What is assemblage?

What is composition? 

Which statement about Yinka Shonibare is NOT correct? 

Which statement about "Cheeky Little Astronomer" is correct? 

Creating a sculpture inspired by Yinka Shonibare

﻿- Hi everyone and welcome to Art with me, Mr Salvo. I hope that are you well today. And today we're going to be looking at and hopefully inspired by the work of Richard Long. So we're going to be creating an artwork inspired by the work of Richard Long and Richard Long is a land artist. And my first question to you is, what is a land artist? Now the examples you can see on the right hand side are not actually work of Richard Long, but they are examples or certainly very close examples of land art. So what is a land artist? A land artist is an artist who works in the landscape and works with the materials around them. So quite often, they will work in a natural environment using only what they find or acquire from around them. And so this idea of working from and or with the land. Now this is an example of Richard Long's work. It is titled, sorry, 'A line made by walking' and it was created in 1967. What do you think of it? Give it a thinking time there. So that's his artwork, 'A line made by walking.' Now, some of you perhaps might say, but is it art? mind kind of asks that would be? Absolutely, absolutely this is Richard long, decided that he wanted to make artwork with using his physical self, and creating art within the land. And so what he actually did for this piece of artwork was that he walked back and forth actually physically walked a line into the ground. So he essentially was a drawing with himself, which is anyway, it's a really, really interesting idea rather than drawing with a pencil or painting with a brush that you physically drew onto the landscape just by his own body and movements and this is one of his great attempts at using the land, and himself for his artwork and cataloguing a journey, and making a mark on the land. And, so a bit more about Richard Long . Sir Richard Long was born in 1945 and is one of the best known British land artists. And for his work, he often uses earth , rocks, mud stones and other natural materials. His work is often based on the walks that he takes, work can be created in the natural world , so specific or created in a gallery. Now, site specific is a term that we haven't used as yet, I don't think compaction is quite new to you. So sites pursue means that the work is created in that place. So for example, as you can see here is example that in terms of this piece of artwork is created for that and in that place, so site specific, and equally, it can often as you can see, another example would be created in a gallery. So taking the natural materials from around him and putting it into a gallery. Now his work shows a link between humans and the natural world, which I think yeah, that's, that seems apparent that is really choosing places or is going on walks and is using those natural elements to sort of show how we link and work with or live with the natural world. And he also creates text works which record and recording his work works which you guys to look at now, it might be an option for somebody today to create a text work based on a walk or also to hopefully use some natural materials that you can find to create a particular land artwork. So this is one of his artworks is called heaven on earth to generate users is heaven on earth. Moving by day rest of my night, place your Creek literally water, glittering obsidian, each sleeping place the dreams each sleeping place, North sister kicking in snow-steps wickiup plane easy walking an odd number of mountains and even number of rivers, you have access magnetic north positive magnetic cell magnetic south negative, the walk as a true path, some false moves, a 15 day walk in the tree in the Three Sisters wilderness in Oregon. So the idea that he catalogued his his work this time not by creating a sculpture in a sentence or a piece of land not by piece of text or almost a diary entry but rather poetic, which Robinson free saying I walked here, I walked there the idea of capturing the elements of information, things like the odd number of mountains and that he walked or moved by down and rest and so by night, so it's a lovely idea of kind of cataloguing your journey or your walk by a piece of text. There's something that perhaps we'll look at today. And that's something you might wish to do. So for today, you're going to be needing some natural objects that you can use to hopefully find in your garden. Or if you're going out for a walk today, or if you if you've been out for a walk or you're going out for a walk, you can collect those objects and materials and create an artwork and if you would like to create a text work, then you can use your computer for that. Okay, and we are creating a found object. A sculpture essentially is a piece of assemblage art, similar to last week's work in that was not a case of getting it done. It's a case of, of trying to kind of create something really interesting out of simply found materials. It's it's a real big task. Like last week, like last week, in that, we're looking at composition, you know, how we placed those objects together to create something of interest. And so it will take some time, it will take time for you to collect interesting materials, some stones, some mud, some leave some branches, like which long we've done, and then for you to arrange a composing to something really quite interesting, visually exciting. okay, you're gonna see that pause, slide as ever, as we always do in lessons. So when it's that, when that comes up, it's of course, as you know, time to to hit pause, and infuse to have a go. So let's begin playing my video. So yeah, the first thing really is looking at what we can use. So I have just acquired some branches from a tree, and I've just cut them down into the same lens. So that we've got an interesting structure to use. And all I'm literally doing now, playing with them perhaps, is just working out what might be of interest in terms of a shape. And, and so I thought the idea of a spiral reason being is, and the reason for that, sorry, this is on a piece of artificial grass, because we would do this outside. But of course, I can't get my computer and my visualizer outside to do this. So I had to do it inside, but using hopefully, natural environments. So this is great if you could do it outside. But I thought about how I could place these twigs and branches, even though I've cut to produce the same size in a way that would be of interest. And I really like the idea of a spiral. Because think about a journey or going for a walk somewhere. I think as spiral as a shaping art is a it's a real big part of the natural world, JC spirals, snail shells and such forth and fern leaves, and at first kind of opening up or sort of spiral shaped. But also, it has a sense of the kind of fire around with your eye. And I think it's really, it is a sort of journey and an artwork and which along with the lungs work was about going on a journey going for a walk. And so, so idea of capturing a sense of movement sort of serves of that. And I think, for it to work, as you can see here, you've got to try your best to get it to be really neat and accurate. And really, again, compose it well, not just lay those pieces or whatever you may have found required out that you really got to consider how it lays out in a sense, that looks sort of intentionally spread the word. Yeah, the idea that it looks like you're really trying to make it look just so. And it's really important that you do that. So please, I would like you to hit pause there, too. If you've got some materials from your garden, brilliant. If you haven't, it might be a chance for you to go for a walk and come back and try this. For the materials that you've got it natural materials. Let's try and create a piece of land that shows our connection. So if you're going on a walk even better you can, you can go on your walk and create that piece of artwork. It's just it's in your garden, and then brilliant, still find materials that are natural, and really try and create something that's an interesting piece of work, which shows going somewhere or are placed within nature. And once you've had to go composing it, don't just do it. And that's done a few easy for me to try lots of variations of that. So have a go do that plays and then let's carry on. Okay, and welcome back. So my next thought was about just again, competition is a real sort of big pie. So I thought I really liked how would you long and made this kind of concentric circles, which, to me, it reminds me of when you drop a stone into the water, and the kind of rings kind of fall out of the water. And would you longer use that. So this was my attempt to I guess this is more of a copy of his work rather than inspiration. But just seeing how that could look. And I think that outside this would look even more interesting. I think we could do this outside and maybe incorporate some other elements. But I like the visual sense of those references, they look really intentional. So that's my second composition. So again, we which are the materials you've got is pleased now over to you to try and create something similar. And then once you've done that, please, let's carry on. Okay, so welcome back. So my next thought was, what could I do with these very simple but neatly cut small branches tweaks our code, and I thought about how some are bigger than smaller than others, how it'd be great to look at you know, lining them up and, and how they would look and to have something that's very natural and organic, like a tree or a branch and then try and make them look very exacting an intention or so. This is me trying to get to get into the lineup using a pencil to get into a very neat order. Now what I thought that was it, it kind of looks like a pathway from above. And obviously you travel on a path where you walk along a path and I guess there's that link back to Richard Long's work. This idea of travelling or going somewhere and again, I've tried to do there is just trying to make a sort of, again, I think this could work you better if we had a really long line things, if this is only a small area for us to do as a demonstration, I think it would be amazing if we hit about a whole series of those. So that's my third composition show, we'd like you to try it, please. And once you've done that, please click click play, and we'll carry on and we'll look at my next composition I've tried, and hopefully you're trying as well today. So welcome back. And yeah, that's it kind of up. So I think it looks quite nice as a photograph, it was kind of just twigs and branches, I know. But I think it kind of creates a sense of visually quite striking. Just lining up those those branches and trying to do something like that. It's really important, as I said, to try it out, sometimes you're gonna have some really good successful attempts, and then you can have some bad ones as we saw that last week with our assembly that we created. Looking at Joseph Cornell's work. But again, and here, I sort of tried to do it again, I don't really like to use this kind of brown backness kind of natural backgrounds, because I couldn't again, do it outside. So I thought about using a leaf from the tree that he came from and how that could look visually. But for me, it didn't seem to work, I think I realised that I really liked just those. Just as little tweaks, I felt really good. And I think I would like to extend that further. So I would like you please to, to try and have another go your composition and and what I'd like to show you now is a text work. So we've looked at some examples of the artists. And there's just sorry, to show at the very end, my last attempt at that sort of spiral, which which does work quite well, I think, on that kind of a Hassim background and does have a sort of Richard long inspiration. But I'm gonna show you now about creating a text work, I went out went for a walk on Saturday, the 20th of June. And I went for a walk and I sort of started my garden and then walked went for a walk for the local laner fields and, and just sort of kind of like to recordable. We're not necessarily where I went exactly, but but using that Richard Long inspiration tried to record sort of some poetic sense of where I'd been. So Saturday was a summer solstice, so it was a longest day. And again, and I'm gonna show you how I've taken those words and how we present those as as another piece of artwork so, so you can read the worst. So I've got Longest Day, the quiet lane, which is somewhere near my house, the silverbirch whispering, which is a tree that kind of leaves amazingly kind of in the wind, they must incredible noise. The fresh spinning, which just down the bottom of this, this line here is a small wood, which is a spinning. And as you walk past some of the houses there's a there's a smell of really strong lavender that you walk past the 16 hours and 13 minutes is not how long I went for a walk for, it's how much sunshine we had that day for it to be the longest day of the year. And then as you walk through Furthermore, look, there is a charred tree which is been struck by lightning, a red kite above, ascending because if you know anything about red kites, they tend to sort of sort of ascending sort of above the firm was really high above and there's then there's a flue laden path by the edge of a meadow that I often walk past. And that was a lovely evening breeds and 20 for 620 20 is just a diaper is prettier and more interesting form. So I'm going to try and take those words, I'm going to sort of try and make them look a bit more visually interesting. I'm also going to try combining with the photograph of my work. So it's actually how you could now create your own textbook if you wanted to, perhaps even combine the photograph and the text and take it a step further. So I just sort of make this look a bit more interesting, individually. So you're gonna sort of take this information, which is the longest that Hampson, Shami showed me how, We are going to do bold I think that we centre these that looks quite interesting in terms of visually, it's quite, quite nice shape to it with a darker on the lighter areas. But if I can put the monitor here, unless you're just using PowerPoint, and nothing fancy, and I'm sure there's other ways of doing this, but I put on top of here, so I've literally just copied I'm going to paste really notice them. So just move this to one side. I'm sorry, and make this a little bit more sort of more transparent, I guess it's probably the right word. So I click on transparency. I turn this right down. So we can barely see it and put that writing back over there nothing groundbreaking in terms of what we're doing any fancy fancy effects, but I really like that. I think it works really well in terms of I like this picture of this kind of pathway which you know I didn't collect them on my travels. But I could easily have collected those objects in my travels. And I really like this sense of the journey being been kind of recording the really particular rigid lines. So kind of combining our sort of rigid long land art and our text to create a new piece of work. So that's, that's there's a sort of food for thought that if you've got access to a PowerPoint and you can go on a walk, you can perhaps do that. To go back here, because I've just got examples of my work here. And I can type up my full screen view so you can see it properly. Okay, I'm just gonna load up. Yeah. So brilliant. So we've quite examples, there are three pieces of my work. And hopefully, you have got photographs of your sculptures, or if you've created a text, where you've got that, it's always that sort of time of the lesson to ask ourselves what went well, and even better, it's so my what went well. So I am really pleased with a few things. Actually, I'm really pleased with how this piece turned out which, although which along I don't think combined photographs and text, it's combining the two to kind of create our own original inspire, which I really like that I really like the use of shape here and here. But I think that's my one. Well, I think my even better it would be I think I'd like to go bigger, I think I'd like to make more of a sculptural piece. These are these are very flat. So I think I'd like to go a bigger to see how to see, for example, this in a huge long line and a piece of grass or through a meadow. Or see this spiral, perhaps mending a sort of 3d version, it's got more height to it. I think as I said, I'd love to see these actually go do these out now and in the actual natural world. And obviously, we've done them inside because the nature of our lesson today. But again, if you have that chance to do that. So again, I'd like to ask please yourself, what went well? And what is your even better if you to extend your learning independently? And look at the questions are asking you could you make bigger land artwork? Could you create a textbook based on a mental memorable walk, you've been on your favourite walk, I say that when you when you go somewhere, or when you'd like to take so you can't get out of the house the moment where when you're walking out, you want to go to the seaside. And that being that sort of certain smells, or, or sort of things you've ever seen or not your favourite party went to or could you imagine going somewhere, you know, if you'd like to travel the world, for example. And I'd be really inventive with and try and think about, okay, could I Where would I go? Well, right what I like to see. And so you know, it asks a bit of you to be kind of creative. But yeah, that's the nature of our subject. So please, please, please, we can do that. And it would be great to see your work as ever, even photographs of your land art or your text art or a combination of the two. And if you can please ask a parent or carer to share your work with us and with the following details, and it would be fantastic to see. So please, please, please try and do that. And that brings us to the end of the lesson. And so it is time to take the end of lesson quiz as ever and to see what stuck from today's learning. Thank you for your time today. I look forward to seeing you next lesson. Okay, and thanks again. Bye.

Let's see what stuck from today's lesson.

What is 'Land Art'?

Richard Long's work shows a link between:

The land art we created is a form of:

If we choose to create a text work inspired by a walk, we could use:

By going for a walk and observing the world around us it allows us to engage with our surroundings:

Land sculpture

In this lesson, we will create a piece of land art inspired by Richard Long.

Art & Design

Y8 Art & Design

Key Stage 3

Year 8

Land sculpture inspired by Richard Long, collected from garden or daily walk

3D sculpture: developing fine motor skills

UNIT

Sculpture: Paper Manipulation

Creating a sculpture inspired by natural forms

Creating a sculpture inspired by Chakaia Booker and Anish Kapoor

Creating a sculpture inspired by Zaha Hadid

Creating a sculpture inspired by David Adjaye

Notan collage

Barbara Hepworth & Henry Moore

Create a design for a soap sculpture inspired by the Work of Henry Moore and Barbara Hepworth

Soap carving inspired by the work of Barbara Hepworth and Henry Moore

Creating a sculpture inspired by Veronica Ryan

Creating assemblage art

Pencil study of own sculpture showing grasp of line, shape form and tone

Lesson overview:Land sculpture inspired by Richard Long, collected from garden or daily walk

3D sculpture: developing fine motor skills: