This document provides background information and teaching resources to accompany a new sculpture called "Fingermaze" installed in Hove Park, England. It includes:
1. Background on the commission of the sculpture and artist Chris Drury's work focusing on nature and environmental themes.
2. An overview of the genres of land art and environmental art highlighting examples from the 1960s to today.
3. Teaching notes to accompany a PowerPoint presentation on the artist's works, providing context for each slide and discussing themes of landscape and human impact.
1. to accompany ‘Fingermaze’ in Hove Park
Schools Resource
- 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
FEB
RUARY 2007
2. ABOUT THIS PACK
This 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.
CONTENTS
1. Background to the commission and Drury’s work in general
2. Background to Land and Environmental Art
3. Teachers notes to accompany Powerpoint of artists works (KS 3/4)
4. Suggested prompt questions for teachers to accompany Powerpoint (KS 1/2)
5. Lesson Plans and Activities to incorporate into ‘Fingermaze’ visit
6. Follow up and extension activities
7. Links
PAGE
ONE
3. 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
CONTENTS
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.
PAGE
Photo by Roger Bamber
TWO
4. Sometimes they are living... ...and many are permanent, like the piece
in Hove Park
‘Heart of Reeds’ Living Reed bed, Lewes. 2004-present ‘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.
CONTENTS
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, making
the outline more smudged and blurry like real
fingerprints. Chris hopes that the piece will
become assimilated into the life and landscape
of the park and give people something to
wonder about.
PAGE TH
REE
5. 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
CONTENTSbetween human activity and the natural environment. The genre is
of many of the links
expanding as social and environmental politics, technology and awareness change.
3. Teachers notes to accompany PowerPoint
of Artists works (KS 3/4)
Aims of Images PowerPoint
• 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.
PAGE F
OUR
6. 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.
Slide 3. ‘Spiral Jetty’, Robert Smithson, 1970
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
CONTENTSspace whose art is as much in the light of space and objects as it is in the
observe the natural beauty of the desert. Concerned essentially with light, Turrell is transforming
Roden Crater into a
spaces created in the crater.
Slide 5. ‘Incised Pyramid, Sphere, Cube’, David Nash, 2000
(partly charred Cyprus, charcoal on canvas)
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.
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”.
PAGE F IVE
7. 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 sculptures
inhabit 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.
Slide 15. ‘One Hour’ Richard Long, textwork, 1984
Long doesn’t always record his walks with photography. Sometimes using text is a more
appropriate way of “distilling the experience”. Here he records a sixty minute circle walk done
PAGE
on Dartmoor.
SIX
8. 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 19. ‘Running Tap’, Mark McGowan, 2005
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 20. ‘Unnecessary Car Journey’, 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.
Slide 21. ‘Tabernas Desert Run’, Simon Starling, mixed media, 2004
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.
PAGE
SEVEN
9. Slide 22. ‘Tabernas Desert Run’, Simon Starling, watercolour on paper, 2004
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
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.
Slide 24. ‘Sustainable Indulgence’, Justin Carter, 2004
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.
Explain what the two terms, environmental art and land art mean.
Slide 2. Lascaux cave paintings
• What can you see in the picture?
• Why do you think whoever made these images chose that subject?
• How have they made the images?
PAGE eight
• What about the type of colours they have used? What have they painted onto?
10. 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.
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?
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?
PAGE nine
11. Slide 8. ‘Fingermaze’, Chris Drury, stone & lime mortar,
Hove Park, 2006
• 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?
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).
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?
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?
CONTENTS as part of an installation. The piece on the floor ’Sequoia Whirlpool’ is
Drury made this piece
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.
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)
Slide 12. ‘Mahalakshmi Hill Line’, Richard Long, Warli Tribal Land,
Maharashtra, India, 2003ia, 2003
• 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?
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.
PAGE
TEN
12. 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.
Slides 13 & 14. ‘A Walking & Running Circle’, Richard Long, Warli Tribal
land, India, 2003
• 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.
Slide 15. ‘One Hour’ Richard Long, textwork, 1984
• 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?
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.
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?
Slide 17. ‘Brains’ Richard Box, neon tubes in power field, Wales, 2002
• What do you think the artist is saying with this work?
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?
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.
Slide 19. ‘Running Tap’, Mark McGowan, 2005
• Is this a good way to make people more aware about wasting water?
CONTENTS
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
PAGE
wasting water is a criminal offence.
ELEVEN
13. Slide 20. ‘Unnecessary Car Journey’, Mark McGowan, 2005
• Can you think of other environmental problems that Mark McGowan could make protest acts
about?
Other protests have included leaving a car’s engine running and leaving 100 lights on for a year.
Slides 21 & 22. ‘Tabernas Desert Run’, Simon Starling, mixed media, 2004
• Why do you think the artist chose to paint a cactus?
• What does the artist’s journey stand for or represent?
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 .
Slide 23. ‘Icarus Palm’, Douglas White, discarded tyres, 2005
• 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?
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.
Slide 24. ‘Sustainable Indulgence’, Justin Carter, 2004
• What does the title mean? Can you think of any other sustainable practises?
• Can you think of other ways of defining sustainable?
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
CONTENTS
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.
PAGE
TWELVE
14. 5. Lesson plans & activities to incorporate into ‘Fingermaze’ visit
5.1 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 • Use the images to introduce the students to Chris’s work Image slide show
To become aware of codes, conventions and it’s main themes. Look at other examples of artists Resource sheet 1
and ways of representing ideas through working within this genre. (KS3: Look at commission brief
works of art. by Council. Resource sheet 1)
• Discuss student’s own experience of other public art and
To begin to understand concept & role
their perceived impact of it on the environment.
of public art. (KS3: idea & process of
commissioning) • How do they think it will change park users experience of the
park?
To record from first hand observations
and collect ideas to inform own work. Visit the sculpture in Hove Park Emphasise artist’s intention
• How does the piece look from a distance and from up close? that an element of the work is
Why do you think the artist chose this specific site and the contemplative.
materials? How specific is this piece to this particular site?
• Think about Drury’s statement “The work is a drawing until it Digital cameras, sketchbooks.
is walked.” Walk the labyrinth. Remind students not to harm
/ remove living things.
• 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, NB: Students need to walk the
grass path into the centre and
to improve the quality of a site etc.)
not the stone path.
• Look around the park; collect visual information using digital
cameras, sketches, leaves, etc. to use for group sculptures
at school.
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15. 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
Investigating & Making Withies, found natural objects,
To communicate ideas in a variety of recycled or reclaimed objects.
• Share opinions, data, and visual information from trip
ways with a range of media.
to sculpture. In small groups identify an area around the
To use materials and images to If outside access is problematic
school or their immediate environment where a piece of
create a piece of work with a specific or weather too nasty, the
public art with an environmental theme could be situated
purpose and audience. students could be given printed
• Draft up initial ideas and responses, emphasising group
decisions and including everyones opinions. Explain digital photos of a site glued
To work collaboratively and adapt onto card to act as a backdrop
choice of site and impact on design. The piece could be
and synthesise ideas during the for smaller models or individual
ephemeral or semi permanent but should be sympathetic
making process. pieces of work.
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
Evaluating & Developing larger audience.
Work • Review and evaluate work with rest of class. Why is the
To analyse and evaluate own work. piece successful? What problems were there to be solved
To reflect on process and express during the making process? How have materials been used?
opinions and judgments. To respond to Does the work achieve it’s aims?
others’ and own evaluations of work.
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16. 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.
Learning Objectives Possible Activities Resources / Notes
Exploring & • Look at examples of Drury’s work involving fingerprints. Images of Drury’s work using
Developing ideas Discuss his fascination with the pattern and where else the fingerprints.
pattern can be found.
• Show the students examples of fingerprint patterns. Identify
own patterns (see Numeracy / science link).
Investigating and making • With magnifying glasses get the students to make careful Magnifying glasses, pencils,
observational drawings of their prints; first in pencil then in fine line felt pens, black or white
thin black felt pen. wax crayon or oil pastel, powder
• Enlarge these to at least A3. Copy the patterns or parts of the paint / pigment, soil or compost.
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). OHP
• 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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17. 5.2 Earth fingerprints. (Key Stage 1/2)
Learning Objectives Possible Activities Resources / Notes
Evaluating & Developing Develop or experiment with relief
Ideas
• Paint fingerprint patterns or trickle PVA onto shiny card or PVA
paper, rub in pigment / soil then peel off PVA to reveal print. Shiny card, string, printing
• Make string and card relief printing blocks - this is good for trays, rollers, block printing
exploring repeating and rotating patterns. Rub soil / pigment ink, pigment, soil.
into paper and then print finger patterns on top.
Incorporating ICT
• Scan / photograph line drawings of fingerprints into paint Imaging software, scanner
package (‘Dazzle’, ‘Photoshop’ or similar). Experiment with acetates
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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18. Curriculum Links
Activity Relevant KS Links to curriculum / QCA schemes of works
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?’
5.2 Earth Fingerprints 1&2 Art & Design
6.1 Debating the 1, 2 & 3 Literacy
impact of environmental
art • Speaking & Listening
Drama
6.2 Creating an 2,3 & 4 Literacy
environmental art
exhibition • Speaking & Listening
• Writing
PAGE
ICT
SEVENTEEN
19. Activity Relevant KS Links to curriculum / QCA schemes of works
6.3 Crime against 2&3 D.T.
Nature?
ICT
Art & Design
Literacy
6.5 Weaving 2&3 Art & Design
• QCA scheme ‘2C Mother Nature - designer’
6.6 What do you 2,3 & 4 Mathematics
think? Data Handling
• Data Handling
Geography
ICT
Citizenship
6.8 Design & make a 2&3 D.T.
poster
ICT
Literacy
• Persuasive writing PAGE
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20. 6. follow up and extension activities
6.1 Debating the Impact of Environmental Art KS 3/4
Aims
To explore the impact of environmental art on the public.
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.
Activities
1. 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).
2. 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
CONTENTS us about our deeper desires? improve our experience of our environment -
effective way of doing this? Why do we want to
what does this tell
‘Literacy in Art & Design, KS3’ (ref.DfES 0054/2002) has a really useful framework to focus
language work.
3. Scribe the main points from the discussion and give each group a point to develop into an
argument to debate.
Extension
1. 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.
2. 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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21. 6.2 Creating an environmental art exhibition KS 2/3/4
Aims
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.
Activities
1. 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.
2. 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.
3. In their role as the selection committee, each group must present their selections to the rest
of the class, explaining their choices with reasons.
Extension
1. 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.
2. 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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TWENTY
22. 6.3 Crime against Nature? KS 2/3
Aims
To use the sculpture as a starting point for a piece of creative writing.
Activities
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?
1. 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.
2. This could be developed into a narrative piece of writing or as a play script and performed
at an assembly or to other students.
Extension
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).
Poetry
Ask the students to walk the grass path of the labyrinth and jot down words and feelings
CONTENTS they are walking. What can they see, feel, hear, and touch? How does
that come to mind as
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 writing
Write a letter to the artist expressing your opinions about the work or asking him questions.
Leaflet
Design 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).
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23. 6.4 More about mazes and labyrinths ALL AGES
Aims
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.
Activities
1. 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.
2. 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.
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.
PAGE
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24. 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
To expand student’s ideas about materials use. To raise awareness of reusing and recycling
materials. To work collaboratively within a group.
Activities
1. 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?
2. 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’.
3. 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.
4. 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.
5. 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.
Extension
1. 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’.
2. 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
PAGE
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TWENTY-TH
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25. 6.6 What do you think? [Data Handling] ALL AGES
Aims
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.
Activities
1. 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.
2. 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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26. 6.7 Make posters ALL AGES
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?
Aims
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.
Activities
1. 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.
2. 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
Extension
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.
PAGE
TWENTY-F IVE
27. 7. Resource Sheets
1. Original commission brief for Park Art to accompany lesson 1
2. Legend of Devil’s Dyke and the Goldstone
3. Cretan labyrinth template
4. How to draw a Cretan Labyrinth
5. Artist’s statement – Karen Moser
CONTENTS
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TWENTY- SIX
28. Resource sheet 1 (for KS3 extension)
Project brief for ‘Park Art’ Commission KS 2/3/4
“
Aims 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
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:
1. 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).
2. 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.
“
3. 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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29. Resource sheet 2
The 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
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.
CONTENTS
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TWENTY-eight
31. Resource Sheet 4
How to draw a Cretan Labyrinth
1. Draw a cross. Now draw an ‘L’ in each of the four quadrants and place a dot at each angle of
CONTENTS ‘seed’ of the labyrinth. (fig.1). (Start with the seed in the centre of your
the ‘L’. This is the
page to allow enough room for the labyrinth to grow).
2. 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)
3. Now move to the top of the next line on the left and connect it to the next dot on the right.
4. Continue connecting each line and dot, always moving from top left to next unconnected
line or dot on the right.
5. Your completed labyrinth should be one continuous route to the centre.
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32. Resource Sheet 5
Artist’s statement - Karen Moser KS 2/3/4
“
Aims
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’.
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: Karen.moser@virgin.net
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33. 8. LINKS
GENERAL
Brighton & Hove City Council
www.brighton-hove.gov.uk
www.brighton-hove.gov.uk/cityclean
www.brighton-hove.gov.uk/sustainability
Kings House, Grand Avenue, Hove, BN3 2LS
(01273) 290000
Brighton & Hove Arts Commission
www.brightonandhoveartscommission.org.uk
Kings House, Grand Avenue, Hove, BN3 2LS
(01273) 293906
Chris Drury
www.chrisdrury.co.uk
www.heartofreeds.org.uk
www.villamontalvo.org/va_drury.html (‘Fingerprint Mural’)
Land and environmental art & artists
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]
CONTENTS
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]
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* 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.
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34. Land and Environmental Art KS 2/3/4
Aims
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]
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]
Labyrinths & Mazes
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]
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Examples of mazes to solve and copy (KS 1-3) [www.mazes.org.uk]
IRTY -three
35. Resources & suppliers
Natural, reclaimed or recycled materials
Willow or Withies for sculptural work:
Jacobs Young & Westbury Ltd
Bridge Road
Haywards Heath
West Sussex
RH16 1UA
Tel: 01444 412411 | Fax: 01444 457662 | Email: sales@jyw-uk.com
Musgrove Willows, Somerset
www.musgrovewillows.co.uk
They also supply living willow shoots for growing tunnels/shelters etc.
Scrap stores
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 Store
Worthing. Meadow Road Depot, Meadow Rd. Worthing
Tel: 01903 239999 | www.the-alchemist.org.uk
CONTENTS
Flotsam & Jetsam Scrap Store
Lewes. Based at the Community Recycling Centre, North Street
Tel: 01273 486619 | Email kerbside@lewes.gov.uk
Magpie recycling Co-op
www.magpie.coop
Brighton and Hove Wood Recycling Project
Unit 32-36 Municipal Market, Circus Street, Brighton BN2 9QF
Tel: 01273 570 500 | www.woodrecycling.org.uk
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36. THANKS
KS 2/3/4
Aims
This 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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design: www.juxprose.com