Near the End: Reflection Reports Part II

Abstract

This is the second issue of The Phenomenium of Fine Art and the Human Element Quarterly. In this issue, I will be discussing the written reflection reports during my work with Safe! for their Building Respectful Families Programme. I have not disclosed names, gender or photos of artwork.

Full text

Editor, Author, Publisher
Dr Valerie Mae Oliver
VOLUME 1 ISSUE Nº2
THE PHENOMENON OF FINE ART AND THE HUMAN ELEMENT
QUARTERLY
PINKIE MAE PUBLICATIONS, UK
AUGUST 2021

Pinkie Mae Publications, UK
Copyright © 2021 by Valerie Mae Oliver

Welcome
Editor’s Note:
Welcome to the first volume of The Phenomenon of Fine Art and the Human Element Quarterly by
Pinkie Mae Publications, UK. This quarterly derived out of work being conducted post-PhD.
It has been a very intense and busy year thus far with positive changes along the way. I am happy to
present the second issue of this quarterly. In this issue, I will be discussing the written reflection reports
during my work with Safe! for their Building Respectful Families Programme. I have not disclosed names,
gender or photos of artwork.
At the moment, I am oering this quarterly without charge. Additionally, please respect that all work
presented in this quarterly written and visual (unless otherwise indicated) is the copyright of
Dr Valerie Oliver. All rights reserved and must not be reproduced or quoted in any form without the express
permission of the publisher and editor. Please make contact with any inquires at
valerie.oliver@btinternet.com.
Dr Valérie Oliver
Artist/Researcher/Contemporary Art Practice Specialist

Near the End: Near the End:
Reection Reports Reection Reports
Part IIPart II
Written by Dr Verie Oiver
ISSUE Nº2

Introduction
In the previous quarterly issue, I mentioned that I would discuss the written reection reports. In this article, I have
chosen to highlight examples to support how I have created the reports and yet, I have also chosen not to go further
in-depth in exploring further certain statements I have made. For example, when I make mention of changes
experienced, I would like to save a discourse for a future article that will allow space, and time for further exploration.
Moving on, I adapted what I have learned in my action research project and apply the methodologies of action
research to my practice. Using action research methodologies supports improvement in my practice, and it involves
steps of planning, observing, and reecting, all of which are also used in contemporary art practices.
Before I begin with the discussion of the reection reports, I need to explain that I will not be disclosing names,
gender, nor showing images of students’ artwork. This discussion is more about how and why I write these reports.
Reection Reports
Along with the copyrighted reection reports, I planned a schedule of what the art sessions entail. However, this was
exible to meet the young person’s and group’s needs. There was also an explanation of what and why certain art
supplies were needed. Changes made were also kept up to date. I wrote explanations of what worked and what did not
work.
The creative activities were always different for each group and tted with everyone. In some cases, the activities changed
during the sessions. Below is an excerpt from a planned session giving explanations. I have not included the scheduled
timetable showing a brief description of the lesson activity. This excerpt is taken from a reection report in the year 2016.
Following the excerpt, the discussion begins about the reection reports.
“The ten creative sessions explained below are still in keeping to the last session plan. Changes have been noted within the
schedule plan due to the rst week being a debrief and planning session for all facilitators.
Basic skills of learning drawing and colour are still essential. These coincide with the art activities, which balance with the sessions
the participants attend in the rst hour. These visual art sessions relate to the concept of ‘hope’, ‘mood’, ‘their space at home, ‘how
they see themselves as individuals and within a group’. These sessions work alongside the work carried out in the rst hour.
The participants will be working between small and large images. The mood paintings will be done using the roll of lining paper, but
they have a choice to making one or two paintings of each expression. Their nal image on the canvas board will be size A4. The
shadow puppets are also size A4. They will be working on the wallpaper as a group, but their full body will be drawn on the wallpaper
making to be full size. These sizes are manageable to complete and will not cause added stress to nish.
Week four, based on experience from the previous programme, is a turning point and bringing in different use of materials to aid in
individuals’ support is essential. This also brings a change to the coursework plan. I am considering different options of materials
which include, wire, clay, mud-roc, tissue paper, and paper maiche. I will have to experience working with this group rst before a
nal decision is made. For example, working with wire could prove to be difcult if they push boundaries with the wire a separate
risk assessment will need to be written for this activity.
Working with the shadow puppets did not happen with the last group. I will keep this activity in but will change accordingly to
individuals likes, dislikes, engagement and abilities.”
I wrote one weekly report during each course run. I included all participants in this report and discussed how they worked
with the material given. I wrote my observations and reections about the discussions held within the group and how
they interacted with each other. I also wrote a summary report at the end of each programme. I also met up with the
management to discuss these reports.
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REFLECTION REPORTS

I used a basic structure for my reports. When applicable, I had included photos of the participants’ artwork. The
outline headings of the report included:
• The day, month, and date.
• Under the heading Visual Art Session, I had subheadings which were:
o The Dynamic of the Group.
o Conrmation of Learning.
o T h e S e s s i o n . U n d e r t h i s s u b h e a d i n g , I l i s t e d e a c h p a r t i c i p a n t w i t h a w r i t t e n o b s e r v a t i o n i n c l u d i n g
a photograph of artwork (if applicable).
• The last heading used was Reection.
I would also like to state that there was a follow up of a reection from a previous week if needed. I researched
information for participants who needed additional support. I then made an informative selection and shared this
information in my report. The intention behind the extra research was to inform, promote questioning, and debate.
It was not about being right or wrong or nding answers but looking at different solutions to support the participants
and their families.
I like to give further examples from the years 2016 and 2017. One example briey describes an observation regarding
sketchbook work. The second example briey describes an observation of group discussion while working creatively.
At the beginning of each session (this happened in each group I worked with), each participant was given canvas
sketchbooks to personalise the front and back cover. I was able to observe how they worked with materials. While
working creatively, they talked about their interests. In 2016, I observed how one person placed cut out images of
horses very carefully onto the front cover that demonstrated visual order and balance. While another student did
not want to be in the programme and was resistant. They would draw a doodle then with a heavy hand move back
and forth quickly and cover up their doodles with hatched mark making. I describe this as diagonal angry line
movement. Whatever was drawn was hidden underneath their show of ‘anger’. They wanted to keep their work
private. At the end of the ten-week course, they gave me folded up paper with artwork drawings done at home
without the show of anger.
In 2017, the landscape of history changed in the way the programme ran, and there were smaller groups of
participants. The culture of families and society changed. This also meant it impacted young people who were
dealing with complex issues and situations. Hence, I had introduced knitting at this time. One participant had some
difculties at the beginning, the knitting kept unravelling, and they had broken a needle. Yet, they kept working
through the challenges. Moreover, I was told by the participant’s Mum that they were teaching their sibling how to knit.
ISSUE Nº2
6

During the same year, I experienced a group communicating and relating learned information from their rst session.
They learned and processed the information in their way, which shows engagement. They openly talked through their
reasoning in the creative session. They showed awareness because in the room we were using, upon the displayed
board there was a message. The participants associated the message with what they had learned in their rst
session. I selected this example because it shows how important it is that through the creative process the
participants were able to have the space and time to reect while actively being creative.
Before I move onto the conclusion of this article, I would like to end with a quote from my thesis based on action
research (Oliver, 2015:112).
‘Reason (1994) established that action research is participative; he further argues that ‘the separation of knower from known
implies a separation of self from other, and researcher from subject’ (Reason, 1994:11). He suggests that a participative
methodology conducts research ‘with people rather than on people’ (Reason, 1994:11). He continues by emphasising the fact
that ‘attempts to heal this division, proposing that people of all kinds can inquire together into their experience and their practice’
(Reason, 1994:11) .1
Reason’s argument resonates with me, and it impacts the way I continue to conduct my work with learners today.
Conclusion
I am not a therapist, psychiatrist, or medical doctor. I use the label Artist/Researcher/Contemporary Art Practice
Specialist. It is fair to say I know my limitations and feel a huge responsibility towards engaging professionals
including outside agencies who can support everyone. Hence, why I follow up with research and write this into my
reports to inform management.
My work aims to bridge the gap concerning the ne arts and the long history of the inability to substantiate the
success empirically in the modern education system including outside organisations. I believe my collective reports
since receiving my doctorate supports the purpose to examine the effectiveness of ne arts as a ‘valid
educational method in contexts of education and its role in social exclusion environments and its signicance as a
broader approach in core education settings and external organisations’ (Oliver, 2015). It is evidence of establishing
a methodology from a Practising Artist as a Researcher/Contemporary Art Specialist.
I conceptually create formations of ‘other space’ in space to support participants creativity to aid in self-discovery
and develop self-efcacy. Foucault describes this ‘other space’ as Heterotopia. In the next quarterly issue, there will
be discourse regarding the theorectical approaches.
1Oliver,VM. (2015) An exploration of how visual art can be used to prepare marginalised youth for a
positive future using mixed human inquiry methodologies.Buckinghamshire New University, Brunel
University.
Reason, P. (1994) Participation in human inquiry. Michigan: Sage Publications.
REFLECTION REPORTS
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SUMMER 