Intense heat and human breath give shape to these vessels. Twirling, pinching, another breath, back into the fire, working and reworking until art emerges from what was once sand and rock. Is this what makes us human? The ability, the desire, the necessity to make…to create from the materials around us?
Evidence abounds, from cave paintings to stained glass creations, super-sized cloth installations that line valleys and islands and spray-painted graphics on the sides of railroad trestles and freeway overpasses. They all suggest a need to make and mark our world.
A visit to the Chihuly glass museum in Seattle served to pique my interest in this question of making and art. I love an art museum and had heard from others that this was a museum worth visiting. I had seen photos of glass art and had already visited a glass studio, just down the street from our favorite donut shop in Seattle. Yet, I was prepared to be underwhelmed, to see beautiful bowls and other vessels, delicate blown glass creations too pricey for my budget.
Instead, I walked into the first display and was mesmerized. My eyes were drawn to the white: shiny glass lighting up a dark room. Long stalks of lighted glass protruding like shoots from irregularly shaped bulbs. As in nature, the irregularities were an essential part of the beauty as this stalk curved, that bulb leaned. It was impossible to see where one piece ended and the reflection from the shiny black floor began, creating a sense of infinity that stretched the exhibit well beyond its actual size. This wasn’t a piece of blown glass that I was enticed to purchase, this was an installation of many glass pieces arranged and lit to create an effect. I was drawn to the description “…created by simultaneously blowing and pouring molten glass from a stepladder to the floor below…electrically charged by argon and mercury…” I stopped to take a picture or two, knowing that I would want to look at it and think about it again and again.
I moved from space to space, now intensely curious about what each turn would offer. In one room an enormous sculpture twisted and curled to the ceiling; fish, octopi, and other sea creatures nestled within it. In another, the room was bare…until I looked up and found a glass ceiling filled with individual pieces that together created a stained-glass effect of intense color and variation. When did glass bowls and balls morph into something more: stories in glass, sweat, heat and breath?
I find myself thinking not just about the exhibits and sculptures, but about the maker and making behind the art. I’m a maker too. As a writer and blogger I use words to pull ideas closer so that I can think about them, poke and prod at them, turn them over and look under them, and invite others to look along with me. As a photographer, light becomes my medium to inscribe meaning through my camera lens. And I know that ideas in my head often don’t come out through my words or my lens in the ways I intend. But that, for me, is part of the allure…the seduction of making. I surprise myself with new understandings born from moving my fingers on the keyboard or ducking under the bench to get closer to the weed growing along the crack in the sidewalk.
I’m reminded of Seymore Papert and his theory of constructionism. In this theory, different from constructivism, learning happens when the learner is engaged in a personally meaningful activity outside of their head that makes the learning real and shareable. The activity could be making something tangible like a robot, a puppet, or a model bridge—or it can be something less concrete like a poem, a conversation, or a new hypothesis. What’s important is that the making come from the learner rather than being strictly imposed and directed from the outside (from a teacher or an employer). This element of choice and ownership often propels the maker to tinker and improve their make to meet their own criteria for better, allowing for reflection and reworking based on that reflection. This self-directed making can be a challenge in the classroom.
Traditionally it is teachers who direct and make decisions about student learning. So it’s important to create spaces that allow students to see possibilities beyond their own experiences, yet still offer choice and opportunity for experimentation and iteration. Chihuly’s first experience with glass blowing came from a college classroom assignment that required him to incorporate a nontraditional, non fabric material into a weaving. He wasn’t directed to use glass, but may not have experimented with glass without the constraints and possibilities of the assignment.
Making is about transformation. Transformation of materials, like glass or words, or images through a lens. It is also about transformation of thinking and ideas. And it begins in playfulness. Mitch Resnick of the MIT media lab describes a cycle of learning (and making) based on his observation of young children. Beginning with imagination and spiraling out to creating, children make and learn based on their ideas. As they play with their creations and share the ideas and creations with others, they have opportunities for iteration and reflection on their experiences, which leads them back again to imagine new ideas and new projects to work on or ways to improve their original idea.
I could see this in Chihuly’s glass creations. Elements of one sculpture showed up in new ways in another, chandeliers hanging from ceilings in one display turned into bigger and more elaborate free standing sculptural elements in another. And yet, each also showed new thinking—about color, about translucence and light, about placement and size, about cultural references and interactions with the larger world. I watched a few videos that included Chihuly’s reflection on his work where he talked about how his experience with a particular exhibit gives him vision for the next. I was particularly interested in the garden beneath the Space Needle in Seattle and its origins. I learned that this space, formerly a parking lot, was a blank canvas for Chihuly, something he—in collaboration with the landscape architect—could transform to allow others to see the beauty of his hometown in new ways, to expand their experience beyond the glass into the fairyland where light and glass and flowers and bees play with the backdrop of Mount Ranier and the Space Needle. Chihuly’s reflective videos helped me see and understand the spiral of experience and design and how it propeled him to new ideas and new thinking about his chosen media.
Photography is like that for me. I find myself looking at my world through the lens of my camera, and instead of limiting my view, the lens draws my attention to details of light and shadow. I see the variation of blues in the ocean waves and the foamy white of the lacey breakwaters. The white head of the bald eagle catches my attention and I watch, rapt, as it dives and swoops and then soars into the trees. I have many photos that are not taken, where I’ve missed the moment because I moved too slowly, had the wrong lens in place, or simply had to stop and wait and watch. But those missed photos become inspiration and information for tomorrow’s attempts. As I imagine, make, share and reflect, new thinking emerges and my understandings transform.
I want this for my students too. Opportunities to make and create new understandings, to transform the world as we know it. Learning, like blowing glass, needs to nestle close to the flame—the flame of needing and wanting to know and understand—and then the learner takes a breath and blows out and maybe even includes the breath of another to add dimension, depth, and diversity. Learning needs to be shaped by the learner, to expand beyond basic facts and figures and matter in the world, and in the world of the learner. Learning needs space for reflection and nudging from co-learners and outsiders—and teachers and employers—to expand the realm of the possible. Maybe we need a museum for visitors so they can walk through the breathtaking beauty of learning at the hands of those who learn best: children.
Rather than pushing children to think more like adults, we might do better to remember that they are great learners and to try harder to be more like them. –Seymore Papert
Chihuly’s glass is amazing and mesmerizing. I love how you weaved this piece about art and the making of art to children and teaching and learning. You are a master with your words. Thanks.
Thanks for your kind words, Margaret. I’m glad the wanderings worked for you. I realized as I was intentionally trying to create an essay that many of my blog posts have this essay-like structure where they begin–often with a photo and experience–and end in a realization about teaching, learning and my students. I appreciate your comments!
I really enjoyed reading this – it touched on some of my experiences (isn’t that what reading is – bringing yourself to the text and making connections). We had a wonderful Chihuly exhibit, here in Montreal. I took many photographs and experienced much of what you describe, the magic, the play of light, the evolution of form, the transformations… I also spent many years trying to put Papert’s words into practice in my classroom (I was a computer teacher in an elementary school) through logo and later through robotics.
You write beautifully – I loved meandering through your thoughts.
Thanks Susan. I’m so glad you could bring yourself to my text and make connections. Thanks for meandering through my thoughts, and stopping to make a comment along the way!
I really enjoyed reading this – I love how you tie Papert into what you are writing about – and define his constructionism so succinctly.
Kim. This is beautiful. Each paragraph is a tilt of the lens whereby you zoom, pull back, go deeper, trail off, come back. It’s personal and informative and philosophical. The writing itself is a model of its content. I’m taken back to the essay on hummingbirds–how a piece of writing can start in one place and transport the reader to the unexpected. This is a true journey. As a teacher and a learner and a writer, it speaks to me on an organic level. (I am officially itching to write an essay–isn’t that strange and wonderful?) And there’s so much truth to it. I love that everything we need to know about learning can be distilled into what already exists in a child. Thank you for sharing this. It might very well be my favorite Kim piece to date. I hope you will take this piece and enact the spiral: send it somewhere so it can dangle in hard copy and catch new light.
Thanks Stacey! I appreciate your comments…and can’t wait to read the essay that you write! (Please share with me!)
Wow, Kim! Your other commenters have expressed beautifully what you accomplish in this gorgeous essay! It does what the best essays do–it lures me in with a personal lens on the glass exhibit, then weaves ideas about making and learning in and out with biography of Chihuly (whom I LOVE), and your own experiences making and learning an art, and it teaches me (will go read Papert now), and finally, it expands the lens to ideas about teaching.
Also, you have a new fan of your lovely blog! Thank you for reaching out on Twitter!
Thanks Katherine. I was inspired by Joyas Volardoras in your book and couldn’t wait to try my hand. I have come to realize that my blogging style is essay-ish. I’m glad I could add to your repertoire (Papert) and welcome to my blog! Thanks for visiting and taking the time to comment.