Threads of Connection: “100 Languages” in the Art Studio
How do we express what we know, feel, and imagine? In the Art Studio at Bennett, our students embody the “100 Languages” — using traditional art mediums, loose parts, and personal storytelling to communicate in new ways. Inspired by the work of Judith Scott, our 1st and 2nd graders transformed yarn into deeply personal sculptures, embedding notes of encouragement and hidden messages within their creations. Through this process, they discovered that art isn’t just something we make—it’s a way to find meaning and connect with ourselves and the world around us.
This blog was written by Amanda Konkol, our Early Childhood & Lower School Art Teacher.
Fostering a Culture of “100 Languages” in the Art Studio
Within Bennett’s Reggio Emilia-inspired program, the Art Studio serves as a distinct space where PreK-4th Grade students are invited to discover, transform, and communicate through artistic production. The Art Studio, also known as the Atelier, plays an integral role in modeling the many ways of seeing, feeling, and knowing the world around us. Taking precedent in our approach is the concept of 100 Languages. This Reggio term refers to the fundamental belief that each child has a great capacity to communicate and express knowledge in innumerable ways.
The Art Teacher/Atelierista supports the development of the 100 Languages by providing open-ended materials and prompts that have the potential to evolve alongside the child’s thinking. Traditional art mediums like clay, fabric, paint, and paper are used in conjunction with loose parts. Recycled caps, buttons, wooden sticks, metal bolts, and rocks, are some examples of loose parts that are often repurposed and transformed. Within this framework, students create meaning. In the Art Studio, ideation and iteration remain the core focus rather than the end result. The Art Teacher then works in partnership with students to offer methods of creative engagement derived from historical movements and individual artists.
Judith Scott’s Material Language
The life and work of artist Judith Scott served as the impetus for cultivating dynamic and deeply personal sculptures in Grades 1st and 2nd. Scott was globally renowned for her abstract, yarn-wrapped sculptures. As a first step, students viewed her multicolored, swaddled forms making close observations and drawing rich associations.“I see something that looks kind of like a mummy, or teddy bear” one student remarked, finding many familiar shapes in Scott’s abstracted forms. In the book Unbound: The Life and Art of Judith Scott students then learned of the adversities and successes Scott experienced as an individual living with Down syndrome.
Her life story, significantly shaped by her cognitive and physical conditions, provided important contextual information about her resourceful creative process. Students expressed thoughtful curiosities about her abilities and artistic motivations. One student noted that, despite Scott being nonverbal, she could communicate when supported by her sister; “Her sister is an advocate!” he explained. This opened up space to define the term and to discuss the civil rights laws that protect and support individuals living with disabilities.
Embedding Meaning: Employing a Theory of Transitional Objects
Long utilized in preschools and therapeutic contexts, transitional objects can take on a multitude of forms but serve a universal need. The term, coined by pediatrician and psychoanalyst D.W. Winnicott defines transitional objects as “any material to which a [child] attributes a special value” and is thereafter used by the child as a tool that can provide emotional support, often during periods of separation. Throughout our Lower School classrooms, transitional objects may be identified as photos of family members, plush animals, or familiar books that remind students of the strong bonds they share with loved ones. In preparation for this project, students recalled belongings of their own that held special meaning.
In the Art Studio, art making is considered a highly relational act. For instance, students may experience their artwork as frustratingly imperfect or vulnerable to damage. Simultaneously, students recognize their work as an exciting pathway to connect with peers and adults. These encounters are considered to have equal value in the creative process. At this juncture, a creative or analytic framework can support students in developing a more secure attachment to their work. Teacher and student, work together to observe an artwork’s ability to evolve, morph, and in this case, sometimes even unravel. Students learn to mend, but also play with, the objects’ imperfections. This adaptive quality of both the material and maker, is a core component of Winnicott’s theory.
Using Judith Scott’s original technique of yarn wrapping, students enveloped armatures made from aluminum foil and loose parts. It was not uncommon to observe students placing their creations against their cheeks to feel their softness or to swing their work by a thread in an attempt to test its strength. It was proposed that these sculptures could occupy a similar role as transitional objects – with one alteration, they would be used as tools to stay connected to ourselves. Amidst our making, one class period was dedicated solely to penning messages to oneself. Each child embedded small paper notes deep within the sculpture. Written notes of care and encouragement, perhaps even secret messages (these words would not be seen by anyone other than the artist themselves) found their way into the work.
As a final step, students were photographed with their sculptures. Like Scott, students used their body language to relate to their artwork. Students posed with their creations to convey pride, adoration, and humor, among other emotions. When the time came to reflect on the process, students shared similar sentiments. They explained “It felt challenging and fun at the same time, it felt emotional.” Another added “It made [me] feel more comfortable.” When asked to consider the impact of the hidden messages, students collectively asserted that this step was of vital importance. Their sculpture’s enduring and transitional qualities were perhaps best summarized by a student who shared “When we added the message it meant something, it was like the object had power. Even if you forget it, you know it’s still there.”
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