Third Asia-Pacific Triennial of Contemporary Art, 1999 : Beyond the future : Report.

with kids, responding to their interests is one way of understanding their inner thoughts. I am used to working with older pupils and this experience was different and a memorable one except it was quite exhausting. I believe the secondary and primary teachers are the verypeople that do much of the work in this society that we live in. With my limited experience I have come to conclude that the early part of teaching is the crucial and important stage of development. On a tertiary level things are very much programmed and handed out to students to explore themselves, no supervision etc. Overall I valued my experience and I look forward to the future with better expectations but I do not see it as a career Wynnum North State School . Claudia Bu l lock, Wynoum North State School There were a myriad ofpositives to come from having David Waswas as our artist-in­ residence. He provided a positive role model for the children openly of how much he loved his art and what his love of art generally but also as a male artist speaking to the children openly of how much he loved his art and what his art meant to him on a personal and emotional level. During the sessions the children were totally focussed on the process ofmaking art. They could ask for advice but they ultimately made the decisions about what they wanted to do. They were totally responsible for their work. We found there were not the usual behaviour problems that week and there was not the usual trail of children to the sick bay. The art making allowed the children to be both creative and innovative. There were no right or wrong outcomes and they were veryproud of their finished work. They learnt now skills and were3 able to use a variety ofmedia which they may not have experienced before. Queensland University of Technology Donal Fitzpatrick, Head of Visual Arts, Queensland University of Technology Six week res idencies for Harsha, Nguyen M i nh Thanh, Tissa de Alwis The chance to have the three visiting APT artists with us at QUTwas a marvellous opportunity for both staff and students to engage directly with those art and cultural practices of the region. All three of the artists involved where able to use the residency to dialogue directly with students in the studio and to explore related themes in their work with students as they engaged in artpractices in the technical facilities of the workshops. Tissa made a great contribution to the students through his direct involvement with the ceramic studios and his exploration of the potential of new materials and processes. Thanh provided the students with a greater understanding of the marginal position of contemporary artists in many cultures in the region and the place of sexuality and issues of family within the political structure of the new nation state. Harsha provided an a positive role model for our students through his combining of new media and traditional art practices, (something of a paradigm for students of QUT). In conclusion I would like to thank the QAG and all concerned particularly Christine Clark for the hard work in making a difficult trans cultural residency work so well. School Residency John Honeywill, Somerville House One week residency for N . S. Harsha (India) The project that Harsha compiled with over 200 students aged between four years and twelve years of age proved to be a rich and rewarding residency. What really excited us was not only the quality of the work that the girls did in the one lesson that had to do with their painting but the choices that they made in selecting their "special place. " 74