Volume 21, numéro 2, 2026 Considering Space and Place

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This article focuses on the knowledge generated by a research proposition to create new parameters to organize a studio table by introducing an intermediary step: placing art materials on a temporary tray in an artful manner before organizing them. Inserting this middle step in the usual organization process, the usual assumptions were interrupted to make space to invite new knowledge, guided by the materials themselves. New materialistic theory suggests we are always living in relationship to matter, referring both to objects and less tangible things, and that it has an effect on how we live our lives (Garber, 2019). Organization of objects is a physical manifestation of this relationship between chaos and order. This article provides insight into ways art educators can work with students to develop their relationship to their art materials and how inquiry into organization extends beyond the classroom.

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The artful proposition presented is to document significant moments on a Post-it sticky note every day for 50 days. As a pinnacle teacher tool, the sticky note is a perfect canvas to document moments quickly, without worrying about quality. After all, discarding a sticky note doesn’t carry the same weight as discarding a canvas. Parameters of documenting more than one significant moment from the day were established, and notes were intentionally left undated to blur the boundaries between time/ timelessness. Each sticky note acted as a potential starting point, mirroring Deleuze and Guattari’s rhizome, “an acentered, nonhierarchical, nonsignifying system” in which “any point... can be connected to anything other” (1987/1980, pp. 6-10). Over the course of 50 days, a series of sticky notes reminiscent of a photo album, or social media feed, emerged—moments with students in secondary Theatre and BC First Peoples classes, moments with peers in an Arts Education Master’s cohort, and moments from embodied activities in-between pedagogical spaces.

Using Lucero’s (2011) conceptual artist framework as a filter, the article explores the animacy of a rhizomatic storyboard growing within the classroom, leading to a process in which students created their own significant moments as co-playwrights and co-artists, evoking aesthetic experiences for themselves, and for a new audience. The living sculpture not only grew, but created further seeds, next steps echoing Atkinson’s notion of seeding: “continuous new modes of growth, germination and modes of distribution” (2024, p. 435).

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This inquiry explores how my perception of Hong Kong shifted from a long-held “vacuum zone” in my imagination to a nearness during my first visit in 2023. Guided by Taoist philosophy and inspired by selected ideas of a/r/tography, a framework integrating Taoist water wisdom with a/r/tographic practice—I employ walking-sensing to examine how Hong Kong resonates with the aesthetics of shanshui painting. By attending to the “Three Distances Method” and to negative space emerging through mist and climate, I came to recognize the city not as an exceptional, distant image but as a living shanshui painting intertwined with my own visual memory. Extending these insights into my classroom, I invited students to begin from their own “vacuum zones” and to engage in walking-sensing as a way to approach uncertainty. Their works revealed meanings that hovered between memory and absence. The inquiry suggests that walking can soften rigid imaginaries and cultivate water-like ways of perceiving, offering a method for re-encountering places, selves, and relations.

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Drawing on the author’s experience as an art educator in a culturally and linguistically diverse Montreal public school, this article examines the impacts of integrating artist-focused content into elementary visual arts curriculum. Using storytelling as a pedagogical approach, students are introduced to artists’ lives, fostering deeper engagement and supporting connections between art and lived experience. Intentional inclusion of BIPOC, LGBTQIA2+, and disabled artists promotes representation and belonging while challenging dominant Western art historical narratives. Additionally, exposure to diverse artistic careers expands students’ understanding of art as a viable and meaningful professional pathway. Grounded in critical pedagogy, this approach positions artists’ lives as entry points for exploring identity and social context. The article concludes with a practical guide for educators to implement similar methods, arguing that integrating artist content is an essential and impactful practice in contemporary art education.

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The arts offer a powerful means of exploring visions of the future. In this article we capture how we launched a transdisciplinary initiative at Queen’s University Faculty of Education to stretch ways of thinking, feeling, acting, and being in relation to the climate crisis through artistic expressions. The Queen’s Imagines the Future initiative encompassed workshops for pre-service teachers, a call for artworks, and gallery showings to capture imaginings of the future and spark conversations. Through a collaborative effort by a team of faculty, staff, and graduate students, the initiative demonstrated how the arts can foster holistic discussions on climate issues in ways that transcend disciplinary boundaries.