Creative Space

I’ve avoided having an easel in my studio so far. It depends what kind of work you are doing, but when I first got the space, I wanted to be free to experiment, to make a mess, to be unrestricted. I like to be able to crouch beside the work, to move around it, to pin stuff up and take it down. Having floor space means space to work bigger and freer, to try out a combination of mediums.

I saw this same joy in the children this week when, by chance, the tables had been removed from the room we use for art and storytelling. This meant space to work bigger and bolder, to try out new ideas. It was entirely natural for them to spread out, alone or in small groups and begin creating with very little prompting from me. I am there to suggest, to oversee, to offer encouragement. To provide safe boundaries and make sure they have the materials. I try to say YES to their ideas, or if something isn’t possible, to find an alternative. We have our central story and characters to fall back on for ideas, but this has expanded into the children’s own stories in mini books they are illustrating.

One boy likes to stand on a chair and tell us an installment of his own story each week. Before the end of the session, everyone gets a chance to share with the group what they have been working on. Most of the group have come back term after term, and there is a comradeship, a familiarity they can fall into. Each term someone may leave, and someone new comes bringing fresh ideas and inspiration.

This week, one boy squeezed out paint combinations, and made these ‘portals’ by rotating a plate on top of the paint.

20180522_174705[1]

 

20180522_174641[1]

 

20180522_174636[1]

 

Advertisements

Stories from the Dreamtime

For Week 3 of the Children’s Art and Writing course, the children listened to three stories from the Dreamtime creation myths of Aboriginal culture: How the kangeroo got her pouch, Barramundi, (how the fish came to be in the waters), and a Kunwinjku Dreamtime Story of the long-necked turtle and the echidna, telling why they live in separate places. The children learnt about animals from Australia they had never heard of such as the wombat and the spiny anteater (echidna). They painted and drew their own images from the stories after looking at examples of aboriginal art for inspiration.

The children learned how every hill, water hole and tree, living creature and natural phenomenon was believed to have come into existence in the Dreamtime. They learned how everything about aboriginal society is inextricably woven with, and connected to, land.

 

In Esme’s story, the great god Byamee, who had been in disguise as a wombat, goes into a bar to celebrate his discovery of the creature with the kindest heart. The sky spirits speak to each other in secret symbols.

 

Creative Practitioner Project

I’m very excited to have been chosen to work as a creative practitioner in a local primary school as part of the Lead Creative Schools Scheme, an extensive five-year plan to embed the arts and creativity into the Welsh curriculum.

I and a fellow practitioner, Lowri will be working with a group of about twelve Year 2 learners to create a storytelling and outdoor art project, taking inspiration from the rich local history of the area surrounding the school.  The artwork created in response to the stories will be installed in a small wooded area in the extensive school grounds. 

Lowri, who grew up in the local area, and whose first language is Welsh, told us about the Tŷ unnos (one night house), an old Welsh tradition that claims if a person could build a house on common land in one night with a fire burning in the hearth by the following morning, the land then belonged to them as a freehold. The squatter could then extend the land around by the distance they could throw an axe from the four corners of the house. Old axe and spear heads were discovered in the back gardens of local houses, and as they can now be viewed in the National Museum in Cardiff, we considered taking the children on a field trip to inspire them for their stories and artwork.

ty.jpg

One aspect of the artwork will involve making prints from the children’s stories – both monoprint and cyanotype – onto material which will be hung as an installation in the wooded area. Clay and willow may also be used to create structures and sculptures…who knows how things will develop and grow as the children become immersed in the tales…I’II be posting regular updates as the project unfolds.

 

 

 

 

 

Children’s Printmaking Day

‘Children are remarkable for their intelligence and ardour, for their curiosity, their intolerance of shames, the clarity and ruthlessness of their vision.’
— Aldous Huxley

We began the session drawing faces, practicing on tracing paper before transferring to the styrofoam. The children quickly got the hang of etching into it, creating wonderfully detailed characters.

 

They were excited about seeing the progression from their drawing to being able to pull multiple prints from their etchings, and were soon confident enough to go straight into etching out their ideas.

Next, the children chose a leaf from a selection collected in the park, and attempted to name the type of tree it was from. They chose from two coloured inks that I had rolled out, printing the leaves in their own designs to create a background.

Onto this background, styrofoam stamps that the children had drawn and carefully cut out were printed to create the finished pictures. Fantastic work!

 

 

Cyanotype Workshop

This was a Cyanotype Drop-in Session  I ran at Cardiff Print Workshop. After my short introduction about the history and process of cyanotype printmaking, participants experimented with a variety of objects and techniques to produce interesting, abstract photograms.

 

20170820_143121[1]

Jenny syringing water designs onto the surface before exposing

 

20170820_145619[1]

Derek’s space-inspired piece using glass beads, agate, seeds and water.

 

cyanotype drop-in day4

Rinsing the pictures after exposure