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Simon Nicholson
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Simon Nicholson
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Simon Hepworth Nicholson (3 October 1934[1] – 17 January 1990) was a British painter and sculptor. He was the son of sculptor Barbara Hepworth and her second husband, artist Ben Nicholson.

Key Information

Nicholson attended Dartington Hall School before studying sculpture at the Royal College of Art from 1953 to 1954 and then archaeology and anthropology at Trinity College, Cambridge, from 1954 to 1957.[2] Like his parents, Nicholson lived and worked in St Ives from 1960 to 1964.

He moved to the United States in 1964 to teach, first at the Moore College of Art and Design, Philadelphia, and later at the University of Berkeley, California. During this time, he had solo exhibitions in San Francisco and Pittsburgh. Nicholson returned to England in 1971 where he was an Open University (OU) lecturer until 1989. He became chairman of the Art and Environment course at the OU, which developed into a popular practical arts module (TAD292). The associated week long summer school achieved some notoriety.[3]

After his death, a retrospective exhibition at Falmouth College of Arts and Dartington Hall was held in 1999.

In addition to Simon and his parents, the Nicholson family also produced four other artists, his grandparents William Nicholson and Mabel Pryde, aunt Nancy Nicholson, sister Rachel and half-sister Kate Nicholson, as well as his architect uncle Christopher Nicholson.

Interests and influence

[edit]

Nicholson's work is characterised by an interest in the texture of different surfaces and materials, often taking the landscape as its starting point.[4]

His "Theory of Loose Parts", outlined in a 1971 essay, has been influential[5] in playwork, early education and interactive installations of all kinds. He summarised the theory as: "In any environment, both the degree of inventiveness and creativity, and the possibility of discovery, are directly proportional to the number and kind of variables in it."[6][7] Nicholson's definition of loose parts was broad. In a playwork context, it might include:[8]

  • "natural resources – such as straw, mud and pine cones"
  • "building materials and tools – planks, nails, hammers"
  • "scrap materials – old tyres, off-cuts of guttering"
  • "bark which can be both safe playground surfacing and a loose part"
  • "and, most essentially, random found objects."

The definition could be even broader:

There is evidence that all children love to interact with variables such as materials and shapes; smells and other physical phenomena, such as electricity, magnetism and gravity; media such as gases and fluids; sounds, music and motion; chemical interactions, cooking and fire; and other people, and animals, plants, words, concepts and ideas. With all these things all children love to play, experiment, discover and invent and have fun. All these things have one thing in common, which is variables or "loose parts".[citation needed][9]

References

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Simon Nicholson

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Simon Nicholson (3 October 1934 – 17 January 1990) was a British sculptor, painter, and er, renowned for his abstract artworks incorporating found objects and his influential of Loose Parts, which revolutionized approaches to children's play and environmental design. Born in London as one of triplets to the prominent artists Ben Nicholson and Barbara Hepworth, Simon Nicholson grew up in an artistic household, evacuating to Cornwall during World War II and attending Dartington Hall School. He studied sculpture at the Royal College of Art from 1953 to 1954 before pursuing archaeology and anthropology at Trinity College, Cambridge, from 1954 to 1957, followed by a research year. Early in his career, Nicholson lived in St Ives, Cornwall, during the 1960s, where he created abstract sculptures emphasizing texture, surfaces, and landscape-inspired materials, exhibiting at venues such as the McRoberts and Tunnard Gallery in London in 1963 and York University in 1978. Nicholson's academic and design contributions were equally significant; he served as a visiting professor at Moore College of Art in in 1964–1965 and as a faculty member at the , from 1965 to 1971, where he developed innovative courses like "Design 12" on environmental interaction. In 1971, while at Berkeley, he published the seminal article "How NOT to Cheat Children: The Theory of Loose Parts" in magazine, proposing that creativity flourishes in environments offering movable, manipulable elements—known as loose parts—rather than fixed structures, a concept that has profoundly shaped playground design, , and outdoor play globally. Later, from 1971 to 1989, he lectured at the , chairing courses such as "Art and the Environment" that integrated his ideas on self-instruction and interactive design. Nicholson died in at age 55 from alcohol poisoning, leaving a legacy that bridges fine art, education, and environmental innovation.

Early life and education

Family background

Simon Nicholson was born on 3 October 1934 in , , as one of triplets alongside his sisters and . His parents were the renowned modernist sculptor (1903–1975) and the abstract painter (1894–1982), whose pioneering contributions to 20th-century British art created an intensely creative household from his earliest days. Hepworth's innovative bronze and stone sculptures, often exploring themes of form and space, and Ben Nicholson's geometric abstractions influenced by and constructivism, surrounded the children with artistic discourse, materials, and experimentation in their home. Nicholson's extended family further embedded him in a lineage of artistic endeavor. His paternal grandparents, William Nicholson (1872–1949), a celebrated painter and printmaker known for his still lifes and portraits, and Mabel Pryde (1871–1918), an accomplished artist, had fostered a household rich in visual culture that shaped Ben's own career. On the same side, his aunt Nancy Nicholson (1899–1977) pursued painting and design, while uncle Kit Nicholson (1904–1948) worked as an architect with artistic leanings. Additionally, from Ben's prior marriage to painter Winifred Nicholson, Simon had half-siblings including Kate Nicholson (b. 1929), who became a painter herself, ensuring a broad network of creative influences permeated his early environment.

Childhood and schooling

Simon Nicholson was born on 3 October 1934 in as one of triplets—along with his sisters Rachel and Sarah—to the renowned sculptor and painter . He spent his early childhood in an unorthodox, art-centric household in , where his parents maintained a studio that immersed the family in modernist artistic practices and frequent visits from contemporaries like . In August 1939, amid the onset of , the family relocated to , initially to Dunluce in and later to Chy-an-Kerris in 1942, continuing their bohemian lifestyle within the emerging St Ives artists' community. Nicholson attended in , where he received a scholarship, benefiting from its progressive educational that emphasized creative expression, hands-on learning, and individual development over rigid structures. This environment aligned with his upbringing, providing freedom to explore ideas through practical activities rather than formal drills. Throughout his formative years, Nicholson's innate creativity was nurtured through unrestricted access to his parents' studios in both and St Ives, where he observed and engaged with and amid the family's artistic endeavors, free from imposed expectations. This early immersion in a vibrant creative milieu, set against the backdrop of his parents' prominence in , shaped his lifelong interest in design and play without the constraints of conventional training.

University studies

Nicholson began his formal university studies in sculpture at the Royal College of Art in London from 1953 to 1954, where he concentrated on exploring three-dimensional forms and spatial dynamics in artistic expression. Influenced by his family's deep involvement in the arts, this initial training laid the foundation for his interest in creative manipulation of materials. In 1954, he transferred to , completing a degree in and from 1954 to 1957, followed by a research year. This shift reflected his growing fascination with human environments, cultural artifacts, and the ways societies interact with their surroundings, broadening his perspective beyond pure artistic practice.

Professional career

Early artistic and design work

Following his studies in at the Royal College of Art and in and at University, Simon Nicholson settled in , from 1960 to 1964, where he lived and worked in the artistic community established by his parents, painter and sculptor . During this period, he continued the family's artistic traditions through personal experiments in and , primarily creating abstract collages that incorporated mass-produced and found objects to explore form and texture. A notable example is his 1963 mixed-media work 6342, which integrated sourced from the local St Ives landscape, reflecting an early interest in merging sculptural elements with natural environmental materials. Nicholson's early professional output in St Ives included a one-man at the McRoberts and Tunnard Gallery in in 1963, showcasing his collage-based paintings and reliefs that emphasized everyday materials and organic forms. These works demonstrated his initial explorations in environmental textures, blending sculptural constructions with landscape-inspired elements to create tactile, site-responsive pieces that evoked the coastal ruggedness of . This approach marked a departure from pure toward interactive, contextually embedded , laying groundwork for his later interests. In 1964, Nicholson relocated to the , initially teaching sculpture at Moore College of Art in before joining the , in 1965. Influenced by his foundational education in , he began initial forays into and design through his Design 12 course at Berkeley's College of , launched in 1966. Students in the course developed experimental play structures, such as the 1966 Traject-a-Disc—a modular disc system for dynamic movement—and tested them in schools, parks, and hospitals, emphasizing user-driven adaptability in public environments. These projects represented Nicholson's emerging focus on , integrating his artistic background with functional public spaces to foster creative interaction.

Teaching roles

Nicholson began his academic career in the United States in 1964 as Visiting Professor of Sculpture at Moore College of Art and Design in , where he lectured on artistic practices that bridged sculpture and environmental awareness. In 1965, he joined the , Berkeley's College of , teaching until 1971 with a focus on design and environmental topics through courses like Design 12, which emphasized three-dimensional experimentation and play-based methods in environmental contexts. At Berkeley, Nicholson mentored students in collaborative, hands-on environmental projects, guiding teams of three to four in constructing inventions tested by children in local schools, parks, and hospitals to foster creativity in urban and play spaces. These projects integrated practical design experience from his earlier artistic work, allowing students to assess outcomes through real-world interaction and iteration. Returning to in 1971, Nicholson served as a lecturer at the until 1989, where he chaired the Art and Environment course (TAD292) from its launch in 1976 through 1985, developing curricula centered on interactive spaces and creative environmental engagement. In this role, he guided students through practical assignments, such as sensory explorations and activities involving body prints and street happenings, to emphasize imaginative responses to . His mentorship highlighted hands-on projects that encouraged in , drawing on participatory methods to build attitudinal shifts toward interactive environments.

Environmental planning contributions

In the 1960s and early 1970s, Simon Nicholson contributed to through hands-on designs of interactive and public spaces in the United States, particularly in , where he emphasized adaptable environments that encouraged user participation over fixed structures. He designed innovative self-instructional play structures, such as the Project 23 swing and Traject-a-Disc, which were prototyped and tested by children in local schools, parks, and hospitals to assess their functionality and appeal. These efforts critiqued the era's prevalent rigid playground equipment—like swings, seesaws, and slides—as overly prescriptive and top-down, arguing instead for flexible materials that allowed children to modify and interact with their surroundings creatively during the 1960s and 1970s. A key example of Nicholson's practical application was his collaboration with and Herbert on the Environmental Yard at Washington Elementary School in Berkeley, which was developed post-1970 and transformed a conventional tarmac play area into an ecological and interactive incorporating natural elements and movable components to foster exploration. Extending this approach, he worked with at least 13 local elementary schools following his Design 12 course to redesign play facilities, engaging children directly in the planning and evaluation processes to ensure the spaces met needs. These projects applied observational insights from children's behaviors—gleaned through participatory assessments akin to anthropological studies in educational settings—to inform real-world , promoting adaptable public environments that supported spontaneous interaction. In the , influenced by British constructivist traditions, Nicholson advocated for similar flexible urban spaces during the 1970s after returning from the , though his contributions there focused more on conceptual guidance for community-involved designs rather than specific built projects. His -based teaching experience at the , provided a foundational platform for prototyping and refining these ideas before their broader dissemination.

Theory of Loose Parts

Origins and development

Simon Nicholson's Theory of Loose Parts emerged in the late 1960s, driven by his growing frustrations with the static and restrictive nature of conventional children's play environments, such as fixed playground equipment that limited creative engagement. During this period, Nicholson's observations in Berkeley, California, where he taught at the University of California, played a pivotal role; his 1966 Design 12 course at the College of Environmental Design involved students collaborating with children in local schools and parks to test dynamic play prototypes, highlighting the need for adaptable spaces that fostered discovery. Similarly, his time in St Ives, Cornwall, from 1960 to 1964, where he lived and worked amid the artistic community influenced by his parents Ben Nicholson and Barbara Hepworth, provided early insights into how natural and unstructured surroundings could spark imaginative interactions. The theory's development was deeply informed by Nicholson's reflections on his own childhood creativity, shaped by an unorthodox upbringing as one of triplets born to renowned artists in 1934, which exposed him to environments rich in artistic materials and experimentation from a young age. This personal foundation intertwined with broader anthropological perspectives on human-environment interactions, emphasizing how variable elements in surroundings enable innate creativity and behavioral exploration across cultures and ages. These influences built upon his empirical work in environmental planning, where direct observations of children's play behaviors revealed the limitations of rigid designs and the potential of flexible components. The culmination of these ideas appeared in Nicholson's seminal 1971 essay, "How Not to Cheat Children: The Theory of Loose Parts," published in Landscape Architecture magazine, which articulated the theory as a framework for empowering creativity through environmental variables rather than prescriptive structures.

Core principles

The Theory of Loose Parts, as articulated by Simon Nicholson in his 1971 publication, posits that in any environment, the degree of inventiveness, creativity, and possibility of discovery is directly proportional to the number and variety of variables present. These variables, termed "loose parts," refer to versatile, movable materials and elements—such as tires, blocks, fabrics, fluids, sounds, or natural objects—that individuals can manipulate, combine, and repurpose in open-ended ways without predetermined functions. At its core, the theory asserts that all children possess inherent and a natural drive to explore and invent, but conventional environments often "cheat" them by imposing rigid structures and limiting access to such variables, thereby stifling experimentation and self-directed discovery. Nicholson emphasized that this deprivation is not accidental but a in , where professionals dictate outcomes rather than enabling user agency, underscoring the right of every person to engage with unpredictable elements for personal growth. Beyond children's play, the principles extend to adult-oriented settings, including planning, , and educational curricula, where introducing loose parts fosters dynamic interactions, adaptability, and collaborative across diverse populations. This broader application highlights the theory's role in promoting environments that support ongoing discovery rather than static utility.

Applications in play and education

Nicholson's of Loose Parts, which posits that open-ended materials foster greater creativity and engagement in play, has profoundly influenced by promoting a shift from rigid, fixed equipment to versatile, movable elements that children can manipulate and reconfigure. This approach encourages children to invent their own activities, such as building structures from tires, planks, and ropes, rather than following predetermined paths on swings or slides. In the UK, following the publication of Nicholson's 1971 article, the existing network of adventure playgrounds—initially inspired by Scandinavian models in the and —expanded to incorporate loose parts more systematically, with organizations like Play Scotland advocating for their use in grounds and spaces to enhance risk-taking and problem-solving in play. In the , post-1971 implementations included innovative playgrounds by groups like KaBOOM!, which integrated loose parts such as blocks and natural objects to create dynamic environments that support diverse play styles and reduce behavioral issues associated with static designs. In educational settings, the theory has been integrated into curricula to cultivate problem-solving and , allowing children to explore concepts through hands-on experimentation with materials like fabric, stones, and wooden blocks. For instance, in Reggio Emilia-inspired programs, projects such as Italy's REMIDA initiative repurpose discarded items as loose parts to encourage and artistic expression, aligning with Nicholson's emphasis on variability in play. This integration extends to early years education in the UK, where Scotland's incorporates loose parts in outdoor learning to develop skills like resilience and , as seen in primary schools introducing supervised access to items like and nails during playtime. In the , studies have shown that loose parts play in settings boosts , with block play predicting later math achievement and fostering . Recent research as of 2024, including systematic reviews, continues to affirm these cognitive benefits for young children aged 0–6 years. For children with , loose parts provide inclusive opportunities for sensory exploration and social interaction, supporting individualized learning in diverse classrooms without requiring specialized equipment. Beyond formal play and education, the theory has informed broader community projects and efforts to promote participatory environments post-1971. In the UK, initiatives like The Yard in utilize loose parts such as cardboard and fabric to enable and physical challenges for children with disabilities, enhancing community cohesion. applications include enriching natural city spaces with accessible loose parts, like sticks and logs in parks, to encourage spontaneous play and reduce by increasing user involvement. In the , community-based programs have adopted loose parts for pop-up play events in urban areas, drawing on Nicholson's ideas to transform vacant lots into interactive zones that foster neighborhood participation and environmental awareness.

Artistic output

Painting and sculpture style

Simon Nicholson's artistic style in and was predominantly abstract, characterized by a deep engagement with texture and the tactile properties of materials. His sculptures often incorporated a diverse array of mass-produced items objects, assembled into compositions that emphasized materiality and spatial dynamics over representational forms. In his paintings, Nicholson explored layered surfaces to create a sense of depth and physical presence, using varied media to evoke the roughness and subtlety of natural and man-made elements. This approach was profoundly influenced by the modernist legacies of his parents, —a pioneer of in painting—and , renowned for her organic, abstracted sculptures—which instilled in him a commitment to form, space, and material innovation within an abstract framework. Nicholson's themes centered on the interplay between humans and their surroundings, blending organic motifs derived from landscapes with industrial components like scrap metal and everyday artifacts to symbolize environmental and transformation. Over time, his style evolved from the landscape-infused abstractions of his early St Ives period in the , where the Cornish terrain inspired textured works that abstracted natural contours and seascapes, to more integrative pieces in his later career. By the , while chairing the Art and Environment course at the , Nicholson continued his artistic practice alongside his educational work. This progression underscored his thematic overlap with broader environmental interests, merging aesthetic exploration with utilitarian intent.

Major exhibitions

Nicholson's early solo exhibition took place at the McRoberts and Tunnard Gallery in in 1963, marking his debut presentation of abstract paintings and sculptures influenced by his family's modernist heritage. During his time in the United States from 1964 to 1971, Nicholson held solo exhibitions in (including at Carl Van der Voort Gallery in 1968) and , where he showcased evolving sculptures incorporating everyday materials and environmental motifs, reflecting his growing interest in elements. He also exhibited at the Gallery for Contemporary Art in Oakland in 1969 and participated in the Play Orbit exhibition at the Institute of Contemporary Arts (ICA) in in 1969/1970. In 1978, he presented another solo show at in , featuring works that bridged his artistic practice with educational themes developed during his teaching career. Following Nicholson's death in 1990, a major retrospective exhibition of his oeuvre was organized in 1999 at Falmouth College of Arts and , encompassing paintings, reliefs, and sculptures from across his career and highlighting his contributions to post-war British modernism. Nicholson's works have been included in various group exhibitions tied to the Nicholson and Hepworth family legacies, particularly in St Ives-associated shows at Belgrave St Ives gallery, such as the St Ives Exhibition in 2020 and the Winter Exhibition in 2023, which contextualize his output within the broader modernist tradition of his parents, and .

Integration with environmental themes

Nicholson's sculptures frequently employed found objects and mass-produced materials, enabling loose and adaptable constructions that paralleled the open-ended nature of playground elements in his philosophy. These works, such as abstract assemblages from the and , emphasized recombination and user interaction, reflecting how everyday items could transform static forms into dynamic environmental interventions. In his paintings, Nicholson depicted landscapes as interactive and mutable spaces, often using layered techniques to suggest human engagement with natural settings, which foreshadowed his broader critiques of rigid . These canvases, inspired by Cornish and Californian terrains during his teaching years, portrayed environments not as fixed backdrops but as responsive systems inviting exploration and adaptation. From the onward, Nicholson's mixed-media installations adopted a holistic approach, positioning as an instrument for cultivating environmental consciousness by blending sculptural forms with participatory elements. In works associated with his course, he integrated adaptable components to highlight ecological interconnections, encouraging viewers to reconsider human impact on surroundings through tactile and conceptual interplay.

Later life and legacy

Personal challenges and death

In the later years of his career, Simon Nicholson returned to the in 1971 following his tenure at the , and took up residence in . He joined the as a , where he chaired the innovative Art and Environment course (TAD292) from 1976 to 1985 and continued his academic contributions until his retirement in 1989. Nicholson remained connected to his prominent artistic family, including his triplet sisters Rachel Nicholson, a painter, and Sarah Bowness (née Nicholson), who married art historian Alan Bowness and contributed to the arts through curatorial and advisory roles. No public records indicate that Nicholson himself married or had children. Amid these professional commitments and personal challenges, including , Nicholson experienced a decline in health. He died on 17 January 1990 in at the age of 55 from alcohol poisoning.

Influence on modern design

Nicholson's of Loose Parts has profoundly shaped contemporary playground and worldwide, fostering environments that prioritize child agency and creativity through open-ended, manipulable materials. This approach has been integrated into educational curricula and outdoor spaces across , , and beyond, with policies in regions like , Canada (2015), explicitly recommending loose parts to support joyful, unstructured play in settings. Similarly, Nova Scotia's (2018) endorses the inclusion of versatile materials in schools to enhance cognitive and social development. A key example is its alignment with Reggio Emilia-inspired pedagogies, where the REMIDA project in collects and distributes recycled industrial discards as loose parts, enabling children to transform waste into expressive tools and promoting collaborative, emergent learning. The theory's emphasis on adaptable elements has extended to sustainable design practices, advocating for the use of reusable and recycled materials in community spaces and therapeutic settings to minimize environmental impact while maximizing engagement. In and , loose parts—such as natural found objects or upcycled items—encourage resource-efficient designs that support ecological awareness and long-term usability, as seen in initiatives like Play Scotland's guidelines (2022), which promote low-cost, durable play provisions using locally sourced reusables. This has influenced therapeutic environments for children with diverse needs, where open-ended materials facilitate sensory exploration and emotional regulation without reliance on disposable toys. Nicholson's seminal 1971 essay has been widely cited in academic literature across fields from to , underscoring its enduring theoretical impact. These references inform frameworks that integrate loose parts to address holistic child growth, as evidenced in systematic reviews.

Recognition and tributes

Following his in 1990, Simon Nicholson's artistic and design legacy was honored through a major retrospective exhibition in 1999, organized by Falmouth College of Arts and —two institutions connected to his educational and professional influences in the UK. The exhibition showcased his paintings, sculptures, and environmental works, highlighting his evolution from abstract to principles. Nicholson's contributions have been acknowledged in art historical narratives on modernist families, particularly as the son of and , where his work is contextualized within the intergenerational dynamics of and in 20th-century Britain. He is also featured in scholarly accounts of pioneers, recognizing his innovative teaching and theoretical frameworks at institutions like UC Berkeley, which emphasized participatory and systems-based approaches to architecture and play. In the 2020s, Nicholson's Theory of Loose Parts continues to receive tributes in professional and educational contexts, underscoring its enduring impact on and child-centered . For instance, a 2021 feature by the American Society of Landscape Architects (ASLA) celebrated the theory's role in promoting unstructured, creative play with open-ended materials, drawing on Nicholson's 1971 formulation to advocate for inclusive outdoor environments. Similarly, recent educational resources continue to integrate his ideas into discussions of play and . Tate's educational materials further honor his influence, linking the Theory of Loose Parts to broader themes of and in and education.

References

  1. https://artuk.org/discover/artists/nicholson-simon-19341990
  2. https://www.kettlesyard.cam.ac.uk/bio/simon-nicholson/
  3. https://creativestarlearning.co.uk/early-years-outdoors/simon-nicholson-and-the-theory-of-loose-parts-1-million-thanks/
  4. https://thefield.asla.org/2021/04/08/in-the-flow-loose-parts-play/
  5. https://www.independent.co.uk/arts-entertainment/books/the-sculptor-s-tragedy-1620314.html
  6. https://www.geni.com/people/Simon-Nicholson/6000000009928821985
  7. https://www.rachel-nicholson.co.uk/biography
  8. https://barbarahepworth.org.uk/biography/
  9. https://artuk.org/discover/curations/nicholson-artistic-dynasty-family-and-spouses
  10. https://www.barbarahepworth.org.uk/biography/
  11. https://www.cambridge.org/core/books/practical-utopia/education-for-change/7B3E81FBC08CE3DA789499E6B7A3B983
  12. https://www.invaluable.com/artist/nicholson-simon-bzn1m2egid/
  13. https://www.christies.com/en/lot/lot-6394409
  14. https://arrow.tudublin.ie/cgi/viewcontent.cgi?article=1058&context=aaschadpart
  15. https://arrow.tudublin.ie/context/aaschadpart/article/1058/viewcontent/Systems_in_Play_Simon_Nicholson_s_Design_12_Course__University_of_California__Berkeley__1966.pdf
  16. https://www.open.ac.uk/blogs/History-of-the-OU/?p=2250
  17. http://media.kaboom.org/docs/documents/pdf/ip/Imagination-Playground-Theory-of-Loose-Parts-Simon-Nicholson.pdf
  18. http://www.playscotland.org/wp-content/uploads/1-Loose-Parts-Play.pdf
  19. https://files.eric.ed.gov/fulltext/EJ1452712.pdf
  20. https://media.kaboom.org/docs/documents/pdf/ip/Imagination-Playground-Theory-of-Loose-Parts-Simon-Nicholson.pdf
  21. https://pmc.ncbi.nlm.nih.gov/articles/PMC12112344/
  22. https://pmc.ncbi.nlm.nih.gov/articles/PMC10456023/
  23. https://www.childinthecity.org/2016/05/11/how-playing-with-loose-parts-can-be-highly-engaging/
  24. https://www.open.ac.uk/blogs/design/learning-teaching/history-education/
  25. https://www.belgravestives.co.uk/exhibitions/1087/12470/st-ives-exhibition-2020-6340
  26. https://www.mutualart.com/Artist/Simon-Nicholson/E81EC3DD87F13207/Biography
  27. https://www.christies.com/en/stories/barbara-hepworth-artist-guide-d29d400fa54c410e931df201d2421016
  28. https://www.georgiastoneman.com/viewing-room/25-rachel-nicholson-reflecting-on-90-years/
  29. https://www.edu.gov.mb.ca/k12/childhood/time_for_joy/full_doc.pdf
  30. https://www.ednet.ns.ca/docs/nselcurriculumframework.pdf
  31. https://www.playscotland.org/wp-content/uploads/1-Loose-Parts-Play.pdf
  32. https://extension.psu.edu/programs/betterkidcare/early-care/tip-pages/all/loose-parts-what-does-this-mean
  33. https://www.tate.org.uk/documents/1128/pg_4_final.pdf
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