For gorgeous photos look here at this photographers website.

I have a brother in SF a visit has been on the cards for a few years.

Would n't one of these look great on Cahore Point...

So you see work is all connected in the end #GGPP connects to my obsessive labyrinth behavior and land art projects this year. I look forward to making more labyrinths in 2011. I'd like to make them with groups and some as permanent structures too.
Do you know of other labyrinths around the world I could visit? or where would be a good spot to build one.
July, August and October I blogged about labyrinths if your new to my blog do go and have a look. Or start with this beach labyrinth project which also has links to further information and local places to find labyrinths.

#twitterartexhibit Moss Library, Norway

I think it all started with a tweet that I saw from David Sandum. 140 characters and that was it. Around the 21st of October you can read all about it here http://davidsandumart.posterous.com/call-for-artists-twitter-art-exhibit-in-moss.
For my part I had chatted via twitter with David once or twice, I liked his work and what i knew of him i liked and respected. So if he was going to organise a fundraiser to raise money for a local library in Norway by inviting artist all over the twitter-sphere to join in, well it would have been rude not to.
Postcards size was what he wanted and I do love postcards.
I was in but getting down to the brass tax of making the miniature work was more challenging. What to send? What to make that represented how I work and supported what David was trying to do.

I had just finished my successful Of earth and soul, exhibition and workshop sessions at the Wexford Fringe. I was on the creative curve that requires rest and re-cumulation of creative energy before another up cycle. So I was tired and trying to work less, walk more and play a little.
Eventually I started with a montage a map, an old girls magazine and a letter. I like the idea of the text "I told you I could do it!" as a central focus.
Montages are funny things sometimes they just need a muted layer of tracing paper and some script over them and they are perfect but this demanded that I painted with intent and send a representational piece of my style of work. So painting began and after that some stitching. The roads were re-highlighted to continue on and add definition with some beads.

 My seven year old had great fun doodling on the news paper as I was stitching. If you look at the Of earth and soul exhibition you will find the painting Trust has a link to this piece.
The work was sent off to David in Norway as soon as it was dry. He noted that it arrived on November 7th.

Now it sits on a wall in a Norwegian Library. My postcard is easily spotted second from the top technology is amazing.

This is an image shared from the Moss Library Flickr images of the exhibit.

On twitter the chat continues about the exhibit @DavidSandumArt: The coolest thing about #twitterartexhibit are the computers next to wall. People go online/twitter and look up their favorite artists.

So congratulations to David for doing such a great job and being so inspiring.

Twenty countries X 260 artists joined through twitter to raise funds for children's books in Moss, Norway. I love this story of the power of twitter, social media, one mans idea and the courage of his convictions to just 'Do it'. I love it has raised his profile as an artist, activist, solver, fund raiser and man about art. I love that Moss Library will have a fund for children's books. I love the fact that 260 artists participated with a postcard. All he asked was would we join in and we responded. 

Well Done David!

what a relief

Failed freeing the labyrinth from the paper

I'm loving the comments from my twitter tribe on last Sundays blog post Labyrinths and my creative process it contains my video about 'when painting is too flat'. On Thursday I queried its increasing popularity and wondered was it down to the fact it was a video. What do you think?
What I love about finding and rediscovering ways to express, document and explore my creativity is that I'm finally moving my work on, talking, communicating and engaging myself and you in the process. So thanks for reading, listening, watching and responding - lets have more of that.

On Monday as I still could not fill my paint brushes with paint. It was hard to stay with the not knowing. Normally dedicated studio time is over brimming it is unusually for me not to know what is next. A sign of growth perhaps. Standing in that not knowing was challenging - deadline looming etc. But I knew a shift was occurring.
I started my weeks work by folding a painting to make it stand by itself. This developed into montage and collage work. Taking a failed attempt of altering a book (above) to develop the labyrinth relief and freeing it from one sheet of paper.
The raised image in the bottom left corner printed onto tissue paper very nicely so I thought making a stamp seemed like the next step. I sat cutting out the labyrinth... The two shapes the same but different half way through I thought am I cutting out the wall or the path? and I stopped and started taking photos again.

Then the relief moved from a mobile to a sculptural device that I wanted to make stand it took me a while before I found something I was happy. I wanted the semi cut labyrinth to stand tall. I tried various things and settled on a piece of blue tack and or 'glue tack' as my youngest calls it. Deciding it was not important if the a clay modeling tool was seen. With that the object became a whirly gig. I was reminded of fair grounds and twirling skirts of my youth.

The background for the whirly gig and the images of the folded painting at the beginning of this post became a finished piece of work Thursday evening but not before a transfer of this was added. A photograph of an Allium I had given a graphic treatment to. It is one of my favourite Cristophii.
Yes this morning I had a Eureka moment and the painting flowed after more on soon

Labyrinths and process as my creative pathway

The labyrinth dictates its own pace. It domineers my doodles and insists it is featured center and left of work. Since creating the labyrinth on the beach during the summer I am fascinated how it emerges into my work. The Labyrinth for your finger tips followed, I love those images like sketches for bigger work.

Then I got back to my paintings and they became constructions in paper. 

Painting was not enough. The shapes demand to be lifted of the paper. They want to stand proud of the surface.

This series of images best describes, records and informs me and my creative practice for future work.

When painting is too flat... from Roisin Markham on Vimeo.

This manipulation is requesting wood. "Make me in wood" it demands aloud.
Bowed in a curvaceous form that allows the labyrinth to be freed from the flat. Freeing the curves to be visually challenging and technically questionable.

Concept for a painting

During yesterdays studio session I took an A4 sheet of card marked and cut it to start working on a concept for a painting. As I mentioned in yesterdays blog the protrusions are to be painted.

Concept for a painting from Roisin Markham on Vimeo.

I've pasted the process piece on my studio window the sun streams through it this morning. The shadow play with the cut outs are impressive. I like the clean simplicity of the shapes and protrusions. However it is right while I think that this is visually interesting it is not everything I had in mind. My brain needs time to process the initial idea with my first response and bring the two more in line. Perhaps they won't get inline, ah yes the creative process and my designer brain, I look forward to see where this idea goes and how it evolves.
Studio time will be precious for the rest of the week, perhaps Thursday.
The blackbird singing on the recording is also from a morning sometime ago.

Work in progress to concept process

This painting has been on and off my easel since May. In June I posted that it was nearly finished and finally I think it is. I found it difficult to settle back into painting it on Friday morning last but want to get it to the framer for an up and coming exhibition (more information on that soon). 

I used to spend four to six hours painting a picture in one sitting - I don't now. Paintings are started and stopped at different stages, leaving them to process a bit, coming back to the paintings and sometime not.

This painting feels significant and has a similar quality to Evoke although as you will see it has evolved somewhat. 

I battled with it not painting very much but trying to see where the blues should be, where they flowed. At some stage I felt like I was going around in circles and the blues were muddled with out a good balance. I'll post a better photo of it when my camera is back in action later this week. I'm happy with it now the blues swirl and sing. To my eye the painting is balanced. I will let it dry varnish it and then have another look at it. The perfectionist in me gasps when I say "I am happy with it", my genius tells it to get over it's self!

Oh I love when those two pieces of my personality sidestep each other and I can get on.

Last week I made several pieces of felt some for gifts others just to try out ideas that had been floating around. Perhaps because of that process of making things and moving through ideas others have started to come to the fore.

This was a process piece I painted to warm up this morning before I started painting on the larger piece above. For some reason I quite like to cut these process paintings up and weave them. It looks quiet effective here. 

But this is not the finished piece; I like the idea that this bows of a background.  So I am going to explore affixing this woven piece to a background and possibly painting it again. I have used this woven technique before but more for processing rather then for making finished work. I did n't think it was related to the next piece but as I go to write about it I see they are linked.

The images that follow next are a concept in transition for a painting. This idea came into my brain someday last week but it's not right yet...

Again it is something to do with the protrusions being painted and sticking out - but they need to be coated in paint. This is linked in some visual way to 'Life' a very textured piece of felt made in 2007 for the 'Footprints in my heart...' exhibition. The center area was knitted and then felted into the background. Leaving the top fluffy and standing proud of the background.

 This is why I love photography, the ability to photograph something from different angles and make it look different, unique, etc. I have made a little movie but am having difficulty uploading it to Vimeo and hence attaching it to my blog. I've been getting re-connected to all those great skills of movie making I learnt in college. It is over the time to go out and play with my kids so the other images will have to wait until tomorrow except this one.

Gorey Family Play Day and access to arts

Car packed and all items on my list checked I set off into Gorey and picked up a few last things; plastic cups and paper plates for painting, a ream of good value A4 paper for making paper planes and some pom-poms which were great value in the €2 shop, 3 packs for €2.
I was delighted that I had time to go to the new civic square and see the Gorey Market House Craft and Design Festival Showcase and AIB Photojournalism Exhibition. A great start to showcasing world class quality craft in Gorey. Notable piece for me were Becky Knights Stone Swimming Costume, Terry Dunnes Wexford Tide, Louis Mulcahys Cockerels, Ceadogán Rugs and Roísín de Buitléirs Yarn Blue Glass. That is not to say I did n't like the other pieces Evelyn Grants Cabbage Teapots were charming, Peadar Lambs stained glass intense and Diarmuids Murphys Smaoineamh Study desk fluid and superbly crafted. The success of work is for me is how engaged I am in looking at it, if it prompts me to look closer or go back a second time, if the piece of work stays with with me and has piqued my interest, whether mind wonders back to a piece, the quality of the thought and making. I also have strict assessment of work that after I have looked at the work and enjoyed it that looks a bit like

• would live with a piece in my home or studio, 
• purchase it for a corporate client, 
• include it or the artist maker in a show I curate

or not. Well done to Gorey Town Council for bringing such good quality work to the area, I hope this is the start of a new tradition.

We had a change of  venue from the new civic square to the Gorey Community School three days before the event which was a shame. However there was a spot of rain on the day so the indoor venue worked fine - it is one of the challenges for holding outdoor events in Ireland as you really can never be guaranteed of the weather. So this is the hall shortly after I arrived

 and this is the event in full swing

I mentioned some of the activities in my last blog post so I started the set up with putting the easiest ones in place first.

Both of these activities are to based around building and raising awareness of community for people living in Gorey and its environs. They also create spatial and visual awareness of the area and its geographical context.

The next thing to do was construct the cooper pipe 3D cube, the frame for building our Underwater Scene the center piece of community arts section at the Gorey Play day. One of the guys (thanks Clinton!) at the Enterprise and Community Department of Wexford County Council had made the frame.

Funky Junk Area. This consisted of 40 or so cleaned bottles from the recycling Center in Wexford; the contents of my art kit from the studio which includes tissue and crepe paper, coloured card, bubble wrap,  matchsticks and lollypop sticks, pipe clearners, pom-poms, glitter, rolls of metallic pattered ribbon, rolls of wool, swatches of material and anything you can possibly think of that you could use inventively or traditionally to decorate something!

Painting area HQ

Artist Collette Mulready whom I asked to come and facilitate the painting section. She did a great job. Last year she came and did fantastic face painting. The painting and crayon area had it's very own gallery space.

 

Unfortunately lots of the artists forgot to come back and take their work home.

We also had a designated Glitter Station. For those of you who have worked with children (and adults) you will have experienced the fascination with glitter, plus the cost, waste and tidy up of glitter so in an attempt to contain glitter mania

The idea was that if all the glitter was sprinkled in the boxes provided we could reuse the excess sprinkles and it worked.

I did some felt making, fleece hand rolled to felt with soapy water. The idea was to show children how to make bracelets out of fleece but to use them as bubbles in the Underwater Scene.  None of the items made it to the intended destination but hey you gotta go with the flow and the important thing was a group of children and adults got introduced to felt making, had some hands on experience and enjoyed it. I love the way childrens curiosity brings them to a table to watch an activity, once you smile at them and ask them if they want to join in they respond and engage with enthusiasm. It is so important at events like this to be encouraging, engaging, inviting and super nice to children and whom ever is with them. How you greet a child could be significant to how they experience the art materials. In my experience ensuring access to arts materials for all is a lot to how the access happens and how open the invitation is.

Thanks to all the facilitators and volunteers that came worked really hard making sure the kids had a good arts based experience. I love that several of them commented that they "got just as much fun out of it as the children did".
Sherry Nugent of Irish Quilting Magazine came with her six and eight year olds to showcase quilting postcards they were busy and did a great job.

Thanks also to the chess club that came and played chess for the afternoon I saw some serious games going on with adults and children, great to see.