NATIONAL QUALIFICATIONS CURRICULUM SUPPORT
Art and Design
Expressive with Critical
Objects Project: Contemporary
Sculpture
[NATIONAL 4;
NATIONAL 5;
HIGHER]
This advice and guidance has been produced to support the profession with the delivery of courses
which are either new or which have aspects of significant change within the new national
qualifications (NQ) framework.
The advice and guidance provides suggestions on approaches to learning and teaching. Practitioners
are encouraged to draw on the materials for their own part of their continuing professional
development in introducing new national qualifications in ways that match the needs of learners.
Practitioners should also refer to the course and unit specifications and support notes which have
been issued by the Scottish Qualifications Authority.
http://www.sqa.org.uk/sqa/34714.html
Acknowledgement
The publisher gratefully acknowledges permission to use the following source: image of Heavy
Horse by Andy Scott www.scottsculptures.co.uk/theworks/arabesque © Andy Scott Public Art
Ltd 2011.
© Crown copyright 2012. You may re-use this information (excluding logos) free of charge in
any format or medium, under the terms of the Open Government Licence. To view this licence,
visit http://www.nationalarchives.gov.uk/doc/open-government-licence/ or e-mail
psi@nationalarchives.gsi.gov.uk.
Where we have identified any third party copyright information you will need to obtain
permission from the copyright holders concerned.
Any enquiries regarding this document/publication should be sent to us at
enquiries@educationscotland.gov.uk.
This document is also available from our website at www.educationscotland.gov.uk.
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Contents
Introduction
4
Learning from objects in art and design
8
Summary of activities
11
Selecting, investigating and analysing objects
13
Responding to visual stimuli
Warm-up observation and drawing activities
Producing two- and three-dimensional drawings
Understanding the qualities of paper and card
Understanding the qualities of wire materials
Understanding the qualities of casting and moulding
16
16
17
19
20
22
Developing personal and creative visual ideas
24
Understanding the main influences on art practice
30
Appendix 1: Artists and their practice
32
Appendix 2:Artists biographies
36
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INTRODUCTION
Introduction
This document aims to support practitioners in planning learning and teaching
in line with Scotland’s new national qualifications. The suggestions are based
on a themed study approach for Art and Design: Expressive with Critical
Activity and a key focus is how critical and practical activities can be
integrated to enhance learning.
The information provided is presented as a series of discrete ideas; each can
be incorporated at various stages of course delivery. They are sufficiently
flexible to be adapted for use with more and less able learners from National
4 to Higher. The materials deliberately make no references to specific unit or
course assessment expectations, but rather refer to the generic outcomes that
can be adapted by practitioners to meet the needs of learners at each of the
three levels.
The previous qualifications for art and design assessed practical and critical
course elements separately. Therefore, the new guidance, which suggests an
integrated approach, requires a shift in course delivery methods.
Critical engagement can inform and enrich all aspects of learn ers’ practical
work. By looking at a range of art, artists and other cultural sources, learners
will be able to plan, investigate, imagine and create with more inspiration,
skill and confidence.
Given the influence that the work of other artists can have on learners’ work,
it is important that learners are exposed to a range of practices that straddle
contemporary and historical art-making. It is also important that courses give
fair representation to artists in relation to gender, and cultural and social
backgrounds.
This approach emphasises the importance of creative skills, including using
and applying imagination with a sense of purpose, identifying problems and
finding solutions, taking risks and expressing ideas. Additionally, the
integration of critical activities provides ongoing opportunities for learners to
describe, analyse, explore and reflect – key features of the Curriculum for
Excellence pedagogy.
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INTRODUCTION
The resource includes:
 guidance on how to develop analytical and observational skill by looking
at objects
 suggested activities to support three-dimensional making skills
 suggestions for developing expressive activities
 references to artists whose practice is relevant to each activity
 a small selection of artists’websites provide quick references.
National unit specification: Art and Design: Expressive with
Critical Activity
The information provided in this document focuses on how critical activity
can be integrated with all aspects of the Art and Design “Expressive” courses
and it recognizes that there are increased expectations on learners with each
increase in level. For example, at National 4 learners will be expected only to
describe the main social and cultural influences on two artists while at
National 5 they are expected to be able to analyse these influences.
These materials are intended to inspire approaches rather than act as a
benchmark for attainment.
With this unit the leaners should acquire skills in the following areas :  Knowledge and analysis of a specific range of expressive art practice,
artists and related art terminology.
 A series of related visual research and expressive development work for a
themed expressive art activity.
 Technical skills in using a range of familiar art media and techniques.
Exemplification of assessment is provided in the National Assessment
Resource. Advice and guidance on possible approaches to assessment is
provided in the Unit Support Notes (all available for download from the SQA
website).
Development of skills for learning, skills for life and skills for
work
It is expected that learners will also develop broad generic skills. The skills
are based on SQA’s Skills Framework: Skills for Learning, Skills for Life and
Skills for Work . These must be built into the expressive units where there are
appropriate opportunities.
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INTRODUCTION
Amplification of these is given in SQA’s Skills Framework: Skills for
Learning, Skills for Life and Skills for Work. The level of skills should be at
the same SCQF level as the unit and be consistent with the SCQF level
descriptor. Further information on building in skills for learning, skills for
life and skills for work is given in the Unit Support Notes.
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LEARNING FROM OBJECTS IN ART AND DESIGN
Learning from objects in art and design
Why study objects?
The guidance provided in this document takes familiar everyday objects as its
starting point. This thematic focus provides an inspiring context that supports
many of the principles of Curriculum for Excellence. By learning through
objects learners will have opportunities for the following:
 Personalisation and choice – learners are able to focus on objects which
reflect their culture, their environments or their personal interests.
 The development of a range of skills – learners will be able to interrogate,
describe, analyse and reflect on their chose n objects, they will be able to
hone their observation and recording skills and they will be able to select
from all of the skills associated with expressing themselves through art.
 Developing individual creativity and using new technologies – the
suggested activities illustrate how critical and practical aspects come
together in both traditional and alternative creative processes using new
media.
Throughout the document there are references to artists who have taken
objects as a starting point in their work or who have incorporated objects into
their final artworks. By referring to the pages ‘Artists and their practice’,
learners will understand how a theme such as everyday objects can be woven
through all aspects of the creative process.
When should critical activity be included?
Practitioners should consider how the work of professional artists can be
referred to at all stages of units. Artists and their practice can stimulate
discussion prior to an activity, during an activity to support a learning point,
or following an activity to help learners to describe, analyse and reflect on
their own processes and consider alternatives.
With specific reference to an object’s theme, learners may want to discuss
how an artist has been inspired by three-dimensional objects or how several
artists have used techniques to describe three -dimensionality in different
ways, or how using similar objects as starting points can produce different
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LEARNING FROM OBJECTS IN ART AND DESIGN
outcomes, as seen through the finished works of a range of artists.
Continuous discussion about art practice will build learners’ confidence in
developing their own art as well as their own language for describing,
analysing, exploring and reflecting on their own work and the work of others.
Effective learning and teaching
Relevance
Learners should understand the purposes of their activities. They should be
able to see the value of what they are learning and its relevance to their lives,
in the present and the future. References to artists should include
biographical information to help learners understand the possible roles of art
in their own lives in the future – whether recreational, for their health and
wellbeing, or as a career option.
The objects theme presents opportunities for learners to take control of the
subject of their learning. They are asked to make their own selection of
objects, which will be used to inspire their work. Through discussion they
will be able to describe how some objects may hold a personal, cultural or
physical interest. The objects theme can also encourage a celebration of
difference, feeding into many of the health and wellbeing outcomes.
Challenge and enjoyment
The Curriculum for Excellence expressive arts framework suggests the need
for learners to be creative and imaginative, and to experience inspiration and
enjoyment as they develop skills. When planning units practitioners should
consider how the integration of practical with critical activities can inspire
learning that provides challenge and enjoyment.
By its very nature, art and design is active learning. However, practitioners
should be aware that ‘active’ should refer to the learners’ critical -thinking
skills as well as their practical and making skills. They should provide
opportunities for debate and discussion, whether face -to-face or through the
use of social networking, to reinforce concepts or to explore new
possibilities.
Practitioners should integrate a range of motivating planning and review
systems to accommodate all learning styles, for example:
 Create mindmaps: Learners place their objects at the centre of their
thinking and map out possible personal associations, investigations and
lines of development. These can be revisited regularly to record changes
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LEARNING FROM OBJECTS IN ART AND DESIGN
and review progress or to help produce a new idea. Images of inspiring
artists’ work can be added. Learners can give presentations their maps.
They can also use some of the free software that is available to create
mindmaps at home.
 Video notebooks: Learners can use video cameras or mobile phones to
record their creative process from the initial selection of objects at home
or outdoors to executing the final outcome. They may enjoy working in
teams with one person acting as interviewer. To add structure, they may
benefit from class sessions prior to each stage wher e interview questions
are discussed and agreed. Practitioners should create class folders on Glow
or similar for video uploads. They could create a class Facebook page or a
blog with sculpture challenges where learners can find support and share
progress.
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SUMMARY OF LEARNING ACTIVITIES
Summary of activities
The creative process is rarely linear and many learners will need to revisit
basic research or making skills several times before producing final unit or
course outcomes. However, the following summary gives some indication of
the stages in the creative process when working with an objects theme.
Selecting, investigating and analysing objects
Discussions and activities relating to:
 how we understand objects in society, their appearance, use, historical and
cultural relevance and personal stories
 how we describe and represent objects through words, images and other
media
 how other artists have been inspired by objects and how they have
incorporated objects in their work
 how objects might be used as a focus for learners’ own work.
Responding to objects
 Represent features of selected objects demonstrating understanding of
visual elements.
 Refer to a range of sources such as visiting artists, web -based materials
and conventional research materials such as books to understand the
techniques used to represent objects.
 Introduce new approaches and techniques to develop skills . If possible
visit exhibitions or invite local artists to the school .
 Select the most successful skills and processes, and combine ideas where
possible, creating and developing new methods.
 Reflect on strengths and weaknesses in order to inform the development of
the objects project.
Developing creative ideas from objects
 Revisit and review planning processes (mindmaps, videos, notebooks) and
select the best techniques to express ideas.
 Refer to the work and working practices of relevant artists.
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SUMMARY OF LEARNING ACTIVITIES
 Produce a final outcome, demonstrating confident use of new skills.
 Evaluate how effectively the intended idea has been communicated.
 Review the process and relate to other artists’ work.
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SELECTING, INVESTIGATING AND ANALYSING OBJECTS
Selecting, investigating and analysing objects
To begin the unit, learners should be asked to accumulate their own small
collection of objects that they find interesting. They should be asked to
reflect on the initial reasons for their choices.
Learners may need to be prompted to explore the potential of all of the
objects they encounter in their everyday lives – they may find that they take
many of them for granted. It may be useful to precede this exercise with a
general discussion in class. Practitioners can gather together a range of
objects to stimulate discussion and to find points of interest about even
seemingly banal objects. The class collection can also be used as a fall -back
for any learners who do not gather their own objects.
The list of questions on page 13 can be used to open up new ways of thinking
about ordinary objects in learners’ lives.
The brief on page15 has been designed for direct use with learners to kick start their objects project.
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SELECTING, INVESTIGATING AND ANALYSING OBJECTS
Questions for thinking about objects in new ways
 What is it called? Do you know why?
 Describe its appearance. Is it natural, handmade, machine -made or a
combination? Is it unique or is it mass-produced?
 Why has it been made using these materials?
 Is it useful? In what way? Who uses it? How does it function? Could it be
improved?
 Where does it come from? Does it have a history?
 Who does it belong to? Is it valuable? In what way?
 What is the importance of its shape, colour, texture, smell and sound?
 Does it move? What is its speed and pattern of movement?
 Does the object suggest any memories or emotions to you? What do you
associate it with?
Activity: Selecting objects
Introduction
This unit is about expressing ideas. There are many different ways to express
how you feel about something. Some people write, some perform, some talk
and some make art.
Throughout history, artists have expressed ideas based on a range of subjects
– from politics to the environment to how they feel about someone.
In this unit you are going to think about the objects that surround you in your
everyday life and use them to inspire your art. You will be able to express
how you feel about them. Watch out, however, because some objects can be
so familiar that we take them for granted.
Choose a variety of objects that you can use in class to inspire your sculptural
artwork. You will find it easier to develop your ideas if you find the objects
interesting.
Think about the questions you considered in the class discussion. You may
want to choose things where you can see interesting lines, shapes, colours,
textures or forms. Or you may want to select things that have interesting
stories or histories.
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SELECTING, INVESTIGATING AND ANALYSING OBJECTS
Try to select things made from different materials or that have differen t
purposes. Some could be very old and some could be very new. You could
also try to choose objects that are manufactured or made in different ways.
You will be asked to talk about your selection as part of a group discussion.
You should be able to describe your objects and say why you have chosen
them.
Use the questions provided to help you select one main object that you think
is the most interesting. You will use it to inspire your drawings.
Additional activity
Use the internet to research artists who use objects in their work. Think about
how much the representation of the object in the art is different from the
original object. Discuss this with your group.
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Responding to visual stimuli
Learners can begin to develop their observational skill s by representing their
objects through two- and three-dimensional drawings. Provide a range of
materials to motivate the learners and offer a degree of choice.
Warm-up observation and drawing activities
Begin sessions with quick warm-up activities, which will increase
concentration and observation skills. For example:
 Two minutes to observe the object without drawing. The object is then
removed and the learner is given 2 minutes to draw it from memory. The
learner is then given another chance to see th e object and given 2 minutes
to draw with a different material on top of the original drawing, refining it
as they draw.
 Draw the object in 3 minutes without looking at the paper. This activity
requires intense observation and concentration.
 Work in pairs – one person describes an object in terms of its shapes and
their positions in relation to each other to the drawer, who cannot see it.
 Using a felt pen, make a quick, continuous line drawing of an object
without removing the pen from the paper at any point.
The activities in the remainder of this section focus on developing
understanding and practical skills in working with paper and card, wire and
plaster, and clay. There are suggestions for skills development followed by
suggestions for using the skill to represent chosen objects.
Within each section, reference is made to artists who use similar materials.
The artists’ work can be used to discuss the skills in more detail.
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Producing two- and three-dimensional drawings
Three points of view
(pencil, paper)
Discuss the importance of
observational drawing in gaining an
understanding of objects. Ask
learners to draw their object from at
least three different points of view.
Outlines, areas and detail
(pencil, two sizes of graph paper)
Ask learners to select an object with an
interesting outline. Draw the object on
graph paper, then reproduce the drawing
only using the squared lines. Repeat this
on graph paper with a different size of
square. At the end of the activity ask the
learners to describe the differences
between the drawings.
More able learners may be able to make connections with pixels and the
design process.
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Three-dimensional layers
(range of card, scissors)
Ask learners to draw around an object onto card. Now as k the learners to
visualise the object sliced into five different layers with the one that they
have drawn being the middle one. Ask them to draw the two top and bottom
layers too. They should now have five layers, which they can cut out.
Encourage learners to choose from a range of coloured card for their
additional layers.
By experimenting with the positioning of the layers, a wide variety of
outcomes can be achieved. By placing some layers of thick card between the
layers learners can create a representative simplified, layered model of the
object. By varying the space between the layers, different effects can be
produced.
Relate this to Kenneth Martin, Mary Martin and Toby Paterson, who have
used layering in their work. Reflect on why layering adds t o the success of
the work.
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Understanding the qualities of paper and card
(paper, card, scissors, glue sticks)
Relate this to Anthony Caro, who is well
known for his abstract sculptures using cast
and sheet metal, and Richard Deacon, who
uses bent wood and metal.
Also relate this to Gillian White, who uses
sheet metal cut-outs in her work.
Explain how paper is often used by artists and designers to make models and
prototypes for large-scale works.
This activity supports
understanding of the qualities
of paper and card as well as
their limitations.
Using firm cartridge paper or
thin card make a cylinder, a
cuboid and a prism by folding
and sticking. Experiment
with how the shapes can be
stuck together. Discuss which
surfaces join best and which
compositions are strongest.
Ask learners to set their own briefs to create new sculptures, for example:




the structure should use three of each shape
each shape should have different dimensions
the structure must be able to stand balanced
the structure should be interesting when viewed from all directions.
Encourage learners to understand that the largest shapes should be used to
make the main structure and smaller shapes should be added to create detail
and interest.
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Three-dimensional card interpretation of an object
Learners can follow the activity above by using
cylinders, cuboids and prisms to create a
representation of one of their objects. They should
understand that they are not making a replica but
using their object to inspire a new sculpture. T hey
may want to limit themselves to using a maximum of
four shapes. Often, it can be by applying such
restrictions that an artist can create unique and
personal pieces of work.
Learners may be asked to research a designer or
sculptor who uses sheet materials in their work.
Understanding the qualities of wire materials
Relate this to
Glasgow-based
sculptor Andy Scott,
who is best known
for his large wire
sculptures.
Discuss how most complex structures are built up from a series of simple,
stronger shapes or foundations. It is only when a structure is robust that detail
is added. The human skeleton, architecture and the work of relevant artists
and designers can provide good references for discussion.
Using a strip of iron wire, learners shoul d make a simple square, triangle and
circle out of wire in a continuous line. Practitioners may need to offer support
in finding ways to manipulate the material to get smooth curves and angles.
The three shapes should then be combined to make a three -dimensional
structure. Any remaining wire can be used to make smaller shapes to add
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RESPONDING TO VISUAL STIMULI
interest. Learners will benefit from being shown how to use tools such as
pliers to create more complicated shapes.
It is important that quick, continuous line sketches of these constructions are
made at this time. This will help the learners to understand how much detail
can be taken from the measured strip of wire, preparing them for the next
stage of drawing from their objects.
Adding detail
Using a strip of thinner and more pliable wire, discuss
how this can add not only detail but also strength to
the structure. Relate this to the work of relevant
artists, pointing out the main structures and how the
detail is then added to develop the idea.
To consolidate learning about two and three
dimensions learners can be asked to create a
continuous line drawing of their new structure. Use
two different drawing materials for each of the wires,
for example a pencil for the thick wire and a pen for
the detailed wire.
Three-dimensional wire interpretation of an object
Learners use the wire building techniques to represent one of their selected
objects. Emphasise that they will only be able to represent the key features.
Reinforce the concept of the need for a solid, main struct ure before adding
any detail with more pliable wire.
Finally, learners can draw the structure using two different drawing materials
to represent the different wires, for example pencil for the thick wire and
black pen for the thin wire. Again, as part of the process learners could
discuss or write out the principles of the activity to demonstrate
understanding and consider possible next steps.
Relate this to Alexander Caulder and David Mach, who use wire in their
constructions.
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Understanding the qualities of casting and moulding
Relate this to the work of Anthony Gormley and Rachel Whiteread, who
use casting and moulding techniques in their work.
Demonstrate how to make casts from a range of different containers , such as
plastic bottles and cake holders. Experiment with how new structures can be
created by building and rearranging shapes.
Learners can select a variety of containers and draw them. After they have
made a number of drawings they should draw potential structures by
combining the shapes.
Set up a casting area and invite learners (in small groups) to cast their
selected containers and leave them to set. When set, the learners can arrange
and rearrange the shapes, creating a variety of structures. These should either
be sketched or photographed.
Making plaster moulds
Refer back to the activity ‘Outlines, areas and
detail’ (page 16). It is possible to use these
outlines as a starting point to create moulds.
Alternatively, the learners should select one of
their objects to draw around. Place the shape
outline on a piece of firm card, draw round it and
cut it out. A wall of around 3–4 cm is then built up
around the outline using strips of card. The strips
of card should be around 6 cm in width. Mark the
card 1 cm in from one of the edges and fold into a
flap. This flap should then be folded around the
outside of the cut card shape. To allow the flap to
follow the outline cuts should be made in it to
modify its shape. The more complicated the shape the more slits will be
needed in the flap.
Make sure the shape and border wall are well stuck using glue sticks and
cover the outside edges with plastic packaging tape to stop the plaster from
escaping. A textured effect can be achieved by covering the inside of the
plaster with plastic tape too. Sometimes the mould can be an interesting
sculpture in its own right. If this is the case, draw or photograph it before
filling with plaster. To finish, cast the shape with plaster as before.
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Making clay moulds
Clay can be used in various ways to cast obj ects. If
the object is small, roll a ball of clay bigger than the
object, making sure it is big enough for the object to
be pushed into. Press the object in deep enough to
allow at least a 3–4 cm depth of plaster. Cast as
before. If the shape is a bit larger, roll out a flat slab
of clay around 5–6 cm in depth. Make the flat area of
the slab about 5 cm bigger all round than your object.
This extra clay will be used to push up round the
object to hold in the plaster. Once this has been done,
cast as before.
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Developing personal and creative visual ideas
After exploring materials and techniques, learners will use this experience to
develop their own ideas. This will be even more likely if they are given
opportunities to refer to the work of a wide range of artists during the skills
development process.
When learners begin to use techniques expressively, they should refer to the
lessons using different media and techniques and consider:
 which aspects of the techniques they most enjoyed
 which materials and techniques would be most useful for expressing ideas
about their selected objects
 how the use of the techniques and materials might be extended
 which techniques could be combined to create new effects
 which artists or works were most inspiring or rel evant to the way they
want to work.
Initially, learners should select two techniques. They should experiment with
ways of combining them to achieve new effects, continually challenging
themselves, using their imagination and considering the object themes they
have been developing.
Suggestions for developing practical work
The following suggested activities are only intended to stimulate discussions
which should lead to the practical work. There are endless possibilities for
the development of three-dimensional work in response to the objects theme
and learners should be encouraged to develop confidence in their own ideas
and approaches.
 Combine different materials with plaster to create new structures and
textures. Explore the unexpected and see if you can surprise viewers.
 Combine objects in a variety of different ways. Learners should try to find
unusual and possibly funny compositions.
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RESPONDING TO VISUAL STIMULI
 Photograph work in different ways and in unusual locations around the
class, in the playground or other places. Consider how the appearance or
mood of the object is affected by its surroundings or whether there are any
connections or associations between the object and its environment. Find
ways to document the work in one of its new settings.
 Using light projections can achieve instant and dramatic effects. Consider
how to combine projections with other processes like drawing , painting or
video.
Relate this to Christian Boltanski, who uses three-dimensional projections in
his work. You can see how the objects in the middle of the floor are projected
on to the walls to create an atmosphere in the room.
 Explore ways of adding new materials to wire constructions to enhance
shapes and forms. Try different thicknesses or colours of wire, modroc,
string, wool, clay, fabrics or acetate.
Relate this to David Amnesley, who welds simple wire-like shapes together.
 Incorporate objects into sculptures.
Some artists use real objects as integral parts of their sculptures.
Relate this to Meret Oppenheim, Subodh Gupta or Jimmie Durham. Each
of these artists uses different types of objects and work s in different ways,
but all select objects carefully to express an idea.
 Experiment by wrapping parts of the objects with
materials such as string, wool, masking tape, cling film,
etc. This can change the impression of an object
dramatically. Draw or photograph the result.
Objects can be painted in unusual colours or in one colour.
Again, depending on the chosen effect, colour will alter
how the objects are perceived. Draw or photograph the
results.
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Paper drawings with objects
Below are a variety of objects with three-dimensional drawings beside them.
Each of these lessons has allowed the learner to interpret the object in a
different way. By applying ‘rules’ to the creative process a range of outcomes
can be achieved. For example, the first drawing is an interpretation of the
shell using only cylinders, cuboids and prisms, the second is an interpretation
where the learner is only allowed to fold, crease or cut an outline paper
shape, the third example is from a simplified and stylised positive and
negative shape lesson, and the final one is a cut -paper layered interpretation.
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RESPONDING TO VISUAL STIMULI
Three-dimensional clay drawings
Clay is an ideal material from which to make quick three-dimensional studies
of objects, particularly if you don’t intend to fire the outcome.
Relate this to Antony Gormley, whose work below is made from thousands
of small clay figures.
Latex impressions
After a clay impression has been made, it is very easy to use materials such
as latex to take further impressions that can be used in different ways. Latex
is a flexible material that can be coloured, stretched and manipulated in
unusual ways.
Relate this to Richard Deacon.
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RESPONDING TO VISUAL STIMULI
Preset moulds
A good introduction to casting with plaster is to use preset plastic moulds.
Plastic moulds are all around us, from plastic bottles to biscuit containers and
all sorts of packaging. They have the benefit of being able to be used more
than once and the outcomes can be arranged together or with other shapes to
create brand new structures.
With a bit of creativity and imagination the plastic moulds themselves can be
cut and joined together then cast. Plaster casts can be used for many
outcomes, including sculpture jewellery and all sorts of product design
outcomes like chairs and bases for lighting etc.
Relate this to the work of Eduardo Paolozzi and Rachel Whiteread.
Modifying objects
Some artists take an everyday object as their starting point and modify it in
various ways, changing its whole meaning for the viewer. Sometimes these
interventions can add humour; alternatively they can make you feel
uncomfortable.
Relate this to Tom Friedman and Jimmie Durham.
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RESPONDING TO VISUAL STIMULI
Photography
Photographing and/or drawing shapes in different positions and at close range
can create exciting compositions. The new studies can be used to inspire
pieces of jewellery, chairs and hats, or as starting points for graphic design
and textile design. Photographing objects and investiga tions in an imaginative
manner can in itself be a creative process and very much part of the artist ’s or
designer’s skill. It is therefore important, if at all possible, to introduce this
skill early to encourage it as part of the investigative process.
Relate this to Christoph Buchel, whose photographs of objects are often just
as important as the works themselves.
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UNDERSTANDING THE MAIN INFLUENCES ON ART PRACTICE
Understanding the main influences on art practice
Throughout this document there are references to artists’ work, which can
support learners in developing an understanding and appreciation of a range
of working practices. The Unit Support Notes for Art and Design: Expressive
with Critical Activity (National 5) suggest that:
Learners should be encouraged to reflect on how others a pproach their art
work and develop their ideas. Considering and analysing different examples
of art work that include some shared similarities would help learners develop
these thinking skills…
It could also be developed by looking at how artists respond in different ways
when working with a common stimulus...
The support notes also suggest that learners should:
Develop knowledge of the social and cultural influences on artists and art
practice.
Considering the things that influence artists and their wo rk can help learners
place art in context.
The final section of this document provides information on some of the artists
who are referred to in the practical activities. To help learners evaluate the
artists’ ideas, influences and creative processes it may be helpful to consider
what questions need to be asked. The following provides a starting point , but
learners should be encouraged to form their own questions when looking at
art. The questions are divided into three areas:
 Questions about the object (looking).
 Questions about the subject (making connections).
 Questions about the context (analysing).
 Describe the colours, shapes, marks and materials. Do they remind you of
anything? What if the artist had used different colours, shapes or
materials? How would that change the way you think about the work?
 How do you think the work has been made? Think about its size, the
materials, the tools used and where it would have been made.
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UNDERSTANDING THE MAIN INFLUENCES ON ART PRACTICE
 How does the position of the work affect the way you think about it?
Would you think differently if its position changed?
 If the art is sited in nature, think about how it might change over time .
Other questions you need to ask:
 Think about all the discoveries you just made when you looked at the
different parts of the work. What do they mean to you? What do you think
the work might be about?
 What is happening? Is it a story? A message? Are there any signs or
symbols? What might they represent?
 Does the title help you to understand what the artist is communicating?
 Why do you think the work has been made? What is its main purpose?
 Think about the exact place where the work has been sited. Are there any
connections between the work and the place?
 Who do you think the work was made for and what was the artists
perspective
 Whose point of view does the work communicate? If it is about the past,
does it tell a story from a particular point of view?
 Does the work relate to other areas of creativity or knowledge such as
music, science or geography?
 Think about lifting the work and placing it in a completely different
environment. How would that change the way you understand it?
When learners are asked to select two artists as part of their course work they
should reflect on the following:
 Why they have chosen these two artists.
 Why they like them.
 Similarities and differences between the artists and their work (consider
the questions in the list above).
 Where the artists got their ideas from.
 How the work might influence the development of their own ideas.
 In what ways their work is different from the selected artists’ work.
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APPENDIX 1
Appendix 1: Artists and their practice
The following examples illustrate how some learners have taken objects as a
starting point and developed their ideas using a range of media and
techniques. This level of achievement would not be expected from all
learners.
Investigation/development from cutlery
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APPENDIX 1
Investigation/development from camera (two-dimensional developments
from three-dimensional studies)
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Investigation/development
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APPENDIX 1
Investigation/development from toy dog
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APPENDIX 2
Appendix 2: Artists biographies
Antony Gormley
Antony Gormley is a good example of a sculptor who is happy using a wide
range of materials and processes, and therefore he is a good example for most
projects. He is known for his cast-iron work and is just as happy using wirelike materials. He often uses real objects in his work. Some of Gormley’s
work has been created for specific sites, for example his installation ‘Other
Places’, for which he placed a number of cast -iron figures in various places
on Crosby Beach near Liverpool. As the tide goes in and out some of the
figures disappear and reappear. He is probably best known for his Angel of
the North sculpture, which is made of cast iron and can be found at Gateshead
near Newcastle. Gormley won the Turner Prize in 1994.
How do you think people would react to statues being placed on their beach?
What do you think of the different ways Gormley uses to make his work?
Jimmie Durham
Very often artists will use objects as integral parts of their work, binding,
gluing and joining them together and using them as symbols to tell a story or
to put political ideas to the public. Jimmie Durham is famous for using real
objects in his work in order to put across political and cultura l messages.
Durham was born in Washington, Arkansas, USA and became active in
theatre, performance and literature related to the US civil rights movement in
the 1960s. His first solo exhibition as a visual artist was in Austin, Texas in
1965. Durham created sculptures that radically challenged people’s feelings.
He uses a wide variety of objects not because they are attractive but to tell a
story – there is always a story to his works. Very often the same types of
objects appear in his sculptures. Usually they are tied and glued together, and
painted in bold, garish colours. Durham regularly uses text or notes in his
work in order to help get his ideas across to the viewer.
Why do you think Durham uses objects in his work? Do you think sculptures
should always be attractive? Do you think it is a good idea to try to make
your sculpture tell a story? What story would you like to tell and what objects
would you need to use.
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APPENDIX 2
Richard Deacon
Deacon’s work is abstract, but often relates to the human figure. His works
are often constructed from everyday materials, such as laminated plywood,
and he calls himself a fabricator rather than a sculptor. His early pieces are
typically made up of sleek curved forms, with later works sometimes more
bulky. Deacon’s body of work includes small-scale works suitable for
showing in art galleries, as well as much larger pieces shown in sculpture
gardens and objects made for specific events, such as dance performances.
Deacon won the Turner Prize in 1987 (nominated for his touri ng show For
Those Who Have Eyes), having previously been nominated in 1984.
Deacon’s work relates very much to using sheet material, like in your paper
investigations. His work could easily be copied in paper and you might like to
try to draw his work in this way. You can also see that he uses wire to form
shapes.
Tom Friedman
Tom Friedman was born in 1965 in St Louis, Missouri,USA. He is a
conceptual sculptor known for his work employing everyday material, such as
toothpicks or sugar cubes, in intricate geometric arrangements. He puts
simple materials like a pencil and a toothpick together to make fantastic
compositions.
Despite this being a very simple idea, there is still a lot of thought, hard work
and time taken to get the work exactly as Friedman wants it.
Subodh Gupta
Subodh Gupta is an artist who uses everyday objects from his past and culture
as an integral part of his work. He was born in Khagaul in India in 1964 is
and is based in New Delhi. He is best known for using items that are found
throughout India, such as the steel tiffin (food boxes) boxes used by millions
to carry their lunch, as well as thali pans, bicycles and milk pails. From such
ordinary items he produces sculptures that try to give an understanding of the
economic change in his homeland and also relate to his own life and
memories. Gupta also makes copies of real things, like potatoes, which are a
staple part of the Indian diet, using diff erent materials. It is very interesting
how Gupta takes everyday objects and, by polishin g or arranging them,
almost transforms their meaning.
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APPENDIX 2
Where do you think Gupta gets his objects from? What simple objects could
be collected to tell a story? What does Gupta do to the objects to change how
we look at them?
Rachel Whiteread
Rachel Whiteread, CBE (born 20 April 1963), is an English artist best known
for her sculptures, which typically take the form of casts. She won the annual
Turner Prize in 1993, the first woman ever to win the award.
She is probably best known for ‘Ghost’, a large plaster cast of the inside of a
room in a Victorian house, and for her resin sculpture for the empty plinth in
London’s Trafalgar Square. She loves to make casts of very different types of
objects from a simple light switch to large houses and staircases. She uses
different materials in her casts – plaster, wax, resin and concrete.
How do you think it was possible to cast a whole house or staircase? What
simple techniques could you use to make casts in your home? What simple
objects do you think would be good for casting? If you had your choice of
making a cast of any object what would it be? How do you think you could do
it?
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APPENDIX 2
Mona Hatoum
Mona Hatoum explores a variety of different subject matter. She often uses
very ordinary objects in her work and changes them in a way that makes them
threatening or disturbing. Again, like a lot of artists, she is trying to tell a
story in her work and often she is trying to comment on the way minority
people are treated. Her sculptures and installations depend on the viewe r
being there with the work and interacting and reacting to it. It is important to
her that the viewer has an emotional response to the work.
What ordinary objects does Hatoum used in her work? In what ways does she
modified them? How has that made you change what you think about the
objects? Can you think of simple everyday objects that you could modify?
What could you do to them to make them more intimidating?
Christian Boltanski
Boltanski uses a lot of everyday objects in his work but uses them in a v ery
different way from many other artists. He uses a lot of clothes and
photographs in his work to create a sense of unease. Much of his work is to
do with life and death, and it is clear that piles of unused clothes can
represent a journey through someone’s life and be a collection after they have
passed away.
Photography and light are also very important in his work. He makes
monuments of photographs, lighting them up to draw attention to them and
the lives of the subjects. He is also very interested in projections where the
shadows and light give a moody atmosphere.
Anthony Caro
Anthony Caro (born 1924) is one of the most famous and influential sculptors
of recent years. After studying sculpture at the Royal Academy Schools in
London, he worked as assistant to Henry Moore, who is one of the world’s
most influential and famous sculptors.
Caro came to public attention with a show at the Whitechapel Gallery in
1963, where he exhibited large abstract sculptures that were brightly painted
and standing directly on the ground so that they engaged the spectator on a
one-to-one basis. This was a radical departure from the way sculpture had
previously been seen and paved the way for future developments in three dimensional art. He would have worked in a very similar way to how you will
have done your sheet investigations. While you used paper you can see how
the same technique could translate to the sheet and cast metal that Caro used.
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APPENDIX 2
You can also see how the wire-type materials have been joined to the sheet
materials to create a variation in shape and form. This helps to add interest
and detail to his work.
What materials could you use to give the impression of the heavy metal that
Caro uses? How do you think he joins his shapes together? Where do you
think he gets his ideas for his work?
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