When the word ‘Identity’ presents itself in the Art Studio, the perfect task that comes to mind is to
represent/depict oneself. Having the underlying theme, ‘Identify Us’ pervading throughout the integrated
studies in the students’ classrooms, it seemed only fitting that self portraits became the task in Specialist
Art lessons from Prep to Year Six.

It is widespread knowledge that self portraits can be as diverse as the techniques and media will allow – (think
the Annual Archibald Prize).  So just where to begin with limited fine motor and listening skills of five year
olds?
We discussed the word portrait, how artists paint images of themselves and the prominent features on a
face and their position. Early in the year, many Prep students were not adept at cutting light cardboard, let alone
paper, so various facial features cut from cereal boxes were supplied to them. It was their task to sort, arrange
and rearrange the features on the oval head shape in order to create a collograph face.  We had ears for eyes,
some noses for lips – quite reminiscent of a Mr Potato Head game! Yet this only served to create some humour and
excitement within their compositions. When glued down, some rubbings were created using Zart Rubbing Blocks. An interesting
aspect of this was to keep the paper still. However – when it moved, it created a lovely sense of movement with overlapping,
double features.

The collograph became a template for yet another artwork. It was covered with PVA glue and aluminium foil which was
rubbed over by little hands – (this took a whole lesson,) followed by an application of ink which was wiped back
slightly to reveal the metallic areas in relief.  Recycled cardboard came to the rescue when considering the
frame – all corrugations were covered in paint followed by sponging over the upper corrugations in a metallic
colour. The smaller shapes were cut by the students, making patterns using simple repetitions of geometric shapes.
This resulted in a very thrifty and arresting project indeed.

Level three (Years Three and Four) covered the same topic in an entirely different way, by making a self portrait
using their thumb print and Bridget Riley’s Op Art examples as the stimulus. Whirls, arches and loops were
discussed, along with some interesting conversations of how criminals are identified by their very personal ‘stamp’
at the police station. Their prints were enlarged on the photocopier which provided the students with an excellent
larger visual, and the journey began.Through careful observations, the students replicated their thumbprint then
continued to ‘take lines for a walk’ branching out to the parameters of the page. One could hear a pin
drop as the therapeutic drawing took place.

At ICA, we have been thinking about passion in teaching which, in my case, involves utilising my talents and abilities
and imparting such passion and knowledge to the students in order to elicit responses both visual and verbal. This
process involves discovery, consolidation, refinement, familiarity, risk-taking and understanding…over time.
Via this process, students experience the incredible language of the visual world and the pleasure, questioning and
fulfilment that emanates from it.

As a mosaic artist in the home studio, the link between my passions and the ‘Identity’ unit became the
focus for Years Five and Six students where a self portrait was created using a paper mosaic technique. Having taught
mosaic art to Year Elevens with specific tools of tiles, nippers, adhesives etc., the task had to be aligned/modified
to set the younger students up for success. Considering the time constraints of one lesson (45 minutes) per week,
paper seemed the best option for media.

Various examples were shown via a slideshow to introduce the ancient art form of mosaics:  Pompeii and Empress
Theodora, followed by contemporary examples in their own immediate environment: Flinders St station, Docklands wall,
Australia Arcade on Collins, Southbank etc.  Past student examples and my own compositions were shown which
ignited a myriad of questions and provided an excellent stimulus.
The students observed their own portrait (printed
in black and white on A4 photocopy paper) and recorded the important facial features and hair line using contour
lines in graphite.  This gave the students a guide as to where to place the mosaic pieces. Tonal rendering was
also practised by observing where shadows and highlights were located on the original photograph and once the first
pieces were laid, the students could only then comprehend the process whereby shapes created pattern and how negative
spaces were equally as important as the positive. All elements became interconnected – the students realised
how one element was reliant on the other in order to create the whole. A new vocabulary enriched their word power
and the students were soon using dialogue amongst themselves such as andementi, rhythm, tonal variations.

Ultimately, the integrated studies theme can be that common thread that permeates through all levels of learning
and practice in the art studio. As art educators, it is up to us to creatively seek avenues in which links can be
made, even if they are only somewhat loosely connected. This, I feel, is the beauty of art appreciation where the
practice can be tailored, modified and personalised to suit or have relevance to the given theme.

Preps, Level 3 & 4

Petra Glasser
Visual Art Teacher
ICA Casey College