"Art is about constructing artifacts – crafted facts of experience. The fact of the matter is that experiential potentials are brought to evolutionary expression"
(Massumi, 2013, p. 57)
Visual Arts as a Tool for Adolescent Development and Expression
Tony Cragg - Exhibition at Bernd Klüser, Munich, 2008
Visual arts hold significant psychological, developmental, and educational value, offering powerful ways to communicate complex ideas through imagery, metaphor, and symbolism. Engaging with visual language supports value-based learning and aligns with cognitive development, particularly the transition from concrete to abstract thinking—a shift that enhances reasoning, deepens self-awareness, and builds cultural confidence (Ke, 2022).
This learning sequence is designed for Year 10 Visual Arts students studying under the Australian curriculum. Adolescence, typically from ages 12 to 18, is a crucial stage of cognitive, emotional, and social development (Jones, 2024). During this period, learners enter Piaget’s Formal Operations Stage, where abstract thinking and complex reasoning begin to emerge (Piaget, 1970). It is also a time when identity exploration intensifies, and students begin to question cultural norms (Jones, 2024). In this context, visual arts offer a meaningful and accessible mode of expression, particularly for students who may find it difficult to articulate their experiences through language (Staples, 2016). Designing a lesson sequence around the topic of personal identity and multifaceted artworks, reflects Biesta’s (2015) view that teachers have a professional responsibility not only to address academic needs but also to understand and support students’ social and emotional development. Implementing learning experiences that reflect students' lived experiences helps to reshape visual arts education in socially relevant and engaging ways. Themes such as the human condition, personal narratives, and gender identities are increasingly central to curriculum design (Dobbs, 2004). This approach aligns with the Australian Professional Standards for Teachers, which call for resources that "foster critical and creative thinking by drawing on local, national, and global content in both real and virtual environments" (AITSL, 2017).To support this, modelling through worked examples is a key strategy. According to Kirschner et al. (2020), clear, step-by-step examples help demystify creative processes and build theoretical and practical knowledge. On this site, resources are tailored to both teachers and students in line with the Victorian Curriculum for Year 9–10 Visual Arts, addressing curriculum content descriptors and elaborations.
Flipped Learning and Scaffolded Resources
A central pedagogical framework supporting this structure is the flipped classroom model, which places students in control of their learning (Fitzpatrick, 2012; Mazur, 2009). The Student Hub provides articles on abstract art, artist videos, and assessment guides, enabling students to engage with new content independently—before class. In-class time is then freed for collaborative exploration, discussion, and feedback. To promote inclusivity, the Teacher Hub uses language tailored to professionals, while the Student Hub uses age-appropriate, inclusive language (e.g., “we,” “you,” and “I” statements) that fosters a sense of shared purpose and collaboration. This aligns with Vygotsky’s (1978) sociocultural theory, which asserts that instruction drives development. His concept of the Zone of Proximal Development (ZPD) highlights the importance of scaffolding—supporting students as they move beyond what they can do independently toward what they can achieve with guidance. The Student Hub functions as this scaffold, while teacher resources provide complementary tools to anticipate learner needs, build prior knowledge, and promote independent growth (Bruner, 1960).
Hattie (2009) emphasises that clear learning intentions and actionable feedback are central to effective teaching. These principles are embedded throughout this unit via transparent goals and visual resources that support both teachers and students in monitoring progress. Complementing this, Hetland et al. (2013) highlight the importance of nurturing supportive environments and providing materials that cultivate “habits of mind.” Aligned with this approach, the Student Hub offers a range of resources, including:
-Exemplars of both professional and student work to model quality
-Visual demonstrations of artistic processes and techniques
-Opportunities for sketching, observation, and revision as tools for iteration and reflection.
These materials also reflect Winner et al.’s (2022) emphasis on the value of implicit visual scaffolding to guide student inquiry and creative development.In addition to clear learning intentions and feedback, lesson planning and sequencing play a critical role in student success. Research by Bloom (1968) and Black and Wiliam (1998) demonstrates that structuring lessons in coherent, deliberate sequences—featuring clearly defined objectives and embedded scaffolding—reduces cognitive load and enhances learning.This unit is closely aligned with the Australian Curriculum: Year 9–10 Visual Arts content descriptors and elaborations (ACARA, 2022). Students are encouraged to use 'Viewpoints'—such as personal and imaginative, cultures and worlds, and conventions and processes—as analytical and creative frameworks. This inquiry-based approach positions students as both artists and audiences, fostering deeper reflection on identity and contemporary social issues. In doing so, the unit supports not only academic rigour, but also emotional growth, cultural understanding, and the development of creative potential—core aims of contemporary visual arts education.
In the engagement of online resources, the teacher shifts from content deliverer to learning facilitator, guiding students through their individual learning journeys (Cox, 2023). Students progress at their own pace, using digital tools to reinforce their understanding (Haruni et al., 2018). Those who require more time can revisit materials independently, while others can extend their learning through enriched tasks and collaboration. This approach also embraces the evolving role of digital media in arts education. While traditional curricula have emphasised material processes, the intentional use of technology enhances both engagement and creativity. As Kocaarslan & Eryaman (2024) note, digital tools are increasingly central to fostering creative thinking. This is reinforced by the Australian Curriculum: The Arts, which supports using technology to expand learning opportunities and improve outcomes (ACARA, 2025).
Frans Muhren (Streamer series)
“The biggest effects on student learning occur when teachers become learners of their own teaching and students become their own teachers.” — John Hattie
Research consistently supports the use of explicit modelling, scaffolding, and differentiated instruction as key strategies in effective teaching (Killen, 2016; AERO, n.d.).
According to AERO’s (n.d.) report, scaffolding should be gradually withdrawn as students develop proficiency, transitioning from worked examples to more independent problem-solving and practical exploration. To support this progression and encourage self-directed learning, the Student Hub includes curated resources such as step-by-step examples and differentiated learning tools. These support students at various stages of their skill development and allow for independent exploration beyond the classroom.Guskey (2010) reinforces that teachers must “meet students where they are at” (p. 52), which involves not only reviewing content for those who require more time to reach objectives but also providing enrichment tasks for students who achieve mastery earlier. This approach aligns with Bruner’s (1960) concept of scaffolding within the learner’s Zone of Proximal Development (Vygotsky, 1978), helping students complete tasks just beyond their current abilities.To optimise knowledge retention, the lesson sequence integrates evidence-based strategies such as spacing and retrieval practice, which are proven to strengthen memory and support long-term learning (Carpenter et al., 2012). These principles are applied through repeated engagement with core concepts—such as abstraction, identity, and form—across multiple lessons. Activities like folio reflections and question prompts provide routine opportunities for recall, consolidation, and metacognitive awareness. As Carpenter et al. (2012) emphasise, embedding these practices across a unit fosters deeper learning and strengthens cognitive pathways.
The Australian Curriculum highlights differentiation as essential for addressing the diversity of learners in 21st-century classrooms (ACARA, 2014). The Victorian Curriculum further expands on this by prioritising social and emotional learning, encouraging the tailoring of content and pedagogy to student needs. Informed by Howard Gardner’s Theory of Multiple Intelligences, this unit presents activities designed to engage various learning preferences—including visual, auditory, and kinaesthetic modes—ensuring that students can access content in personally meaningful ways (Abawi et al., 2019). Supporting this, Tomlinson and McTighe (2006) argue that learning must happen within students, not to them. This perspective underpins the following design strategies embedded within the learning sequence:
•Clear modelling and demonstration tailored to different learning styles
•Use of students' lived experiences and personal narratives
•Glossaries and visual cues to clarify key terminology
•Validation of diverse backgrounds, interests, and support needs
•Multiple definitions of success and achievement
•Integration of critical and creative thinking tools
•Thoughtful use of ICT and digital tools to scaffold learning and engagement
Evidence-Based Instructional Strategies
'Ludmilla' by Arne Quinze
Social and Cultural Engagement
'Yarn Against the Patriarchy' by Michelle Segre
Visual expression can be especially powerful for addressing themes of identity, belonging, and emotion. Noddings (2003) calls for an educational approach that looks beyond biological needs to consider emotional and social wellbeing. Similarly, Rogoff (2003) introduces the concepts of insider and outsider to describe the cultural and social divides that shape individual experiences and relationships.A classroom that nurtures empathy, connection, and reflection—aligned with contemporary artistic practice—can help students engage more deeply with themselves and the world around them. The integration of philosophical inquiry, intercultural perspectives (ACARA, 2025), and pressing ethical and social issues transforms the classroom into a site for shared imagination and expanded understanding (Medina, 2010).Pedagogies grounded in Teaching for Artistic Behavior (TAB) support experimentation and flexibility, enabling students to explore a range of media and working styles. These strategies mirror humanist and experiential pedagogies, which champion learning through doing, reflective practice, and real-world connections (Kong, 2012; Darling-Hammond et al., 2001).
These methods enhance student agency, promoting the development of individual creative processes within a supportive, learner-centred environment.Contemporary art education is enriched by constructivist philosophies, which frame learning as a process of meaning-making—a principle closely aligned with the creative process (Carrington, 2012). This lens is particularly valuable for exploring inclusivity within social constructs, especially when engaging students in themes such as identity.The learning experience intentionally uses the theme of identity in an open-ended way, which aligns with Choice-Based Art Education (CBAE). CBAE values student autonomy, positioning learners as artists and decision-makers in their own creative processes (Douglas & Jaquith, 2009). This is especially relevant for adolescents, over 60% of whom report societal pressure to meet unrealistic standards of perfection (EducationDaily, 2024). In response, process-oriented approaches—rather than product-focused outcomes—are essential. Hogan et al. (2020) advocate for practices that prioritise student thinking and decision-making, making the art room a safe, non-judgemental space for exploration.
Collaborative Dialogue and
Higher-Order Thinking
Jean Dubuffet - "Outside the Lines"
The lesson sequence incorporates structured group dialogue, such as discussions prompted by visual media or collaborative tasks like constructing sculptural forms. These activities foster critical thinking and communication skills, reflecting the principles of Visual Thinking Strategies (VTS). VTS cultivates habits of mind like evidence-based reasoning, respectful listening, and comfort with ambiguity, while also enhancing visual literacy and collaborative problem-solving (University College Cork, 2020).This dialogic, inquiry-based approach is grounded in situated learning theory. As Bransford et al. (2000) explain, knowledge is most effectively acquired in authentic, relationship-focused settings where learners are actively engaged with one another and their environment—rather than in isolation. Fostering collaboration not only supports cognitive and social development, but also shifts the learning environment from hierarchical to democratic. Garber (2003) argues that mastery in art education requires students to seek knowledge individually and collectively, constructing understanding through shared inquiry:
“Mastery involves students seeking knowledge on their own terms and in terms of group and collaborative learning… It becomes collaborative rather than hierarchical” (Garber, 2003, p. 58).
Implementing VTS in the Classroom:
Teachers should:
•Listen carefully to each comment
•Paraphrase student responses, modelling effective language
•Point to features mentioned during discussion
•Maintain neutrality
•Encourage student-led discussions
•Scaffold observations and interpretations
•Validate diverse perspectives
•Link related ideas, exploring consensus and disagreement
•Reinforce multiple interpretations