Tag Archives: printmaking

A Journey with Mary Webb School

16 Jul

Earlier this month, it was my pleasure to lead a project under the Meadow Arts Inspires arts education programme with 14 Year 9 children and teachers at Mary Webb School and Science College in Pontesbury.  The project took place over four days from 2nd July to 5th July 2019 and supports Meadow Arts work towards the Arts Council’s goal 5 for children and young people.

The project explored the theme of Journey using found materials from a rural landscape.  I adopted a spiral as a symbol of a life journey in which a person keeps close to inner beliefs and experience but continuously moves outwards to new and wider horizons.  The work was also built around a quote from Rebecca Solit’s book ” A Field Guide to Getting Lost” after Plato’s “Meno”:

That thing the nature of which is totally unknown to you is usually what you need to find and finding it is a matter of getting lost”

I hoped that the project might help the students develop ways of working so that they could find independent solutions to problems from uncertain situations in which there are many choices.

Aims

High level aims for the project were to:

  • Explore an artist practice using observation and findings from immediate surroundings
  • Experiment, improvise and take artistic risks

The students were also invited to take part in activities towards an Arts Award Discover certificate.

Activities

Day 1: Andrew Howe led the group of students on a walk from the school into the woodland surrounding Pontesford Hill.  Students were encouraged to pay attention to all their senses and to gather objects, photographs, tracings/texture rubbings and other materials for later use in artworks.

In the morning, the students split into 3 groups and spent an hour working with sticks, branches, leaves and other found materials to construct sculptural works based on a spiral.  The students were aware of Andy Goldsworthy’s work using natural materials.

After lunch, students had some time to make observational drawings from the landscape.

On return to the school, leaves and other plant matter were gathered and placed within stacks of watercolour paper for dyeing by boiling for an hour in two batches using iron and alum mordants. 

The resulting papers were later put together into a large spiral and stamped with the Solnit quote for mounting on a wall in the school reception area.

Day 2: The artist demonstrated a method for developing abstract designs based layers of tracings and drawings made directly from found objects and photographs.  The students learnt about the work of Joseph Cornell, Ingid Calame and Mark Bradford.

Students created initial studies from their found materials, using drawing, photo transfers and mixed media techniques.  Some of these studies and the found objects were developed further into 3D assemblages housed within wooden boxes.  The boxes were constructed by the school technician and displayed on a wall in a spiral formation.

Days 3 and 4: Students created work using one or more techniques including:

  • Drawing
  • Painting
  • Photography and digital manipulation of images for photo transfers
  • Printing/stencilling (monoprinting using gelli plates and screenprinting); and
  • Collage

These works were incorporated into A5 size handmade concertina books for display alongside the box assemblages.

The students chose to interpret the theme of journey in different ways.  Some considered the artistic process exploring print technique and designs as a journey, some took a personal view of their own life journey, some took inspiration directly from their observations on the group walk, some worked with maps of the local area.

At the end of the project, all of the students worked in pairs to reflect on their own and their partner’s work.  They each then shared some positive comments to the whole group on what they enjoyed about their partner’s work and why.

Review

The two key aims of the project were met because:

  • After some initial hesitancy, all of the students took the opportunity to experiment with techniques that were new to them. There were good examples of students taking a simple design based on found objects or photos from the walk, and developing this through a series of drawings, prints and or collage to successful work which they could incorporate into a book.
    • This encouraged students to innovate and strive for excellence in their future work
    • This also enabled a personal progression as students became willing to try new techniques which they could see would be valuable in future
  • Most of the group commented in their art logs how they made the realisation that art work could be inspired by what they observe in their immediate surroundings. The walk forged new connections between the students and their surrounding landscape.
    • This provided a means for students to be authentic, making their own personal responses to what they experience around them
  • The dyeing with plants made a big impact with the group and with teachers, as everyone could see how beautiful results could be achieved simply and quickly using found and readily available materials
  • Everyone found that Gelli plate printing was an accessible method to experiment with designs, stencils, textures and paint and achieve effective, expressive results
  • The box assemblages and outdoor collaborative sculptures presented greater challenges for the group, although most people enjoyed these activities and made some successful work
  • The students engaged with the project with enthusiasm, and many expressed how much they enjoyed the experience in their art logs.
  • It was observed that the students worked well together in small groups, sharing ideas, helping each other with difficulties, all of which helped to create a positive and inclusive experience. As these students will all progress towards GCSE level in art, the project will help to build teamwork, belonging and ownership.

A couple of feedback comments:

“This week has linked with my everyday life because it is a journey.  I do many journeys a day.  This week has shown me that walks and journeys can teach you something…

“…I have enjoyed learning new processes, including the gelli plate printing, and I got to stamp the spiral with the quote.

I have enjoyed this experience greatly”  Student

 

“Students were encouraged to ponder on problems and develop their own ideas which was great and what we wanted throughout the workshop”

“Thank you again for all your efforts with our students, this was a really valuable experience for them.” Teacher

Whixall to Bettisfield Moss book

1 Apr

In my post last November, I talked about the walk I did with artists from Participate from Whixall Moss to Bettisfield Moss during the Summer.  I had a large collection of photographs from the walk, and various materials gathered from Furber’s scrapyard.  Over Christmas, I began making a series of studies which gradually built up into a book of about 48 pages.  It was a kind of sketchbook journal, initially for generating ideas for larger paintings, but was in itself quite a satisfying artist book documenting my response to the walk.

 

 

The studies include collages, paintings, drawings, monoprints and mixed media pieces combining photographs, tracings, rubbings, transfers, maps, writings and haiku poems.  No one can accuse me of getting stuck in an artistic rut!

As the images illustrate, the Mosses National Nature Reserve is much more than a “natural wilderness”.  There is now a Natural England project to restore it as a raised bog, and to remediate some of the legacy of historical and ongoing human impact.  It is this relationship between human activity and the natural environment on the Moss which interests me.  The images show collisions between natural forms and human made objects and shapes.  The objects I found take on archaeological significance, albeit that they date from the 20th Century, not from some prehistoric time.  The images featuring rusted steel bearing plates, in particular, strike me as some kind of ancient ritualistic artefact.  At some point in the future, objects such as these may be found and analysed in much the same way as Iron Age bracelets, and recorded as dating from the Anthropocene epoch.

There’s quite a lot of interest in the book, and so I’d like to publish a version at some point in the near future.  Here is a selection of images from the book:

 

 

I revisited Whixall Moss last week for another walk with a different group of artists and I’ll write about that in my next post.