﻿Hi, everyone, and welcome to Art with me, Mr. Di Salvo. And I hope that you're 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 example, as you can see on the right hand side, are not actually work of Richard Long, but they are examples of certainly very close examples of land art. So what is a land artist? Now, a land artist is an artist who works in the landscape, and works with the materials around them. So 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. And it was titled, or it is titled, sorry, "A Line Made by Walking". And it was created in 1967. What do you think of it? Give you a bit of thinking time there. So that's his artwork, "A Line Made by Walking." Now, some of you perhaps might say, "But is it art"? And my answer to that would be absolutely. Absolutely, it is. Richard Long decided that he wanted to make artwork 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, he simply walked a line into the ground. So essentially was drawing with himself, which thinking about it, 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. This idea of cataloguing your journey and making a mark on the land. So a bit more about Richard Long really, so Richard Long was born in 1945 and he was 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, the 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, actually it's quite new to you. So site specific means that the work is created in that place. So for example, as you can see, here is an 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, and the other 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 seems apparent, that he's really choosing places or he's going on walks and he's using those natural elements to sort of show how we link and work with or live within the natural world. And he also creates text works, which record, recording his work, walks which you're going to look at now and 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 piece of land artwork. So this is one of his artworks and it's called "Heaven and Earth" from 2001. I'm just going to read it to you. It says heaven and earth. Moving by day resting night, glacier creek glittering water, glittering obsidian each sleeping place, the dreams at each sleeping place, North Sister kicking in snow-steps, Wickiup Plain easy walking, an odd number of mountains, an even number of rivers, the earth's axis magnetic north positive, magnetic south negative, the walk as a true path, some false moves. A 15 day walk in the Three Sisters Wilderness in Oregon, 2001. So the idea that he catalogued his work this time, not by creating a sculpture in a sense or a piece of land or a piece of text, or almost like a good diary entry, but rather poetic, which, you know, which saying I've walked here. I walked there, the idea of capturing elements information in this life and the odd number of mountains and that he walked or moved by day and, and rested set by night. So it's a lovely idea of kind of cataloguing your journey or your walk by a piece of text. That's something that perhaps we'll look at today and about something you might wish to do. So for today, you're going to be needing some natural objects that you can even hopefully find in your garden, or if you're going out for a walk today, or 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, and essentially is a piece of assembly jar. Similar to last week's work in that. It's not a case of getting it done. It's a case of, trying to kind of create something really interesting. I've simply found materials. It's a real big task, like last week, in that we're looking at composition, you know, how we place those objects together to create something of interest. And so it will take some time. It will take time for you to collect some interesting materials, some stones, some modes, some leaves and branches like which long would have done. And then for you to arrange your composing to something really quite interesting, visually excited. Okay. You're going to see that poor 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 hit pause and infuse, have a go. So let's begin So we'll play my video. So 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 sort of an interesting strategy and all I'm literally doing now is I'm playing with them perhaps it's just working out what might be of interest in terms of a shape and so I thought that idea of a spiral, and the reason being is the reason, 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. I had to do it inside, but using hopefully natural environment. So this is, would be great if you could do it outside. But I thought about how I can place these twigs and branches, even I've cut to close to same size and why that would be of interest. And I really liked that idea of a spiral because I think about a journey going for a walk somewhere. I think as far as a shaping out is I it's a real big part of the natural world, or you see spirals smell shows and such forth and family first kind of coming up a sort of spiral shaped, but also it has a sense of you kind of follow it around with your eye. And I think it's really, it is a sort of journey and an art work. And I went along which alongs work was about going on a journey, going for a walk. And so, idea of capturing this sense of movement, it sort of serves as that. And I think for it to work, as you can see here, you've got to try your best to kind of get it to be really neat, accurate, and really again, compose it well, not just lay those pieces of whatever you may have found real quiet 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 -- let me pause there to 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 and doing 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 go on your walk and create that piece of artwork. It's just, it's in your garden. And then brilliant. Still find some materials that are natural and really try and create something that's an interesting piece of work that shows going somewhere or a place within nature. And once you've had to go composing it, then just do it. And that's done for me. Try lots of variations of that. So have a go do that, please. And then let's carry on. Okay. And welcome back. So my next thought was about just again, composition is a real sort of big part here. So I thought, well, I really liked how much alignment make these kind of concentric circles, which to me, it reminds me of when you drop a stone into the water and the kinds of rings kind of form other water and Richard Long would 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 rings is really intentional. So that's my second composition. So then we've, with which had the materials you've got is pleased now 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, twigs I, to call it. And I thought about how some of them are bigger than smaller than others and how it'd be great to look at, you know, lining them up and how they would look and to have something that's very natural and organic, like a true branch, and then try and make them look very exact in intention. So this is you seeing any trends going to get into a lot of using it sort of pencil pencils 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 pathway, you walk on a path and I guess there's that link back to Richard Long's work. So idea of travelling or going somewhere. And again, all I'm trying to do there is just trying to make a sort of, again, I think this could work better if we had a really long line of things. This is obviously a small area for us to do as a demonstration, but I think it would be amazing if we get a whole series of those. So that's my third composition. I woulds like you to try, please. And once you've done that, please click play. And we'll carry on and we'll look at the, my next composition. I've tried and hope that you're trying as well today. So welcome back. And yeah, that's it kind of, I think it looks quite nice as a photograph. It's just twigs and branches. I know, but I think it kind of creates a sense of visually quite striking, just lining up those branches and trying to do something like that. It's really important. As I said, to try to help, sometimes you're going to have some really good successful attempts and then you'd have some bad ones is we saw that last week with our assemblies yard that we created, looking at Joseph Cornell's work, but again in here I sort of tried to do it again. And the only reason I'd use this kind of Brown back, this kind of natural backgrounds, because I couldn't do it outside. So I thought about using a leaf from the tree that these came from and how that could look visually. But to me it didn't seem to work. I think I realised that I really liked just those just those as it tweaks. I found it 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 of your composition. And I would like to show you now is a text work. So we've looked at so examples of the artists and there's just sorry to share it at the very end, my last attempt at that sort of spiral, which does work quite well. I think on that kind of a Hassan background and then does have that sort of Richard Long inspiration, but I want to show you now about creating a text work. So this is what I'm going to do. I'm just going to X out of here, show you my PowerPoint, where I have begun to just create, Just trying my best and I just want to show you my PowerPoint here, and this is my fault. So I went out 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 and went for a walk for the local laner theatre and just sort of try to kind of like tried to record, not necessarily where I want to exactly, but using that Richard Long inspiration, try to record a sort of some poetic sense of where I'd been. So SSA was a summer solstice. So it was the longest day. and I'm going to show you how I've taken those words and how we present those as it as another piece of artwork. So I'm just going to read the words to you. That's what I've got longest day. The quiet language is so many of my house, the silver Birch whispering, which is a tree that kind of thought the leaves amazingly kind of in the wind. And I make the most incredible noise, the fresh spinning, which I'm just down the bottom of this, of this lane, there is a small wood, which is spinning. And as you walk past some of the houses, there's a spin of very strong lavender that you walk past the 16 hours and 13 minutes is not at how long I went for 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, a chart tree which has been struck by lightning, And a red kite above sending. 'Cause if you know who my red car is, they tend to sort of ascend and sort of above the thermal was really high above on this. And then there's a through later path by the edge of a meadow that I often walked past. and that was a lovely evening breeds. And 21st 6, 2020 is just the date of birth in a more interesting form. So you're 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 and combine them with the photograph of my work. So I just want to show you how you could now create your own textbook if you wanted to, or perhaps even combine the photograph and the text and take it a step further. So I just want to sort of make this look a bit more interesting to individually. So you're going to sort of take this key information, which is the longest day that, and the sunshine we had. It's a bold thing that we send to these that looks quite interesting in terms of visually, it's got quite nice shape to it, where the dark on the lighter areas. If I try and put them on into here Again, unless you're just using PowerPoint and nothing fancy, and I'm sure there's other ways of doing this type of hair. So I've introduced copied, I'm going to pay somebody, can't really notice that, All right just move this to one side. I'm sorry. Move this to one side, All right. And make this a little bit more sort of transparent, I guess it's the right word. So I click on transparency. I turn this right down so we can barely see it, And then we can go right here, back home nothing groundbreaking in terms of what we're doing, any 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 I didn't collect them on my travels, but I could easily have collected those objects in my travels. And I really liked this sense of the journey being kind of, a recording every poetic while Richard Long. And so kind of combining our sort of Richard Long land art and our text kind of create a new piece of work. So there a sort of food for thought for you If you've got access to a to PowerPoint and you can go on a walk, you could perhaps do that. And to go back here, I've just got examples of my work here and I can start with my full screen view so we can see it properly. It's okay. Hopefully It's going to load up. Yeah. So we've got examples. There are three pieces of my work and hopefully you have got photographs of your sculptures, or if you created a text, text work, you've got that. It's always that sort of time of the lesson to ask ourselves what went where, when even better reps. So my what went well? So I am really pleased with a few things. Actually, I'm really pleased with how this piece tied 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 inspired, which I really liked that I really like the use of shape here and here, but I think that'd be my well with writing. Like even veterans would be, I think I'd like to be bigger. And I think I'd like to have like more of a sculptural piece of these are very flat. So I think I'd like to go a bigger to see how, to see that base in a huge long line, down a piece of grass or through a meadow, or see this spiral, perhaps mainly looking here, A sort of 3D that's got more hype to it. And I think, as I said, I'd love to see these actually to go and do these out now and in the actual natural world. And obviously we've done them inside people cause it ain't true our lesson today. But again, if you have a chance to do that, so again, I'd like to ask lead yourself what went well and what, if your even better To extend your learning independently, a couple of questions are asking you, could you make a bigger land artwork? Could you create a text work based on a mental, memorable walk you've been on where your favourite walk? They say that when you go somewhere or when you'd like to take, so you can't get out of the house at the moment. Where do you remember walking or do you want to go into the sea side? And that thing sort of certain smells or sort of, you know, things that you remember seeing or no. And if I were pets you went to, or could you imagine going somewhere, you know, if you'd like to travel the world, for example, that'd be reinvented with it, trying to think about, could I, where would I go? Where would I like to see? And so, you know, you asked 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 textile or a combination of the two. And if you can please ask your parents or care to share your work with us and with the following details. And it would be fantastic to see that. So please, please, please try and do that. That brings us to the end of the lesson. And so it is time to say the end of lesson quiz as everyone to see what step from today's learning. Thank you as a few times later on at forward to seeing you next lesson. Okay. And thanks again. Bye bye.

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 architecture

Architectural sculpture: Refining work

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 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

Core Content

Pupils Will Learn

3D sculpture: developing fine motor skills: