View of Encountering Art

This belief obscures the complexity of the work and the importance of academic communication and feedback as integral to student development and learning autonomy. Frameworks are referenced throughout the document where they are relevant to an aspect or phase of the project described, rather than representing a framework section. Conclusion (5) addresses the goals of the project while emphasizing the continued importance of the art project to the LLA unit.

Harper spoke to the heart of LLA's marginalization issues and mirrored the same dilemmas raised in our kitchen conversations. It is not within the scope of this paper to provide an in-depth explanation of public lending, but a brief overview of the method is presented. In this project we drew on public lending, as it is practice – the creation of works of art – that guides our project inquiry and the 'new' knowledge comes from the process of making and working with materials while discussing, documenting, writing or theorizing about the work happened while the work was being done (eg, note taking, visual diary of new ideas and collegial discussions) and/or reflected on later as a textual summary.

At the basis of the relationship between creative practice and research is the problematic nature of. We also used Katya Johanson and Hilary Glow's (2018) definition of participatory art as 'the creative participation of people who would not usually or formally identify as artists in the production of the art activity, alongside self-identified and professional artists' (2018, p. . 4). Second, artist Ross Coulter spoke about the development of his performance and photography practice, emphasizing that his specialist knowledge and approach to art-making is guided by an idea and 'trusts' the material to 'express' one's concerns.

The PLR ​​has informed the whole about the nature of the project from Rowena Harper's initial calls and the early Figure 1.

Figure 1. Practitioner Experience: Arrows represent the often unacknowledged, hidden or taken for granted complex lines of communication that occur between the LLA, students and aca-demics

Phenomenology

When the LLA art project was first conceived in 2019, LLA invited Coulter to reciprocate and join us to share her art skills and expertise with our non-artist trained LLA group. As such, the project had two trained artists who could guide and manage the visualization of ideas and the production of artworks. Thus, the project had rigorous conceptual and material studies that supported the development of artworks.

As mentioned in Section 2.4 Project start, as the project progressed we held weekly online meetings with the group. This kept us focused, engaged in the process and keen to observe the development of colleagues' artwork and theoretical ideas that underpin their work. We held two art-making intensives on campus (pre-Covid), teaching new skills such as printmaking, silkscreening, clay sculpting, painting and drawing.

This event encouraged participants to exhibit their work and talk about how the visual aspects work in relation to their theoretical and conceptual ideas. We started from a dialogical style of analyzing each other's work, where the participant informally talked about his work, and then the colleagues offered their response and interpretation. This style of peer feedback is encouraged in the creative arts as a pedagogical way to enhance critical thinking, gauge others' response to work, and "check" whether the work is effective in conveying intended ideas.

Originally the project was designed to continue for twelve months, but as Covid invaded our workspaces we were able to continue online throughout the pandemic. In line with our first goal of being more visible, we were originally successful in a submission to exhibit our work in the university gallery during December 2020 to January 2021. We did present our work at three conferences, one internationally at Zoom, making our goal partially successful, but not achieving the long-term visibility we would like.

Documenting, Writing and Textual Reflections

Thematic Analysis

Findings and discussion

• Capturing the impact of neoliberalism
• Neoliberalism, time, space and the Anthropocene
• Neoliberalism: Frameworks impacting LLA professional identity: Third space, marginalization and hidden structures
• The role of the LLA is complex
• The student experience is complex
• Embodiment – the art process – artworks as metaphors for the student experience Artworks emerged not only from the LLAs reflections on their pedagogical practice and their
• Meaningful outcomes

Giroux, 2017; Connell, 2013), but in this project we mainly limited ourselves to reporting on our experiences and encounters with management structures and the effects of flow in our work. Drawing a tree is another way of exploring ideas and concepts that we take for granted or seem "natural", but are rather transplants imported from another time, place and culture. The tent symbol is also associated with past and present artistic activist metaphors and actions.

For example, Participant 3 found particular inspiration in artistic uses of the tent by established artists such as the French artist Gustav Courbet's provocative response when Courbet erected a circus tent, 'The Pavilion of Realism', in 1855 to display his rejected painting, The Painter's, exhibit. Studio: A True Allegory Summarizing Seven Years of My Artistic and Moral Life https://smarthistory.org/courbet-the-artists-studio/). Participant 4's work by Caroline Wright-Neville, seen in Figure 10, attempts to capture the paradox between the time required to teach and learn something new with the expectation that it will be done in a fast, convenient and efficient way will be done. Language and learning advisors are often referred to as 'third space' professionals (Bhabha Benzie, 2015; Engels, 2005), a position that is 'in between' and often hidden or marginalised.

In doing so, I aim to tell the story of the context and highlight the counsellor's experience. This] complex ROLE includes observing the student beyond the script … [we] engage with many different kinds of students of different ages and from very different cultural and social backgrounds. It seeks to communicate the states of transformation that occur during the student and LLA consultation.

Therefore, the artwork initially sought to show the abundance of text that students often face when entering tertiary education, and what it can feel like for some students who struggle with text. Participant 8, Gail Fluker, drew on her experience as a teacher to capture the struggles of an adult woman returning to college and the complex emotional journey that entails. Embodiment – ​​the art process – artworks as metaphors for students' experiences. Artworks did not only emerge from the LLA reflections on their pedagogical practice and their artworks did not emerge solely from the LLA reflections on their pedagogical practice and their encounters with a wide range of students (whether linked to international, national , cultural differences or adult age experiences), but the artworks also explored personal journeys, values ​​and problems encountered.

I took elements of the narrative such as darkness and despair, images that represent DNA and. I've even found that rotating some prints at a different angle gives me a different perspective on my work. The subject goes back to the felt experience or memory of the individual consultation and recollection of the compositional and transactional space.

In this art project, I continue to explore my connection to the narrative of educational opportunities for women in recent generations. For those LLAs unfamiliar with making art or returning to art making after years of absence, this art-based encounter resonated with students' experience of 'not knowing' with some LLAs being particularly fearful to 'make art'.

Figure 5. The reflective eye [clay and computer assemblage] (Steven Grivas, 2019).

Conclusion

It was suggested, particularly by the participant inspired by the theories of Deleuze and Guattari, that if we cannot find meaning in the work of LLA, we can find meaning/FULLNESS in coming together and working through the complexity of that work. This too has had benefits for students as we 're-evaluate' the unfamiliar territory of learning something new or foreign. While the impact of Covid 19 on LLA work was not part of this original project, the effects of the pandemic have had a profound impact on the academic community, including our professional LLA unit in 2020-23.

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Retrieved from https://journal.aall.org.au/index.php/jall/article/view/408 Malkin, C., & Chanock, K. Enlivening the senses: engaging sight and sound to (re)consider the hidden academic narratives in histories of university education. Taken from The Story of Irish Famine Orphan Girls Sent to Australia - The Irish Times.

A critical turn in higher education research: turning the critical lens on the Academic Language and Learning (LLL) educator. Oil on canvas) National Gallery of Victoria, retrieved 7 September 2021, from https://www.ngv.vic.gov.au/explore/collec-. A field book of the fifth discipline for educators, parents and all those who care about education. 2009) Practice-led research, research-led practice in the creative arts.