Thursday, 20 July 2017

DISPLAY - Cartwright Hall - DAVID HOCKNEY


THERE'S A NEW HOCKNEY GALLERY!

I have been so excited about this; more Hockney on my door step, yes! 

This permanent gallery serves such a brilliant role in the art education of people in Bradford. Hockney is such a treasured part of Bradford's heritage but only seems present in the legacy of his paintings at Salt's Mill. The national exhibitions of Hockney I have seen before have been mainly of his famous paintings but this exhibition in his home city really reveals Hockney's changing practice across his career. 

Family orientated, it does feel a little like a set, with props and things for children to engage with but it hosts some absolute gold. I'd never seen Hockney's etchings before, so these were stand out for me. Hockney's incredibly playful tone of voice carries through his work, but these etchings seem so experimental and speculative.

His iconic breadth of colour is minimised but bold reds and blues carry his concern with illustration, communicating ideas and imagery through a personal visual language.



These particular etchings don't necessarily seem concerned with scenery or linear narrative, but rather isolated objects and shape, seeming to compliment Hockney's ever sensitive tone of voice. Line quality demonstrates a fragility and delicacy appropriate to the minimalism of these drawings. Almost scientific in narrative, Hockney seems to have achieved a rather diagrammatic drawing approach, very different to his painterly landscapes. 

Translation seems central to Hockney's practice as he communicates his observations through rather selective components and applies his naive aesthetic to these with such effect that seemingly meaningless objects are just so beautiful.

I want to go back...



Wednesday, 12 July 2017

EXHIBITION - The Serpentine - GRAYSON PERRY 'The Most Popular Art Exhibition Ever'


My concern with Perry's social criticism and rather wholesome awareness of society was strengthened through my level 4 COP studies. Particularly concerned with aesthetic quality and taste. Perry's more recent works have operated in an even more political realm, displayed at The Serpentine Gallery. The title of the show 'The Most Popular Art Exhibition Ever' immediately ignites Perry's satirical approach to the culture of viewing art. This resonates with my intent for research as I am tampering with the fight between media and nature on taste values and awareness of art.

The new work in the show spanned 26 pieces, demonstrating Perry's unchallenged commitment to practice and research.

Perry's tapestry 'Red Carpet' employs some very evocative visual devices through the background imagery of tower blocks, and use of buzz phrases. The geographical deconstruction of society through a map speaks a harsh truth about the climate in which Perry's work operates. The seemingly wealthy object of a wall tapestry serves a poignant purpose against the rather critical narrative. As with most of Perry's work, it explores illustration through craft, creating a narrative tool that is evocative to a universal audience.


'Death of a Working Hero' is also particularly engaging to me as I am concerned with working class heritage. Symbolic of trade union banners, the piece celebrates mining heritage and the Durham brass band marches, whilst evoking a mournful narrative. As a product of Perry's television documentary 'All of Man', it documents a heritage held close to people's ideology of the working man but in a gallery context, it very much seemed more of a celebration of this heritage. In executing this piece within a gallery space, Perry has elevated the subject through craft and environment, using the gallery as a stage for integration and elevation. 

The whole show exhibited some powerful uses of illustration, through visual devices, omissions and symbolism. Perry seemed to have pioneered his macabre drawing style into something more sympathetic and sensitive, only enhancing the political narrative in his work.

Friday, 7 July 2017

VOLUNTEERING - Primary School Art & Culture Lessons

Reflecting my interested in a career in education, I have been volunteering at a Primary School with art lessons and trips. Luckily, a primary school local to me is really hands-on with their learning and use art in many lessons, including outdoor learning.

Although I am keen to teach older children, possibly at secondary level or foundation, this is the perfect opportunity to learn more about learning objectives and the considerations applied to formulating creative tasks for young people.  I am interested to learn more about the preliminary art education children receive and how this may effect their view of art and visual culture.



FIRST DAY OF VOLUNTEERING - British values workshop at Cartwright Hall

My first session was on a visit to Cartwright Hall with a year 5 class. The visit was to coincide with their work on British values, exploring displays of freedom, liberty and rights through art. This gallery visit seemed purposeful in its display to children that all kinds of issues are explored in art and that art provides freedom of expression. 

The task to identify images of slavery and freedom across the works in the gallery encouraged the children to think more about what they were viewing. This approach to learning seems particularly engaging and valuable as the children were able to learn social, historical and political issues through imagery and creativity. 

Translating their research into illustrative pieces of bunting using a wax-resist technique, the learning came full circle, linking historical research to cultural curiosity, through to political ideas and concluding with a practical creative task. This cyclic approach to learning seems imperative to a child's value of learning, demonstrating a purpose and link across all areas of curricula. Creating a personal response on a piece of bunting not only worked to encourage the children to realise their learning, it also demonstrated integration and team work; each child contributing towards a larger display of creativity.

This visit proved so valuable to me as I learnt of the power of art and creativity in a child's wider education. Providing visual tools to realise more complex or unfamiliar ideas seems to really unlock learning and create an overall more engaging and fruitful practice. 



SECOND DAY OF VOLUNTEERING - Relief Printing

As an extension of some the learning the children have been doing on Brazil and the rainforests, the children have been translating their knowledge into artwork through relief printing. This translation of learning seemed to extend the children's values of what they had learnt, many of them commenting on the fun that art added to science and geography. Discernible here is that if a child can identify a continuation on their learning, they become more invested in developing the knowledge; only showing the absolute power of creativity in children.

While the process of relief printing, naturally, was simplified and scaled down for the classroom, this as a creative practice teaches the children  the value of resourcefulness and a DIY ethic. Using polystyrene and blunt pencils, the children were able to translate their drawings into printing plates. Mimicking lino print, this process taught the children of more sophisticated approaches to image making that they may encounter in secondary school. 

This as a task appeared successful in its conclusiveness; the children were able to extend their learning towards a visual realisation. Helping the children with the practical and visual considerations, I was able to learn how children think about drawing and art and I think for many of them, the relief printing was about creating a personal response to more general learning objective.




THIRD DAY OF VOLUNTEERING - Outdoor Learning Day


Furthering the learning focus of rainforests, the year group had a full day of outdoor learning, practising their knowledge about habitats and nature. For the most part, this worked to provide an engaging and exciting extension of classroom work, with hands-on activities, but it also gave the children the opportunity to apply their knowledge and creativity to their immediate environment


I worked across science and art-based activities covering pond dipping, habitat analysis and natural dye workshops. As there were many different activities, I ended up leading a group of about 12 children on my own which was daunting but definitely a learning curve. Starting the day leading a science based workshop, when I moved onto leading the natural dye workshop, I was able to tailor the workshop to the knowledge the children had demonstrated earlier in the day. Using natural dyes and also rubbing flowers and leaves into fabric, the children hand-dyed fabric flags to use in a larger piece of artwork. Although the dying was a little bit trial and error and some children struggled to identify the creativity of the task, it was a great exercise in applying science and nature to art, again bringing together different areas of curricula. 


This was definitely the most challenging day as I had not anticipated having to lead a group of children and I had underestimated how exciting the school grounds were, meaning that the children did want to run around quite a lot. It was a very inspiring day though. The school have some very extensive outdoor land, made up of all sorts of different plants and habitats and this proved very effective to the extension and maximisation of learning. Taking the learning outside of the classroom seemed to provide so many alternative approaches to visualising knowledge and definitely helped the children to be engaged with their learning.



CONCLUSIONS
My volunteering covered such a variety of activities and I think covering just three days, I was exposed to some very powerful teaching methods and approaches to learning, which really taught me the value of creativity in children. Seeing the children engage with different tasks enabled me to understand the importance of creativity in creating an inclusive and effective learning environment in which the children remained invested and engaged. 


Carrying this experience forward with my studies and career aspirations, I have certainly learnt more of the importance art in schools and feel more aware about the exposure of children to art in their early years. I would be interested to see how different schools approach art in learning as this school certainly took a very active and forward-thinking approach which I think for many children, is stunted in other schools by taught ideas of creativity.




Saturday, 1 July 2017

COMPETITION - Church Picture-book

BRIEF
I spotted a competition brief to illustrate a picture book for Boston Parish Church. The brief asks for a single page illustration for the first verse of the story and then the chosen artists will be commissioned to illustrated the rest of the story.

There are no particular constraints other than the text that must be present on each page; media, scale and colour palette are unspecified so I am going to work within my common practice of cut-paper and digital layering that I have been practising recently to achieve a bright and playful illustration.

CONSIDERATIONS
As this is a children's book for a church, I feel it would be easy for this to be very traditional and I imagine many entrants will be linked to the church and know more about the story 'Bo the Boston Church Mouse' than I do, but I am just keen to complete a narrative brief.

Central to the brief is the character of 'Bo the Boston Church Mouse' and so I feel my biggest priority is to create a simple, yet immediate character that will be central to the aesthetic of the book and a visual device across the narrative. I don't want to over complicate the mouse as this is the one element that will remain the same across the stages of the narrative and so needs to work as an icon on each page

Scale is a consideration as naturally a mouse would be very small against other components of the image but it seems appropriate to apply an immediate and understandable visual language by scaling the mouse up so that environmental details are not lost.

    


I have constructed my illustration from cut-paper shapes, detailed with gestural pencil marks, over-layed on Photoshop. I feel that the bold colour palette I have employed is appropriate to a child audience as it is engaging and carries the playful tone of voice I am concerned with. 



FINAL ILLUSTRATION ENTRY