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- Background to tHe commission and drury’s work in general- Background to land and environmental art
- teacHers notes to accompany powerpoint oF artists works (ks3/4)- suggested prompt questions For teacHers to accompany
powerpoint (ks1/2)- lesson plans and activities to incorporate into ‘Fingermaze’ visit
- Follow up and extension activities- links
FeBr
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aBout tHis packThis pack was commissioned by the Brighton & Hove Arts Commission and city council’s ‘Eco-Brighton’ programme to raise awareness of a new sculpture by Chris Drury in Hove Park. This in turn aims to raise awareness of our relationship with the environment and to generate a broader general environmental debate through the medium of arts.
‘Eco-Brighton’ is part of a two year cultural programme called ‘Making a Difference’ which is taking place in Brighton & Hove. ‘Making a Difference’ aims to transform the cultural life of the city, make a difference to people’s lives and develop the city’s reputation as an international city of culture. The programme is being overseen by the Brighton & Hove Arts Commission and is ‘managed’ by an executive team at Brighton & Hove City Council. It is funded with lottery money through the Urban Cultural Programme.
There are four principal strands of the ‘Making a Difference’ programme; creating new work, transforming the city, living in Brighton & Hove and working in Brighton & Hove. ‘Eco-Brighton’ falls under the ‘transforming’ strand that focuses on transforming the physical environment of the city. ‘Eco-Brighton’ is made up of a number of projects with a broadly environmental focus.
The resource’s main curriculum focus is Art & Design and is aimed at Key Stages 2 and 3 but can be readily adapted for younger and older students. The lesson plans could be used as they are or to support existing schemes of work. There are also activities with suggestions for using the sculpture to generate debate and awareness about environmental issues.
Background to the commission and Drury’s work in general
Background to Land and Environmental Art
Teachers notes to accompany Powerpoint of artists works (KS 3/4)
Suggested prompt questions for teachers to accompany Powerpoint (KS 1/2)
Lesson Plans and Activities to incorporate into ‘Fingermaze’ visit
Follow up and extension activities
Links
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1. Background to tHe commission and to drury’s work in general
Chris Drury is an internationally renowned artist who works with nature; it’s patterns, materials and forms. He was born in 1948 in Colombo, Sri Lanka and studied sculpture at Camberwell School of Art. Much of his work explores the connections between common patterns, shapes and movements that can be found in the natural world as well as in our own bodies. A theme that underscores all of the artist’s work is his belief in the interrelationship of all life, man as nature and not apart from it.
His work includes site-specific, nature-based installations such as temporary stone and wooden shelters, more permanent stone Cloud Chambers functioning as camera obscuras, as well as bundles of collected plants, stone whirlpools and mushroom spore prints. Drury has created environmental pieces all over the world.
Chris Drury was selected from many artists who responded to a brief to produce a piece of art in Hove Park based around an environmental issue and to promote more sustainable ways of living. The brief also required that the piece “enhance people’s experience of the city’s green spaces and communicate the contemporary message of environmental awareness.”
The work Drury made in Hove Park, titled ‘Fingermaze’, incorporates the design of a labyrinth into the patterns and whorls found in our fingerprints. These patterns are mirrored in the nerve endings of our fingers, the way in which liquids and blood travel through the body, in the weather system in the sky and patterns in the solar system. Chris refers to these vortex patterns as ‘a universal flow’. It is a recurring theme within his work and is exemplified in another of his works in Lewes, ‘The Heart of Reeds’.
On another level, ‘Fingermaze’ refers to how we touch and connect with the world and also alludes to human impact on the natural world.
Drury works both in galleries and outside. Often the pieces are temporary, like the mown ‘Fingermaze’ in Stanmer Park.
‘Fingermaze’ Stanmer Park. Mown in to grass, July 2006.
Photo by Roger Bamber
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Sometimes they are living... ...and many are permanent, like the piece in Hove Park
‘Fingermaze’ Hove Park, Stone and lime mortar. Photo Matthew Andrews
The labyrinth design used in Hove Park is based on a Cretan or classical labyrinth – an ancient, mystical pattern containing a meandering path to the centre, which is often used to symbolise the journey through life. A labyrinth differs from a maze in the sense that it has only one path to the centre, with no tricks or decisions to take. This is a right brain activity that frees the mind to contemplate. The earliest known design dates back from about 1500 BC. Labyrinths are found in many different cultures throughout history; from ancient fishermen walking a labyrinth to be lucky at sea to courtship rituals and pilgrims in churches.
Chris says: “This is a fingermaze with one path that leads you in a circuitous route into the centre. As such it is a contemplative journey to the interior. The Hopi Indians of Arizona, for whom it plays a part in their creation myth, say it is a symbol of rebirth, an interior womb encircled by the arms of Mother Earth. One can speculate that the female symbol was first derived from this labyrinth. To walk the path in, and then out again is an act of renewal. The work is a two dimensional drawing until it is walked; then it becomes a sculpture.”
The materials used in ‘Fingermaze’ are York stone and lime mortar. Lime mortar was chosen because its production uses less energy and leaves less of a carbon footprint than when using cement. Cement production is one of the major contributors to emissions of carbon dioxide - a greenhouse gas (every tonne of cement leads to the release of about one tonne of carbon dioxide). Over time the stones will weather and weeds and grass creep into the stones, makingthe outline more smudged and blurry like realfingerprints. Chris hopes that the piece willbecome assimilated into the life and landscapeof the park and give people something to wonder about. pa
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‘Heart of Reeds’ Living Reed bed, Lewes. 2004-present
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2. Background History oF land and environmental art
Land art has a history that stretches back into ancient times in many different cultures for example; cave paintings in Lascaux and the line drawings of Nazca in Peru.
More recently, during the 60s and 70s, the term Land or Earth art came to refer to art that concerned itself primarily with the natural environment. It was a reaction to the gallery led art market and the way in which art had become more of a commodity and was also symptomatic of the politics of the time. Artists became interested in the idea of art being ephemeral and not ownable and began to work with natural materials in a way that challenged ideas about what art could be. Work was made to be shown not in galleries but often in the open, subject to change and erosion. It often focussed on the innate beauty of the natural environment to provoke an emotional response from the viewer.
More contemporary artists continue to work within this tradition but have developed and expanded ideas about what art can be and created work to address specific environmental issues. Whereas land art started with the concept of the earth being a manipulative object, environmental or ecological art focuses more on the interrelationships between an individual and their cultural, social, economic and natural environment. Ecological art can take a variety of forms such as a work of protest, or a work that raises our awareness of ecological issues and the impact of our activities on the natural world. The genre may also link into social issues particularly where they have an impact on nature (eg. water use - Mark McGowan’s Tap Running). Work such as Richard Box’s ‘The Field’ takes this further highlighting the invisibility of many of the links between human activity and the natural environment. The genre is expanding as social and environmental politics, technology and awareness change.
To place Drury’s works within the larger context of the genres of environmental & land art.
To inform students own art work as well as generate discussion and debate about broader
environmental issues across the curriculum.
To challenge and expand notions of what might be considered the genre of environmental art.
To support, enrich and extend existing good practice in schools.
To provide a lasting resource in schools which can be used creatively.
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3. teacHers notes to accompany powerpoint oF artists works (ks 3/4)
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Aims of Images PowerPoint
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notes to accompany images
Slide 1. land art and environmental art. Title page.
Slide 2. lascaux cave paintings
The caves are situated in the Dordogne in South West France and were ‘discovered’ by two boys in 1940 that were exploring the valley. They are believed to have been painted some 15 to 17,000 years ago. The colours used are blacks, yellows, reds and whites produced from manganese and ochre all of which were local to the artists. The images were probably produced by sticks dipped into ground pigment and pigments. The images are of animals that they shared their environment with and hunted and probably had spiritual significance for them.
Possibly the best-known artist of the Land Art genre was Robert Smithson, an American whose most famous piece is the ‘Spiral Jetty’. Smithson arranged rock, earth and algae to form a long anti-clockwise spiral shaped jetty into the Great Salt Lake in Utah. The work is not always visible depending on water levels in the lake. During the 1980s the piece disappeared completely under 16 ft of floodwater, however possibly due to the effects of climate change, in 1999 it was visible again.
Slide 4. ‘Roden crater’, James Turrell, 1974-present
Probably the largest piece of land art so far is by another American artist, James Turrell. In 1972 he began work on Roden Crater in the desert outside Arizona. He is transforming an extinct volcanic crater into a huge observatory by digging tunnels and creating chambers from which to observe the natural beauty of the desert. Concerned essentially with light, Turrell is transforming Roden Crater into a space whose art is as much in the light of space and objects as it is in the spaces created in the crater.
Slide 5. ‘Incised Pyramid, Sphere, cube’, David Nash, 2000
David Nash is a British ecological or environmental artist (born 1945). He is internationally renowned for working with wood and his work aims to explore mans relationship with the environment. He only uses wood from trees that are about to or have fallen. He describes his work as a form of recycling. In the process of making his sculptures, he uses all parts of the wood and makes charcoal from the smallest scraps of the tree and uses it for drawing and in his sculpture.
(partly charred Cyprus, charcoal on canvas)
Slides 6 & 7. ‘Wooden Boulder’ Project, David Nash, 1978-present
As well as his work with wood he has worked on the Wooden Boulder project. This project uses nature and natural forces as the process of making the art work - the boulder is worn, weathered and moved by the elements and the artist’s role is one of observing and recording. In 1978, he rolled a large wooden sphere into a river near his studio in Wales and has been documenting it’s journey and changing environment since then. For 24 years it moved downstream, sometimes getting stuck for months and even years at a time. It was last seen in June 2003 stuck on sandbank. Nash says, “It is not lost. It is wherever it is”.
Slide 3. ‘Spiral Jetty’, Robert Smithson, 1970
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Slide 8. ‘Fingermaze’, chris Drury, stone & lime mortar, hove Park, 2006(See introduction to pack for background)
Slide 9. ‘Fingermaze’, chris Drury, mown grass, Stanmer Park, Brighton 2006
A temporary piece, mown into the grass in Stanmer Park. This can be used to explore the idea of temporary pieces of work within this genre. Could be linked to Richard Long and Andy Goldsworthy’s work. Another point to explore is how ‘Fingermaze’ didn’t develop as the artist intended due to the drought of the summer.
Slide 10. ‘Fingerprint Mural’, chris Drury, earth, Montalvo, 2005
Drury made this piece as part of an installation. The accompanying piece on the floor, ‘Sequoia Whirlpool’ is made from sequoia sticks arranged in a double vortex pattern. The fingerprints were collected from residents close to the gallery and enlarged and projected onto the walls. He coloured them using earth also collected from the local surroundings. See www.chrisdrury.co.uk for more detail and interviews.
Slide 11. ‘heart of Reeds’ chris Drury, living reed bed, lewes, 2004
‘Heart of Reeds’ is a living, evolving reed bed, created by Drury in 2004. It’s design is based on a cross section of the heart and the way in which the water moves through the form echoes the way in which blood travels through the heart. This pattern recurs throughout Drury’s work. See www.heartofreeds.org.uk for more information.
Slide 12. ‘Mahalakshmi hill line’, Richard long, Warli Tribal land, Maharashtra, India, 2003
Richard Long is an artist who makes art by walking in landscapes. He says “I wanted to make nature the subject of my work, but in new ways”. Making sculpture by walking grew out of working outside with natural materials. Through using walking as art he was able to explore the relationships between time, distance, geography and measurement. The walks are recorded through photographs, maps or textworks as a “distillation of experience”. This in turn has challenged traditional notions of what sculpture can be, an “imaginative freedom about how or where art can be made in the world”. Long describes how his sculpturesinhabit the rich territory between two ideological positions, namely that of making “monuments”, or conversely, of “leaving only footprints”. This photograph records a line made by the artist walking through the landscape of India.
Slide 13 & 14. ‘A Walking and Running circle’, Richard long, Warli Tribal land, India, 2003
Photograph 13 shows the artist ‘walking a circle’ in ash. Photograph 14 shows children enjoying the sculpture.
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Slide 15. ‘one hour’ Richard long, textwork, 1984
Long doesn’t always record his walks with photography. Sometimes using text is a moreappropriate way of “distilling the experience”. Here he records a sixty minute circle walk done on Dartmoor.
Slide 16. ‘The Field’ Richard Box, fluorescent tubes in power field, Bristol, 2004
Richard Box is an artist who is primarily concerned with light. One of his best known pieces of work, ‘The Field’, uses 1,301 fluorescent tubes, collected from hospitals and set into a field with power lines running over it. The idea developed after talking with a friend, who told Richard how he used to play with a fluorescent tube under pylons near his house. “He said it lit up like a light sabre”, says Box. The piece draws attention to the invisible electrical field surrounding the pylons: “I wanted to describe what happened within the field…there is always a power loss along any overhead power line, and the fluorescent tubes…make the power loss visible”. The amount of light emitted by the tubes varies depending on the weather and when a person walks in the field the amount of light plunges significantly.
Slide 17. ‘Brains’ Richard Box, neon tubes in power field, Wales, 2002
Although Box plays down any message within the piece about potential dangers from power lines, he went on to develop this idea by making neon tubes in the form of a brain with a spine attached which he photographed in a field in Wales under pylons.
Slide 18. ‘enlightening Globes’, Karen Moser, mixed media, 2003
Karen Moser is an artist living and working in Worthing, whose work is concerned with our perceptions of materials. She reuses materials in a wide range of processes from ceramics to photography and sculpture. (See Resource sheet 5 for the artist’s statement.)
Slide 20. ‘unnecessary car Journey’, Mark McGowan, 2005
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McGowan is a controversial, performance artist who draws attention to environmental concerns. In June 2005, he left a tap in a gallery in London running in protest against water wastage. He planned to leave it running for a year but was threatened by Thames Water who pointed out that wasting water is a criminal offence. Had the tap stayed on, it would have wasted about 3.9 million gallons of water.
Slide 19. ‘Running Tap’, Mark McGowan, 2005
Other acts of protest by McGowan have included leaving a car’s engine running and leaving one hundred lights on for a year. He uses the media to publicise and interpret his actions and some critics have questioned his ecological motives and argue his work is publicity based. The level of contentiousness is a good debating point for students.
Simon Starling is a Turner prize winning artist whose work focuses on transformations. He says that he is: “unhappy with the relationships between people and things and ultimately seeks to alter that relationship”. This photograph shows a part of an installation he made as a result of a journey across the Tabernas Desert in Andalucia, Spain. He made the journey on a specially adapted moped whose engine had been adapted to run on hydrogen and oxygen.
Slide 21. ‘Tabernas Desert Run’, Simon Starling, mixed media, 2004
Douglas White is an artist who takes decaying objects, discarded waste and objects which have generally been cast aside as useless or irrelevant and breathes new life into them. From rotten trees, lightning struck pine and exploded tyres, this reinstating of objects that no longer have a specific use provides us with a new way of looking at objects and materials. This palm used two tonnes of tyres shipped over from Belize by Ffyes the banana company. The title of the work refers back to the Greek myth of Icarus who flew too close to the sun. The blackness of the rubber tyre lends the work an appearance of a charred, dead tree. Parallels could be drawn with our own society “having flown too close to the sun in our fervent need to have it all, and our heedless pursuit of wealth at the possible cost of the planet”. It also reminds us of David Nash’s sculptures using charred wood. His sculpture is part of the collection of the Cass Sculpture Foundation at the Goodwood Estate, West Sussex.
Carter made this solar powered ice cream van for Whitstable Biennale. It is a good example of a sustainable project - using only solar power to produce ice cream and at the time when the commodity is most needed i.e. making the ice cream when the sun shines and demand is high!
4. suggested prompt questions For teacHers to accompany powerpoint (ks 1/2)
These are intended merely as prompt questions when looking at the images. There is a lot to be gained from a free, open-ended discussion as students often have a huge capacity to interpret and respond intuitively to works and to make links between the works of artists.
Slide 1. land art and environmental art.
What can you see in the picture?
Why do you think whoever made these images chose that subject?
How have they made the images?
What about the type of colours they have used? What have they painted onto?
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Slide 2. lascaux cave paintings
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Explain what the two terms, environmental art and land art mean.
The only waste produced from this piece was the water that he used to produce a watercolour of a cactus which he saw in the desert. Perhaps his choice of subject refers to the efficiency of the natural world at living in its environment in contrast to mankind’s . Another of his works, ‘One Ton’ is a series of five handmade platinum prints that depict the extraction of one ton of ore from a South African mine that made the printing plates.
Slide 23. ‘Icarus Palm’, Douglas White, discarded tyres, 2005
Slide 24. ‘Sustainable Indulgence’, Justin carter, 2004
Slide 22. ‘Tabernas Desert Run’, Simon Starling, watercolour on paper, 2004
The caves are situated in the Dordogne in South West France and were ‘discovered’ by two boys in 1940 that were exploring the valley. They are believed to have been painted some 15 to 17,000 years ago. The colours used are blacks, yellows, reds and whites produced from manganese and ochre all of which were local to the artists. The images were probably produced by sticks dipped into ground pigment and pigments. The images are of animals that they shared their environment with and hunted and probably had spiritual significance for them.
Slide 3. ‘Spiral Jetty’ by Robert Smithson,1970
Which materials has the artist used here? What about the forms or shapes?
Smithson arranged rock, earth and algae to form a long anti-clockwise spiral shape jetty into the Great Salt Lake in Utah. The work sometimes isn’t visible depending on water levels in the lake. During the 1980s the piece disappeared completely under 16 ft of floodwater, but possibly due to the effects of climate change, in 1999 it was visible again.
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Slide 4. ‘Roden crater’, James Turrell, 1974-present
• What do you think James Turrell is trying to communicate with his work?
James Turrell is undertaking a huge project by transforming this extinct volcano into a natural observatory. He is building tunnels and chambers to draw attention to the beauty of the landscape and light surrounding the crater and when the project is eventually finished, visitors will be allowed in to view the piece of art - the crater itself and it’s surrounding environment.
Slide 5. ‘Incised Pyramid, Sphere, cube’, David Nash 2000
Which materials has the artist used?
What about the shapes? How are they different from the sort of shape used in ‘Spiral Jetty’?
Explain to the students that David Nash works a lot with wood but will only use wood that is about to be felled or has fallen (Beech in this piece). He sees his work as a form of recycling and is careful to use every part of the tree - even making his own charcoal from the smaller parts to use for drawing. He uses strong geometric, almost mathematical forms frequently. Could the students apply this principle when they are working?
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Slides 6 & 7. ‘Wooden Boulder’ Project, David Nash, 1978-present
How did the boulder end up here? Is it in its natural surroundings?
Has it been there a long time? What clues have we got?
Explain ‘The Boulder Project’ to the students (see Teacher’s notes & web link for interview with Nash). An interesting point to pull out of these works is the role of the artist - working with and alongside nature. Could also be a source of inspiration for a piece of writing about the boulder’s journey?
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Slide 8. ‘Fingermaze’, chris Drury, stone & lime mortar, hove Park, 2006
Use the teacher’s notes and introduction to this pack to put his work into context and highlight the theme of patterns connecting us to our environment and getting us to use and enjoy the city’s green spaces (Could link to PSHE environment work).
Has anyone seen the sculpture in the park? Does the shape remind you of anything?
Why do you think the artist chose that form?
What materials has he used? Why?
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Slide 9. ‘Fingermaze’, chris Drury, mown grass, Stanmer Park, July 2006
Did anyone see the piece in Stanmer Park? This piece is the same form as the Hove Park
Fingermaze and was mown in to the grass during the summer of July 2006 and is therefore a
temporary piece.
Why do you think the artist chose to make the piece a temporary one?
How do you think the piece will change during the year?
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Slide 10. ‘Fingerprint Mural’ chris Drury, earth, Montalvo, 2005
Which patterns has the artist used on the walls? What about the colour he has used?
Do the patterns remind you of anything else?
Drury made this piece as part of an installation. The piece on the floor ’Sequoia Whirlpool’ is made from sequoia sticks arranged in a double vortex pattern. The fingerprints were collected from residents close to the gallery and enlarged and projected onto the walls. He coloured them using earth also collected from the surroundings. See www.chrisdrury.co.uk for more detail and interviews.
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Slide 11. ‘heart of Reeds’ chris Drury, living reed bed, lewes, 2004
What can you see? Do you think this is natural or man-made?
Do you notice any patterns? (See teachers notes for more information)
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Slide 12. ‘Mahalakshmi hill line’, Richard long, Warli Tribal land, Maharashtra, India, 2003ia, 2003
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Richard Long is an artist who makes art by walking. He has made walks all over the world and records them by taking photographs, writing texts or using maps.
What can you see in this photograph?Where do you think it was taken?Why do you think the line on the ground is ‘wiggly’?Will this sculpture always be here?
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Slide 16. ‘The Field’ Richard Box, fluorescent tubes in power field, Bristol, 2004
What do you learn from this work? Why are ‘invisible forces’ or effects important when we think of environmental issues?
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Slide 17. ‘Brains’ Richard Box, neon tubes in power field, Wales, 2002
Slide 18. ‘enlightening Globes’, Karen Moser, mixed media, 2003
Which materials has the artist used here?
What about the shapes?
Why do you think she chose the shape and materials?
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See artist statement Resource sheet 5. The materials she has used here are found materials: cork, plastic bottle tops, glass washed up on the beach, can ring-pulls and plastic carrier bags. She has used a sphere to represent the globe and the effect our use of materials has on the earth.
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Slides 13 & 14. ‘A Walking & Running circle’, Richard long, Warli Tribal land, India, 2003
Slide 15. ‘one hour’ Richard long, textwork, 1984
Who do you think the person in the photograph (13) is? What do you think he is doing? Why?•
The person in the photograph is the artist ‘walking the circle’. He is walking in ashes. Slide 14 shows local children enjoying the sculptures.
This is an example of a piece of text work by Richard Long. This piece records his experiences and impressions on a circular walk he made walking on Dartmoor for one hour.
Why do you think the artist chose words to record this walk?Why do you think the artist chose this form for the words? Is it an effective way of communicating his experience of that walk?
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Is this a good way to make people more aware about wasting water?
Mark McGowan is performance artist whose high profile actions draw attention to environmental problems. In ‘Running Tap’ he wanted to leave the tap of an art gallery running for a year to draw attention to water wastage. However, he was threatened with legal action, as wasting water is a criminal offence.
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Slide 19. ‘Running Tap’, Mark McGowan, 2005
He sees his walks as land sculptures, which lie in between wanting to make monuments but at the same time “leaving only footprints”. This photo records a walk made in rural India. The line on the ground was made by him walking backwards and forwards. It’s ‘wiggly’ form echoes the contours in the ground and points our eye towards the peak of the mountain.
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Slides 21 & 22. ‘Tabernas Desert Run’, Simon Starling, mixed media, 2004
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Justin Carter made this solar powered ice cream van. It is a good example of a sustainable project - using only solar power to produce ice cream and is a perfect exemplification of how only to produce a commodity when it is needed i.e. ice cream is made when the sun shines and demand is high! ‘Sustainable’ can be defined as something that uses natural resources without destroying the ecological balance of a particular area.
Slide 23. ‘Icarus Palm’, Douglas White, discarded tyres, 2005
Douglas White is an artist who uses materials that might otherwise be thought of as useless or waste and makes art with them. Here he has used exploded tyres to represent the form of a palm tree. The sculpture uses two tonnes of tyres. The title refers to the Greek myth of Icarus flying too close to the sun. The piece has a burnt out dead look to it which is in great contrast to its green living surrounding in the Sculpture park at Goodwood, West Sussex. The piece could be interpreted as society’s pursuit of wealth and ownership as flying too close to the sun and ignoring the cost to the planet. It reminds us of David Nash’s work and also the way that Karen Moser uses reclaimed materials.
Which materials do you think the artist has chosen? Why?
The title of the work is ‘Icarus Palm’ . Has anyone heard of Icarus before?
Why do you think the artist chose this title?
Where is the sculpture?
Does it remind you of any other artist’s works?
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Slide 24. ‘Sustainable Indulgence’, Justin carter, 2004
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Can you think of other environmental problems that Mark McGowan could make protest acts about?
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Slide 20. ‘unnecessary car Journey’, Mark McGowan, 2005
This is one part of an installation made by Simon Starling as a result of a journey he made through the Tabernas Desert in Spain. He adapted the bike into a moped with an engine that ran on hydrogen and oxygen. The only waste this produced was water that he used to produce the watercolour of a cactus shown in slide 22. Perhaps his choice of subject refers to the efficiency of the natural world at living in its environment in contrast to mankind’s .
Why do you think the artist chose to paint a cactus?What does the artist’s journey stand for or represent?
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What does the title mean? Can you think of any other sustainable practises?
Can you think of other ways of defining sustainable?
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Other protests have included leaving a car’s engine running and leaving 100 lights on for a year.
5. Lesson pLans & activities to incorporate into ‘Fingermaze’ visit5.1 a visit to ‘Fingermaze’ in Hove park to inspire making a piece oF Land art (aLL key stages)
Learning Objectives Possible Activities Resources/ Notes
Exploring & Developing ideas To become aware of codes, conventions and ways of representing ideas through works of art.
To begin to understand concept & role of public art. (KS3: idea & process of commissioning)
To record from first hand observations and collect ideas to inform own work.
Use the images to introduce the students to Chris’s work and it’s main themes. Look at other examples of artists working within this genre. (KS3: Look at commission brief by Council. Resource sheet 1) Discuss student’s own experience of other public art and their perceived impact of it on the environment.How do they think it will change park users experience of the park? Visit the sculpture in Hove Park
How does the piece look from a distance and from up close? Why do you think the artist chose this specific site and the materials? How specific is this piece to this particular site?Think about Drury’s statement “The work is a drawing until it is walked.” Walk the labyrinth.Explain to students they are going to use this trip to generate ideas to produce their own piece of work in an area at school to highlight an issue (i.e. to make more people use an area, to improve the quality of a site etc.)Look around the park; collect visual information using digital cameras, sketches, leaves, etc. to use for group sculptures at school.
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Image slide showResource sheet 1
Emphasise artist’s intention that an element of the work is contemplative.
Digital cameras, sketchbooks.Remind students not to harm / remove living things.
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NB: Students need to walk the grass path into the centre and not the stone path.
5.1 a visit to ‘Fingermaze’ in Hove park to inspire making a piece oF Land art (aLL key stages) (cont)
Learning Objectives Possible Activities Resources / Notes
In the class
Share opinions, data, and visual information from trip to sculpture. In small groups identify an area around the school or their immediate environment where a piece of public art with an environmental theme could be situatedDraft up initial ideas and responses, emphasising group decisions and including everyones opinions. Explain choice of site and impact on design. The piece could be ephemeral or semi permanent but should be sympathetic to environmental issues. It could be functional i.e. a shelter / arch from withies or decorative / sculptural. (See Drury’s woven shelters). Materials could be natural, found objects (from trip?) or recycled / reclaimed.Present initial sketches and designs to the rest of class for feedback. Adapt and modify designs.Make own piece of work and photograph. Groups could then incorporate all aspects of process - initial designs, materials, modifications etc. to present their work to a larger audience.Review and evaluate work with rest of class. Why is the piece successful? What problems were there to be solved during the making process? How have materials been used? Does the work achieve it’s aims?
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Investigating & MakingTo communicate ideas in a variety of ways with a range of media.To use materials and images to create a piece of work with a specific purpose and audience.
To work collaboratively and adapt and synthesise ideas during the making process.
Withies, found natural objects, recycled or reclaimed objects.
If outside access is problematic or weather too nasty, the students could be given printed digital photos of a site glued onto card to act as a backdrop for smaller models or individual pieces of work.
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To analyse and evaluate own work.To reflect on process and express opinions and judgments. To respond to others’ and own evaluations of work.
Evaluating & Developing Work
Learning Objectives Possible Activities Resources / Notes
5.2 eartH Fingerprints (key stage 1/2)
Chris Drury has made series of works based on the patterns or whorls found in fingerprints. When he made “Fingerprint Mural” (see slide 9 and web links) Drury projected images of fingerprints onto a wall, and then had his assistant paint latex onto the white areas and paint the wall with dirt. When the latex was removed, the result was a series of interwoven fingerprints painted with materials that refer to the patterns prevalence in nature. This process can be adapted for use in the classroom.
Exploring & Developing ideas
Investigating and making
Look at examples of Drury’s work involving fingerprints. Discuss his fascination with the pattern and where else the pattern can be found.Show the students examples of fingerprint patterns. Identify own patterns (see Numeracy / science link).
With magnifying glasses get the students to make careful observational drawings of their prints; first in pencil then in thin black felt pen.Enlarge these to at least A3. Copy the patterns or parts of the patterns which interest the students the most onto thicker watercolour paper using wax crayon or oil pastel (black or white look best). These can then either be washed / sprayed, sponged, printed or rolled over with earth coloured water colour washes or pigment, or powder paint, or, more authentically, soil (bagged peat free compost).Alternatively, the drawings could be copied onto acetates, projected onto large sheets of paper on the wall and traced around or use wax relief as above.
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Magnifying glasses, pencils, fine line felt pens, black or white wax crayon or oil pastel, powder paint / pigment, soil or compost.
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Images of Drury’s work using fingerprints.
Learning Objectives Possible Activities Resources / Notes
5.2 eartH Fingerprints. (key stage 1/2)
Develop or experiment with relief
Paint fingerprint patterns or trickle PVA onto shiny card or paper, rub in pigment / soil then peel off PVA to reveal print.Make string and card relief printing blocks - this is good for exploring repeating and rotating patterns. Rub soil / pigment into paper and then print finger patterns on top.
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Incorporating ICTScan / photograph line drawings of fingerprints into paint package (‘Dazzle’, ‘Photoshop’ or similar). Experiment with manipulating images by cutting and pasting, filling, using effects. Save and print onto either A4 paper to make up group tiling or onto acetates to hang in light.Identify strengths & weaknesses in work when presenting to rest of class. How well did they use materials/form/colour etc. and to what effect?How could they further develop their work?Maybe send copies of their work to Chris Drury?
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Evaluating & Developing Ideas
Imaging software, scanneracetates
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PVAShiny card, string, printing trays, rollers, block printing ink, pigment, soil.
curriculum links
links to curriculum / qca scHemes oF worksactivity relevant ks
5.1 Visit to ‘Fingermaze’ 1, 2, 3 & 4 Art & Design: QCA schemes
‘Visiting a museum, gallery or site’1c, ‘What is Sculpture?’2B ‘Mother Nature - designer’7B ‘What’s in a building?’8C ‘Shared view’9C ‘Personal places, public places’
Citizenship: QCA schemes
6 & 18 ‘Developing our school grounds’9 ‘Respect for property’ / People & the environment KS4 ‘Global issues, local action’
Literacy, Numeracy, D.T. ICT
Geography QCA schemes
1 ‘Around our school’8 ‘Improving our environment’21 ‘How can we improve the area we can see from our window?’14 ‘Can Earth cope?’
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5.2 Earth Fingerprints 1 & 2 Art & Design
6.1 Debating theimpact of environmental art
1, 2 & 3 Literacy
Drama
6.2 Creating an environmental art exhibition
2,3 & 4 Literacy
ICT
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Speaking & Listening•
Speaking & ListeningWriting
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D.T.
ICT
Art & Design
Literacy
6.8 Design & make a poster
links to curriculum / qca scHemes oF worksactivity relevant ks
6.3 Crime against Nature?
2 & 3
6.5 Weaving Art & Design
• QCA scheme ‘2C Mother Nature - designer’
2 & 3
6.6 What do you think? Data Handling
2,3 & 4 Mathematics
• Data Handling
Geography
ICT
Citizenship
2 & 3 D.T.
ICT
Literacy
• Persuasive writing
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6. Follow up and extension activities
Taken that one of the aims of ‘Fingermaze’ is to draw our attention to wider ecological issues and the way in which we interact with our world, the piece is good to use as a starting point for a discussion or debate about the role of art in communicating ideas.
6.1 deBating tHe impact oF environmental art
Aims
Look at the images of ‘Fingermaze’ in the Image pack (slides 8 & 9). Discuss location, materials and form. Explore student’s opinion about the piece. Have any of the students visited the sculpture? How do they feel it might affect the environment of the park? (Could be linked with Data Handling activity 6.6).
Present the following statements to the students to discuss in the light of Drury’s work: - Can a work of art say a thousand words? Is art an effective way of communicating environmental ideas? - Does art in public places improve our experience of that environment or is there a more effective way of doing this? Why do we want to improve our experience of our environment - what does this tell us about our deeper desires? ‘Literacy in Art & Design, KS3’ (ref.DfES 0054/2002) has a really useful framework to focus language work.
Scribe the main points from the discussion and give each group a point to develop into an argument to debate.
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Activities
extension
To explore the impact of environmental art on the public.
KS 3/4
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This could be developed into some drama work with students taking the role of a news reporter or pleased / angry park user etc. at the site of ‘Fingermaze’ (use the slide as a backdrop for performance). Data collection could be used as ‘evidence’ to support their points of view. This could be videoed and presented to other classes or schools.Have students research other examples of environmental art that have had an impact on the environment (eg. WEEE Man). Ask them to explore them using the same questions above.
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KS 2/3/46.2 creating an environmental art exHiBition
Aims
Introduce the students to the range of artists and approaches within the genre using the image pack and teacher’s notes. Identify common concerns, themes etc.Divide class into small groups. Explain to them that they are to be curators of an Environmental Art exhibition - they will get to decide as a group which images can be selected for the exhibition. Selection criteria could either be personal preference or effectiveness at communicating an ecological message. Teachers might want to limit the number of choices each group can make dependent on time and space.In their role as the selection committee, each group must present their selections to the rest of the class, explaining their choices with reasons.
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Activities
Provide groups with examples of gallery guides or brochures. Explore type of text used. Ask groups to provide own texts to accompany their choices for the exhibition.Make a whole class exhibition that is an accumulation of the group’s work. Write a guide, posters and invite younger students to the show. Incorporate ICT in the production of leaflets. (Adapted from Hampshire LEA, Art & Literacy at Key Stage 3)
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To identify the common concerns of artists working within the genre of land or environmental art. To be able to compare and comment on ideas, methods and approaches used in artists work and relate them to the context in which they were made. To work collaboratively within a group.
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Aims
Activities
extension
KS 2/3
You could adapt this to incorporate other local geographical features or work on myths and legends e.g. the legend of how Devil’s Dyke was created or the Goldstone that is also situated in Hove Park. (See Resource sheet 2).
PoetryAsk the students to walk the grass path of the labyrinth and jot down words and feelings that come to mind as they are walking. What can they see, feel, hear, and touch? How does it feel on the journey in, at the centre, on the way out? These words could then be arranged as a shape poem - maybe in the form of a labyrinth (Resource sheet 3 has a template of a Cretan labyrinth for jottings or final piece). Look at examples of Richard Long’s textworks that describe walks he has made to inspire the student’s work. Alternatively they could be used for the inspiration for drawing or painting the landscapes they evoke.
Letter writingWrite a letter to the artist expressing your opinions about the work or asking him questions.
LeafletDesign a leaflet or poster to let people know about Drury’s sculpture in the park. This could be an information board to be situated next to the piece. (NB: The council has produced a leaflet to accompany ‘Fingermaze’ in Hove Park, which you may wish to use as an example).
6.3 crime against nature?
To use the sculpture as a starting point for a piece of creative writing.
Fingerprints are often used by the police to solve crimes. Imagine Hove Police are called to the park one morning as a giant fingerprint has been left. Who left the print behind? Did they do it intentionally to leave us a message?
Visit or look at the images of Chris Drury’s ‘Fingermaze’ in Hove Park. Put yourself or students in the role of either a park user or a police officer receiving a call reporting the fingerprint. Scribe the students’ ideas for developing the story. Get the students to describe the form and materials as accurately as possible. Focus on the message that the owner of the fingerprint has left to highlight the ecological aspect of the sculpture. Try to get the students to incorporate this into their work.This could be developed into a narrative piece of writing or as a play script and performed at an assembly or to other students.
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ALL AGESAims
Activities
extension
Draw your own Cretan labyrinth (KS3/4) or maze (KS2). Instructions on how to draw a Cretan labyrinth are included in Resource sheet 4 or an animation for interactive whiteboards can be found at:
www.lesson4living.com/drawing.htm
This could be developed by using the drawing as a basis for making a 3D labyrinth or maze with papier mâché or ‘Mod-Roc’. Design and make a 3D finger maze for a partially-sighted person.
6.4 more aBout mazes and laByrintHs
To use a range of non-fiction and fiction texts to investigate the history and cultural significance of mazes and labyrinths. To use ICT databases to retrieve information about mazes and labyrinths. To work collaboratively.
Using either ICT databases or reference books, divide the class into small groups and give each group a small topic to research. Limit web use to specific sites (see links page). Topics could range from the history of labyrinths to more specific topics i.e. ‘Theseus & the Minoatur’ depending on the ages of the students and the approach of the teacher.Arrange an ‘information exchange’ where groups devise the best way to share their discoveries with the rest of the class. This could be in the form of a poster, video, slide show or talk etc. Encourage the students to decide for themselves which medium would be best for their chosen audience.
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One million tonnes of textiles are put into landfill each year in the UK. Old clothing and textiles can be recycled or taken to charity shops instead of being thrown away. Old textiles could also be used in this activity to make ‘rag rugs’.Fence weaving - this activity lends itself well to being done outside through weaving old plastic bags through wire fences to make shapes and patterns, which can brighten up school grounds.
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6.5 weaving
A staggering 150 million plastic carrier bags are used in the UK every week. On average each person will use / consume 290 plastic carrier bags a year (www.recyclenow.co.uk). Plastic carrier bags are made from polyethylene - a type of plastic that is non-degradable and may take hundreds of years to break down. Although some supermarkets recycle them, they are still a huge contribution to landfill and pollution. We can reuse bags or take a canvas bag shopping with us. Environmental artist Dan Peterman said, “Waste is a resource in the wrong place”.Aims
Activities
extension
To expand student’s ideas about materials use. To raise awareness of reusing and recycling materials. To work collaboratively within a group.
Ask students to collect a range of plastic carrier bags from home to bring into class. What normally happens to plastic carrier bags in their home?In small groups sort the bags into colours. Are some types of bags more popular than others? The bags need to be split. The best way to do this is with scissors by cutting through the top seams of both handles and then splitting down each side. Open the bag out flat. To have a finer textured weaving, twist the bag into a long thin strip or for a ‘puffier’ texture leave it unrolled. These will be the weft or horizontal ‘threads’.Make a ‘loom’ from an old cardboard box flattened and with grooves cut into the ends. These can be as big or as small as you want. Warp or lengthwise ‘threads’ can be made from black big bags or string slotted into the grooves. This website contains some useful diagrams to explain the process: www.thriftyfun.com/tf517076.tip.html.Weave the carrier bags into the ‘loom’. Tie the carrier bags together - probably three at a time is a manageable length. Tie the bags to the warp and start weaving! Consider colour arrangement.When you have finished weaving and have filled up the loom, tie off the end in the corner. To remove the rug from the loom, cut the warp threads across the top edge of the loom. It is best to cut them two at a time, and then tie them together before cutting anymore.
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Activities
The theme of the data collection can be adapted for a specific focus. A few suggestions specific to ‘Fingermaze’ are: - Do the park users feel that the sculpture has improved the environment of the park? - Has the sculpture encouraged them to visit the park more often? - Has the sculpture changed the way they use the park? - Do they like the piece? How does the work make them feel? - These could form the basis of a questionnaire or could be used as ‘question cards’ to prompt park users.
The students should be encouraged to find ways to represent the data they have collected. (See Activity 6.1 ‘Debating the Impact of Environmental Art’).
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6.6 wHat do you tHink? [data Handling] ALL AGESpa
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To collect opinions from park users about the artwork. To analyse and present data they have collected. To use appropriate ICT packages to present their data.
Aims
Activities
extension
Brainstorm anything that the students have seen or heard that has encouraged them to think more carefully about their behaviour and changing their behaviour, in relation to environmental issues. Discuss tactics employed in these examples e.g. some road safety TV advertisements use shock tactics. Try to list campaigns specifically aimed at environmental issues.Use the web links to find out facts to use in their own poster e.g. a common presumption is that individual action isn’t enough to bring about change, however, one fact is: ‘The energy saved by recycling one plastic bottle will power a computer for 25 minutes’. Encourage the students to steer away from broad slogans such as ‘Recycle now – it’s good for the planet’ and use lesser known facts and aspects or facts relating specifically to their local environment. www.bpec.org Brighton Peace & Environment Centre’s website www.magpie.coop Brighton & Hove’s recycling co-operative www.recyclenow.com/facts/index.html www.chemsoc.org/exemplarchem/entries/2004/bristol_whitehead/facts.htm www.southernwater.co.uk/educationAndenvironment/ www.brighton-hove.gov.uk/cityclean
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6.7 make posters
Artist included in this pack have sometimes used art to portray an ecological message. Is this effective? Are posters a simpler, more direct way of getting across an idea or encouraging people to change their actions?
ALL AGES
Aims
To explore a range of public information posters and advertisements. To discuss their impact and effectiveness. To produce own poster to communicate an environmental fact to encourage people to reduce, recycle and reuse resources.
Use ICT in design and layout. Incorporate photos from around the immediate environment. Use as part of an environmental campaign in school to change behaviour in school.
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7. resource sHeets
Original commission brief for Park Art to accompany lesson 1Legend of Devil’s Dyke and the GoldstoneCretan labyrinth templateHow to draw a Cretan LabyrinthArtist’s statement – Karen Moser
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KS 2/3/4Aims
Project brief for ‘Park Art’ commission
resource sHeet 1 (For ks3 extension)
message of environmental awareness. The commission is offered for an artistic input into at least 2 parks or open spaces in the City, one of which must be Hove Park. It must result in at least one permanent work of art in Hove Park but can incorporate less permanent forms of art or performance as part of the overall commission.
Three underlying themes have been identified for the work, all of which should be acknowledged within proposals for the commission. The themes are:
linkage. We are keen to explore ways in which we can connect individual parks, gardens and open spaces within the City (and possibly beyond) with a view to encouraging usage and awareness of the number and range of the City’s parks, gardens and open spaces (connectivity, exploration and awareness).local distinctiveness. We are looking for something that acknowledges links to the local identity of spaces within the City, i.e. work should be site specific and therefore be developed out of and in response to its site, for example, with reference to the site’s physical nature, environmental connections, history, etc. Interactivity. We would like to see an element of involvement enabling active participants as well as passive observers, for example, artwork that may also be a focus for education, performance or play.
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Brighton and Hove Arts Commission is excited to offer a commission for artwork that will enhance people’s experience of the City’s green spaces and communicate the contemporary
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Part of the legend of the creation of the Devil’s Dyke is that in his rage at being disturbed from his work, the Devil threw down a stone - the Goldstone (or Godstone) that is now at the south entrance of Hove Park. It is said that a human face can be seen on one side of the stone.
resource sHeet 2The legend behind the creation of Devil’s Dyke
Local folklore explains the valley as the work of the devil. The legend states that the devil was digging a trench to the sea to flood Sussex. He wanted to do this to flood all the churches of the Weald. His digging disturbed an old woman who lit a candle, causing a rooster to crow; making the devil believe the morning was fast approaching. The devil then fled, leaving his trench incomplete. It is said that as the clumps of earth from his digging landed, they formed the nearby Chanctonbury Ring, Cissbury Ring and Mount Caburn.
Another story holds that rather than digging to flood the county, the Devil was simply in a huge goat-like form, intending to crush the surrounding area. He smelt the tang of salt water in the wind, and fearing his coat would get damp, he fled leaving nothing but a hoof-print – the form of the Dyke.
The legend behind the Goldstone in hove Park
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cretan labyrinth template
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how to draw a cretan labyrinth
resource sHeet 4
Draw a cross. Now draw an ‘L’ in each of the four quadrants and place a dot at each angle of the ‘L’. This is the ‘seed’ of the labyrinth. (fig.1). (Start with the seed in the centre of your page to allow enough room for the labyrinth to grow).Place your pencil at the top of the cross and draw a curve connecting this line to the next line to the right. (fig.2)Now move to the top of the next line on the left and connect it to the next dot on the right.Continue connecting each line and dot, always moving from top left to next unconnected line or dot on the right. Your completed labyrinth should be one continuous route to the centre.
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Another factor in my choice of materials is my desire to draw new meaning out of objects that are generally regarded as mundane or just plain rubbish. To question society’s sense of value seems a worthy cause and is a recurring theme in my work. While the ‘Enlightening Globes’ installation expresses environmental concerns through it’s use of ‘throw away’ materials ranging from sea-worn glass to bottle tops, ‘The Discarded Regarded’ installation addresses paper information bombardment and although the spheres are ceramic, paper was used in their formation which later burned away in the firing process. Perhaps my use of tumble dryer fluff in ‘Sheddings’ is my most quirky use of recycled materials. I played no part in the formation of these samples; just removed them from the machine and displayed them in a wooden case.
I am presently working on forming a series of boxes from used brochures, etc. and also using paper that I have printed my own images and text onto. This is work in progress but these little boxes have started to take on their own identity and are constantly generating new ideas.
Please email Karen at: [email protected]
resource sHeet 5
Artist’s statement - Karen Moser
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Recycled materials frequently find their way into my artwork and I think that this comes from both an awareness of the throw away age we live in and my personal need ‘not to waste’. “
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cHris drury
www.chrisdrury.co.ukwww.heartofreeds.org.uk www.villamontalvo.org/va_drury.html (‘Fingerprint Mural’)
land and environmental art & artists
Robert Smithson [www.robertsmithson.com | www.spiraljetty.org]
James Turrell [www.pbs.org/art21/artists/turrell/index.html]
Andy Goldsworthy*[www.sculpture.org.uk/artists/AndyGoldsworthy | www.eyestorm.com/events/goldsworthy]
Richard Long [www.richardlong.org]
Christo [www.christojeanneclaude.net]
David Nash [www.annelyjudafineart.co.uk]
Red Earth [www.redearth.co.uk]
Richard Box [www.richardbox.com]
Mark McGowan [www.markmcgowan.org]
Douglas White [www.whitehousearts.com]
Simon Starling [www.tate.org.uk/britain/turnerprize/2005/simonstarling.htm ]
Delete! Project [www.steinbrener-dempf.com]
* A video/DVD documenting Goldsworthy’s work “Rivers and Tides: Andy Goldsworthy Working with Time” [VHS and DVD] Color, 90 min. New Video Group, 2004.
Artists
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Brighton & Hove City Councilwww.brighton-hove.gov.uk www.brighton-hove.gov.uk/citycleanwww.brighton-hove.gov.uk/sustainabilityKings House, Grand Avenue, Hove, BN3 2LS(01273) 290000
Brighton & Hove Arts Commissionwww.brightonandhoveartscommission.org.ukKings House, Grand Avenue, Hove, BN3 2LS(01273) 293906
KS 2/3/4Aims
Green museum [www.greenmuseum.org]An online museum with a huge range of environmental art. Good ‘educators toolbox’ for teachers and reference for KS3+
Lists art movements & artists [www.the-artists.org]
land and environmental Art
General environmental education
Learning through Landscapes [www.ltl.org.uk]
Art and environmental activities [www.naturegrid.org.uk/expart/index.html]
The Council for Environmental Education [www.cee.org.uk]
Eco-Schools [www.eco-schools.org.uk]
Arts & Ecology [www.thersa.org.uk]
Friends of the Earth [www.foe.co.uk]
Brighton & Hove Peace & Environmental Centre [www.bpec.org]
The Green Pages [www.bpec.org/node/48]
The Earthship, Brighton [www.lowcarbon.co.uk]
Carbon balancing [www.clevel.co.uk]
Sustainable Technology (KS3) [www.stepin.org]
National Association for Environmental Education [www.naee.org.uk]
General background info about Cretan labyrinths [www.uucfl.org/labyrin.htm]
Animation on drawing labyrinths[www.lessons4living.com/drawing.htm]
General history and significance (KS2-3) [www.labyrinthos.net]
Examples of mazes to solve and copy (KS 1-3) [www.mazes.org.uk]
labyrinths & Mazes
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Scrap stores aim to reduce the amount of material being sent to landfill for recycling by col-lecting unwanted materials from local businesses and offering them usually on a subscription basis. They can provide some excellent and unusual materials for 3D modelling work. The nearest stores to Brighton & Hove are:
Alchemist Scrap StoreWorthing. Meadow Road Depot, Meadow Rd. Worthing
Tel: 01903 239999 | www.the-alchemist.org.uk
Flotsam & Jetsam Scrap StoreLewes. Based at the Community Recycling Centre, North Street
Tel: 01273 486619 | Email [email protected]
Magpie recycling co-opwww.magpie.coop
Brighton and hove Wood Recycling ProjectUnit 32-36 Municipal Market, Circus Street, Brighton BN2 9QF
Tel: 01273 570 500 | www.woodrecycling.org.uk
resources & suppliers
Willow or Withies for sculptural work:
Jacobs Young & Westbury ltdBridge RoadHaywards HeathWest SussexRH16 1UA
Tel: 01444 412411 | Fax: 01444 457662 | Email: [email protected]
Musgrove Willows, Somersetwww.musgrovewillows.co.ukThey also supply living willow shoots for growing tunnels/shelters etc.
Natural, reclaimed or recycled materials
Scrap stores
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KS 2/3/4AimsThis resource has been commissioned by Brighton & Hove Arts Commission and Brighton & Hove City Council.
The resource has been funded through the Urban Cultural Programme. Additional funding has been provided under the ‘% For Art’ scheme by Mountgrange (Hove) Ltd.
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