http://www.martacabral.com/blog daily 0.75 2019-01-18 https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1489734329036-D9ZN29VJRJ715QV9Q4Z0/Clouds_blog1%3A1%3A%3A2017.JPG STUDIO WONDERINGS AND WANDERINGS http://www.martacabral.com/blog/2017/1/21/we-still-can monthly 0.5 2021-01-21 https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1485016483416-0FTE9MLDJV6FZA4TN39J/image-asset.png STUDIO WONDERINGS AND WANDERINGS - We still can http://www.martacabral.com/blog/2018/10/11/quizzicalitch-in-copenhagen-rece-2018 monthly 0.5 2019-01-18 https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539280310309-0ODOMQSGOH4JCGR9L182/RECE_2018_Copenhagen1.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE I work with infants, toddlers, preschoolers, and graduate and undergraduate students. And with a lot of stuff too. I work with materials with my students, and also on my own. And the fact that I do that - working with materials in my own time, of my own doing, brings a different perspective to my teaching. The time I spend in the studio myself, negotiating with materials, being happy, and frustrated, and annoyed, and excited, is crucial in helping me understand how important it is for my students to have that themselves - the time, space, and support to feel happy, and frustrated, and annoyed, and excited. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539280464965-FR05B1VRC6SZPF53JIGC/RECE_2018_Copenhagen2.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE One of the most important things I’ve been learning in my 20+ years of teaching young children is the meaning of “figuring stuff out.” This is something I have also learned from Elenor Duckworth - namely her 1973 essay (and 2006 book) The having of wonderful ideas - where she poses that “the more we help children to have their wonderful ideas and to feel good about having them, the more likely it is that they will someday happen upon wonderful ideas that no one ever happened upon before.” (1973 / 2006, p. 14). https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539280792692-LBL7U72P9IQ1PS2SDXT3/RECE_2018_Copenhagen3.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE If we provide our students with time, space, and support to come up with their own wonderful ideas, and scaffold them in the pursuit of their own thread of questions and answers - their quizzical itch, as Graeme Sullivan calls it! - we may find we learn more deeply and broadly about ways of inquiry we might otherwise never have considered. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539280829722-1OO6WHKZUIB01WNXXRPW/RECE_2018_Copenhagen4.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE The way my 3D designing and printing explorations started caught me off guard. As happens with many of the richest explorations in my early childhood art studio, I didn’t plan for it. I did plan to take my young students to the art gallery; I did plan to let them roam around and decide on the things that were appealing to them; I did plan on talking with them about things they noticed, and I did plan to take them back to the studio to explore materials informed by the questions they developed in the gallery. So when D asked about the 3D printer he was attentively observing, the best I could come up with was “I know it is called a MakerBot, and it makes things. I don’t know a lot about it, but my friend Sean does.” “I think my friend S would like to see this too,” D replied. And soon enough we were on our way to the Media Studio where my friend Sean Justice help us explore the software TinkerCat and make the tiny needle spit out a string of blue plastic in the shape of our thoughts. Those 4-year-olds and I learned the basics of 3D Designing and Printing together. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539280960198-DNQQB1O63ADLQU2SVLMF/RECE_2018_Copenhagen5.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE So even as I kept working with digital materials and other new media and technologies, I had these questions in mind: who am I listening to? Who is this for? Will the children own their explorations? Is this of value to them? So I listened. I listened to D as he reported back on what had happened in the studio: “I told the computer what to do, the computer told the printer, and the printer made my work.” https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539281406911-PTNMNHUHHJ002S4MINAE/RECE_2018_Copenhagen6.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE I was not even in the picture. Me, the teacher, the hand physically moving the mouse around to transport objects on and off the working platform on the software shown on the screen, was not even worth mentioning. If my students don’t even mention me, it is because they feel capable of doing their thing with or without me. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539281533256-5NOQZFEIMM3RJI7MSKP9/RECE_2018_Copenhagen7.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE This is still from a documentary shown in a Dutch museum, showing Matisse working with one of his studio assistants. As he got older, Matisse often worked with assistants to physically help him with larger works. He told his assistants what to do. It was his work. His assistants’ hands might be helping him, but he was the artist - negotiating with materials, being happy, and frustrated, and annoyed, and excited. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539500384967-B2Q8DVQT9JSEL2C0CMDM/RECE_2018_Copenhagen8.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE Augmented Reality, however, was my very own wonderful idea - it addressed the problem I had come up with for myself. I had a problem to solve, and AR was my answer. It gave me a way of having the students virtually present in the gallery, of showing process as much as product, of having the artists - well at least the one who were old enough for that - deciding what they want visitors to know about them, even if they were not physically present in the gallery. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539500461437-3QNXKZJSVOOPKJUKUKPC/RECE_2018_Copenhagen9.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE This is done using free software, and it works like this: if L is not in the gallery to show her artwork (as you see in the top left picture) you can use a device (either the ones provided in the gallery or your own) and point at it. And as you scan it, you will see a video of the artist at work. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539500525010-UTRB3ISKTQ4FMEGK7YUD/RECE_2018_Copenhagen10.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE Separate from their artwork, artists are also invited to perform their artist statements. For the younger children these may be candid videos of them exploring materials. Older children - toddlers and preschoolers - are also encouraged to talk about their work or about themselves, to dance, jump around, or talk about their favorite things - be it applesauce, shiny purple glitter, watercolors, playing in the park, or working with glass. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539500877599-LBQ6WVZ62HOZCTTI7BBB/RECE_2018_Copenhagen11.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE When families see the videos and photos by scanning the exhibited works, they are often excited. As are other adults who I work with. I does look kind of fancy. But the kids just take it for what it is, and they naturally learn to think about what are the things that their artwork allows for. “So what will people see when they scan my painting?” they start asking themselves. Augmented Reality is just another material, with its own properties and affordances. My colleague Sean Justice and I have been thinking about this for a while now, and we explore some of our puzzlements in a recent book chapter called “Digital materials, people, and the relationships between them” that you can find here. But that is another talk for another day. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539501175592-AU699ZIID6RJHECA4YBT/RECE_2018_Copenhagen12.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE How does this agency come to be? I call it ownership. I call it relationship. I call it choice. Let me give you an example. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539501251899-FHO1UMTOYR10RUUCO9CI/RECE_2018_Copenhagen13.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE One of those mornings, after a while in the gallery, D declared “I’m very inspired. I want to go back to the studio and make some art.” And so we went back to our classroom, and the kids worked with materials, some on the floor, some at the table, some at the easels. And at some point one of the older boys said “You know what, Marta? We’re like those artist people, making all this art.” And at this point D, the strong-willed and soft-spoken boy you’ve been hearing about and who was squatting down working on the floor, stood up and loudly spoke back: “No! We’re not like those artist people. We are those artist people!” https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539501374879-UK6FK4011EC099KW83T3/RECE_2018_Copenhagen14.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE If art is indeed “an expression of how women and men ‘do’ autonomy” (Baldacchino, 2012, p.176), the consciousness of that autonomy may be developed through an understanding of materials and one’s own role as a maker of art. It does not really matter what those materials are - we all have different ways, and different materials can help us think things differently. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539501458018-3680DCMWZ252OW5QKLFE/RECE_2018_Copenhagen15.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE AR is just one example - this kind of agency can be fostered with any material. And there are so many possibilities! Here we here children working with random stuff, printmaking, and paper pulp. The way our paper making explorations came about was a combination of wonderful ideas. My friend Mary Sullivan, a paper artist, was visiting the university to teach my grad students, and since we had the sculpture studio ready for the evening class, I decided to invite the preschoolers to come along during the day and play with the materials. But some of the kids asked for more, and what I had imagined as a one-off exploration spilled over to the classrooms and our small studio, toddlers and infants were invite to join in as well, and we embarked in a year-long paper-play. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539501641449-WNUCYN4O18F2OQ2DTMW2/RECE_2018_Copenhagen16.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE Our glass explorations also started with a question. I took a few kids to the gallery - as I often do - to see an art education faculty show in which I had a glass piece. They asked me about it, and at some point L exclaimed: “Yes, but what does it feel like?” I could talk about glass all I wanted, but these kids were used to knowing “what it felt like” to work with specific materials, and nothing short of that would do. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539501847294-RXOVLB7IX5R3E3BFV7CB/RECE_2018_Copenhagen17.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE So let’s go back to Matisse’s story. Matisse’s work - and the assistants who help him do it. And to D, the child who “told the computer what to do.” I was no more a part of D’s interaction with the machine than the assistant was responsible for Matisse’s artistic choices, his processes, and the ultimate outcome - his artwork. So liked I said in the beginning of this talk, all of this is about early childhood and art making but it’s about much more than that. It’s about ownership, autonomy, exploration. It’s about agency, choice-making, the role of the learner, and the role of the teacher. And these things apply to ECE in all its aspects and forms. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1539501916676-XLYP6VYSZUMXT3PGDOD4/RECE_2018_Copenhagen18.jpg STUDIO WONDERINGS AND WANDERINGS - #quizzicalitch / Artmaking, Materials, and Ownership in ECE http://www.martacabral.com/blog/2019/1/17/2018-was-a-year-of-many-changes-and-beginnings monthly 0.5 2019-01-17 http://www.martacabral.com/blog/2018/9/21/mmia monthly 0.5 2018-09-21 http://www.martacabral.com/blog/2018/9/3/an-exciting-new-school-year monthly 0.5 2018-09-04 http://www.martacabral.com/blog/2018/3/14/in-portugal-celebrating-early-childhood-education-and-care-ecec monthly 0.5 2018-06-26 http://www.martacabral.com/blog/2018/5/15/one-of-those-joyful-days monthly 0.5 2018-05-15 http://www.martacabral.com/blog/2018/4/16/aera-2018-graffiti-in-the-toddler-room monthly 0.5 2018-04-17 https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523934853526-C124V4LBQII5MXM87B94/AERA2018_Fincham_Templeton_Cabral.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935271243-WYTJL9L6QA5SFZKIRE3Y/2.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room Let’s get the “final product” out of the way. This image you see of a large canvas wall graffitied my toddlers, exhibited in an art gallery, is not the final product at all. That thing we call “product” is but a by-product of the relational experiences it entails and provokes, that are constantly being updated as each new interaction takes place. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935344346-FO7XBBU0X0SHEKHSFAQF/3.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room Exhibiting stuff in a gallery may make us look at it differently. Just like when we put a plexiglass barrier on a image sprayed onto a wall - what was once a vandalized building, is now an art site warranting protection. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935734315-87GJTKZFSA6SAXZG86EK/5.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room In the fall of 2014, the three of us came together in the context of a toddler classroom, Emmy and Tran as head teachers, Marta as the center’s art studio teacher. During that semester, graffiti came into our work as the toddlers ended up immersed in a graffiti exploration and we all experienced a disorienting shift in the ways we were thinking about materials, curriculum, artistic practice, teaching, and so on. Graffiti became a metaphor for thinking about disrupting our own practices. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935783773-BHABPXY5BO0744G34YW3/6.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room In our attempts at interrupting, we’ve worked in a very multi-theoretical space, as we wonder about what could be. What possibilities are there for us as teachers to “see” the children’s engagement in curriculum? For us to “see” curriculum? To challenge our own habitual practices and ways of seeing, thinking, and perceiving? In the art studio, we question notions of artwork, art materials, and artistic engagement. “This used to be a plastic fork, now it’s an art material, right, Marta?” one of the the children asked as he was rummaging around for a stencil to graffiti with. What happens when you spray paint through a plastic form? Is that an art tool? Will graffiti take that as an transgressive practice? Will the classroom? https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935827871-5AL5NC46DMPG3APBE0KW/7.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room Guiding Questions: - Considering the individual who expresses herself through graffiti, what happens when graffiti is encouraged as an artistic practice with toddlers? What happens when the unsanctioned is sanctioned though? - What does it mean to take up graffiti as a metaphor for curriculum? Especially when we still contend with larger structures (administrations) which may not be on board… How might it divert the course of the classroom? But always with the sense that we don’t see all of what there is to see… and perhaps always with a reterritorialization when it becomes sanctioned. - And how does it shift the teacher’s gaze when acts viewed potentially as vandalism then are re-inscribed as desiring-encounters? When we started to ask these questions, our teaching practices shifted dramatically. Children’s acts and behaviors that we might have stopped or redirected before were now fascinating us in new ways as we saw these as a means for children’s expression of self. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935878214-431CCU6GQPDRLPY6PNPG/8.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room The toddler “graffiti project” served as an impetus for us to think differently about the opportunities we afforded the children in our daily co-constructions of the play-based, emergent curriculum. Driven by endless “what if” questions, we actively reimagined our practice, the classroom space and materials, and the curriculum as we sought to interrupt our repetitious ways of seeing the work of our teaching (Holmes, 2010). Entering this more nomadic space disrupted habitual practices (Clark, 2012; Deleuze & Guattari, 1987), as we began to see the possibilities in conceptualizing curriculum as an opportunity for “getting lost” (Block, 1998). For instance, rather than trying to keep the walls clean when the children adorned a clandestine corner with stickers, we offered more and admired the way the layers of paint peeled when someone removed the gooey remnants of the adhesive backings. We held ourselves back from regulating the children’s spaces, even as the walls and lamp became targets of spray-paint. Or when the walls and lamps invited the spray-paint, as another way to think of it (to give agency also to the materials and not simply the children). https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935915183-83QPGPPY4CVUE613GY58/9.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room Concurrent to the graffiti project and in the time since, modes of inquiry including teacher research, reflexive writing (Pillow, 2003; Richardson, 2000), and ethnographic practices intensify our understandings of how “graffiti” can be taken up as curricular practice. Drawing on materials produced as part of or in response to this inquiry, we work to conceptualize new ways of thinking about what young children can do or should do in the context of their early childhood schooling experiences. Through the act of teaching, producing classroom documentation, and unexpected graffiti walks, we continue to explore the ideas of the vandal artist subject position, non-places (Augé, 1995), tagging, and anonymity, and how these aspects of graffiti allow us to theorize toddler curriculum in new and unexpected ways. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935957251-ZX0X9I0WVII5DLW6GCNZ/10.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523935979689-D1DOT6QW3IG515AXBK0S/11.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room Holmes (2010) wrote that from one side, graffiti artists “deface and vandalize” while from another side they “highly aestheticize and politicize landscapes marking boundaries that are both territorial and ideological” (p. 871). Seeing children as taking up the position of vandal-artist, moves us to rethink the space of the classroom, which is so often constructed as “children’s space.” At the same time, so many early childhood classrooms are separated into centers where certain materials belong to one center or another, and children are rarely able to ‘mix materials’ -- in other contexts, where materials can mix, it is often in the service of creating more elaborate ‘readable’ structures/play scenes. When children’s scenes are not readable (or their acts/art/moves), we are less inclined to “pay attention” or when we do, we want to try to make sense of it. In our classroom, we were allowing for that movement between what is sensible and not- without trying (or at least trying not to try) to consider a child within any one position or another. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523936024968-0P2HAXODUHM08569Q7H3/12.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room What happens when we, teachers, re-frame the classroom (or other public) space as a “nonplace” (Augé, 1995)? Can a child’s unconventional or desiring use of space be accepted as an “aesthetic presentation of “self’” (Holmes, 2010, p. 872) rather than an illegal act in the face of a teaching practice steeped in developmentalism? This idea of a “nonplace” came into our teaching as we thought about where we allowed children to make their marks, both with artistic media and their physical presence. As children made marks outside the boundaries of a teacher-prepared canvas, our initial instincts as teachers was to articulate those boundaries and encourage them to contain their work. However, as we began to see the possibilities in allowing stray marks to define new spaces, which were previously non-spaces for art, these spaces became inscribed, were given new meaning, and were claimed by the children as they were given the opportunity to define their spaces. Throughout the classroom, we saw this concept helping to shift the way we saw the children’s use of the predetermined classroom spaces. Outside the classroom, we began to think about the playground spaces that are so clearly defined by rot iron fencing and gates to contain children’s bodies and play. Considering the “enactment of graffiti as a risky pleasure” (Holmes, 2010, p. 872), we began to take risks with our outdoor curriculum, leaving the ‘safety’ of these fenced spaces for children and venturing into “nonplaces” like the woods adjacent to a walking path or the concrete structures of nearby churches and memorial buildings. Venturing into these places with the children claimed them in new ways and made them spaces for children when they had not been before. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523936145703-PA9GAALGSYR8T3O0J4DS/13.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room We now relate the actions of the children and the arrangements of materials they leave behind as a kind of “tagging” akin to the graffiti writer. Reframing children’s acts as artistic expression allows us to see beyond classroom practice inscribed by developmental psychology that narrows our teacher gaze to look for a child’s representation of thinking and how they are progressing through developmental stages. These arrangements / tableaux that children assemble have no perceptible traces of a narrative, but they are indicators that some kind of thought, or perhaps sensation, has ‘occurred’ Or what if a narrative is not easily told through traditional modes of telling, such as the genre-blending (Mitchell & Reid-Walsh, 2002, p. 91) scene (above), which includes a pair of reversed shoes, a Dora sun visor, a plastic chair, a sorter, a long plastic block, a tiny baby doll, a small pink fence, and a couch pillow turned so as to expose its less flattering side. The children’s tableaux manage to escape any ability on our part for categorization. They escape the typical boundaries that dictate children’s free play and construction. They happen when we are least aware. We may see the child wandering the room for minutes, seemingly without direction or motivation. However, her eyes scan and analyze the scene. https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523936172613-NY1DFE4R2FICOEOEJ8UV/14.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room Banksy talks about anonymity as born of a desire to elude - in the graffiti artists case, the police; in the toddlers case, we think of it as eluding the teacher/authority, the observing eye. Do we as teachers and researchers mistakenly assume our presence and documentation is welcome? Do entanglements of the ‘I’ move us into a space of anonymity? Or at least, allow for that space as we think about our own work and the work of the children in classrooms? https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523936211583-XR5X5CZIACBC1GVXKNRJ/15.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1523936233894-PX6NIACBOMGV6MQH5RJS/16.jpg STUDIO WONDERINGS AND WANDERINGS - AERA 2018: Graffiti in the toddler room http://www.martacabral.com/blog/2018/4/2/more-from-naea18-post-conference-thoughts monthly 0.5 2018-04-03 http://www.martacabral.com/blog/2018/3/27/postcards-from-the-future-museum monthly 0.5 2018-03-27 https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1522126059702-X72V94TMQT7C8B0J2YAX/IMG_8781.jpg STUDIO WONDERINGS AND WANDERINGS - Postcards from the (future) museum https://images.squarespace-cdn.com/content/v1/53a8d377e4b0fd2b74278578/1522125958415-KO982SXACXEERR97CROQ/IMG_8691.jpg STUDIO WONDERINGS AND WANDERINGS - 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