Sidney Cooper Gallery

ADAM CHODZKO DESIGN FOR A FOLD SECONDARY LEARNING PACK

16 OCT – 21 NOV 2015 ADAM CHODZKO 2013 We are Ready for your Arrival [Detail] (2013 at Raven Row, Londo, Two person exhibition with Iain Baxter.) Sculpture, video, and photography, exploring manifestations of the unconscious relationships between

COVER IMAGE individuals and groups; their excesses, displacements and disappearances.

BACKGROUND INFORMATION Adam Chodzko’s art explores the interactions and possibilities of human behaviour. Exhibiting internationally since 1991, Chodzko works across media, from to subtle interventions, with a practice that is situated both within the gallery and the wider public realm. His work investigates and invents possibilities of collective imagination in order to reveal the realities and fantasies that might emerge from the processes of engagement his practice evolves. Design for a Fold is a new installation incorporating many of Chodzko’s works made ‘locally’ since 2001, mapping his particular engagement with diverse places, times and communities around where he lives and works in Whitstable, , alongside new work which seeks to root, or fold, the idea of the local within another, apparently remote, alien and distant place; Beppu, Japan. Chodzko proposes a new understanding of Kent, that questions assumptions of who, what, when and where we might be. Design for a Fold suggests, through a recontextualising of his archive of artwork, new, dynamic and global connections that weave together the real and hidden with collective mythology and imagination. This exhibition has been kindly supported by the Arts Council England and the Elephant Trust. 03

CV ADAM CHODZKO

Adam Chodzko (born 1965) is a contemporary British artist, exhibiting internationally. His practice uses a wide range of media, including video, installation, photography, drawing and performance. Chodzko studied at , BA (Hons) History of Art, 1985–88 and Goldsmiths College, , MA Fine Art, 1992–94. Since 1991, Chodzko has exhibited at numerous venues around the world including Britain; Tate St.Ives; ; Royal Academy; ; Henry Moore Institute; Yorkshire Sculpture Park; Istanbul Biennial; Benakie Museum, Athens and . Adam has also been shortlisted for this year’s acclaimed Jarman Award.

SELECTED SOLO EXHIBITIONS:

2015 , Guildhall Museum, Rochester

2013 Benaki Museum, Athens Marlborough Contemporary

2002 Fabrica, Brighton Arizona State University Art Museum, Tempe, Arizona Plains Art Museum, Fargo, North Dakota Cubitt, London

2001 Sandroni.Rey Gallery, Venice, California Galleria Franco Noero, Turin Els Hanappe Underground, Athens

2000 Accademia Britannica, Roma

1999 Galleria Franco Noero, Turin Ikon Gallery, Birmingham

1998 Gallery II, Bradford Northern Gallery of Contemporary SELECTED GROUP EXHIBITIONS:

2015 Private Utopia: from the British Council Collection. Dunedin Public Art Gallery, New Zealand

2014 Rising, National Maritime Museum Alles Maskerade! MEWO Kunsthalle, Memmingen, Germany Les Rencontres Internationales, Paris Time Travel and the Interzone City, Sci-Fi: Days of Fear and Wonder. BFI, London. Programme curated by João Onofre, Fuso, Museu Nacional de História Natural e da Ciência, Lisbon Fieldworks. Animal Habitats in Contemporary Art, Lewis Glucksman Gallery, Cork, Ireland Bergé Collection, Real Círculo Artístico de Barcelona, Loop Festival, Barcelona Somewhat Abstract, Nottingham Contemporary Performance as Sculpture, Uovo festival, Milan Leaping the Fence, Hestercombe, Somerset. Private Utopia: Contemporary Art from the British Council Collection. Tokyo Station Gallery touring to Itami City Museum of Art, Kochi Museum of Art, and Okayama Museum of Art

2013 Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013, . How is it towards the East? pp.8, 26, 27. Calvert 22, London. Because… New commission as part of Schwitters in Britain, Tate Britain, London

2012 Made in Britain – Contemporary Art from the British Council Collection 1980 – 2010, Benaki Museum, Getting it Wrong, Weisses Haus, Vienna*

2011 Again, A Time Machine - Make the Living Look Dead, Bookworks, Spike Island, Bristol Loophole to Happiness, Museum of Contemporary Art, Lodz, & Futura Centre for Contemporary Art, Prague & AMT Projects Bratislava

2010 Cinecity, Brighton festival. Apocalypse Now, Krowswork, Hot Springs Documentary Festival, Oakland, California. Here, There and Everwhere, Towner Gallery, Eastbourne. BLOOD TEARS FAITH DOUBT, Courtauld Gallery, London. Whitstable Biennale, Whitstable, Kent. The Gathering, Longside Gallery, Yorkshire Sculpture Park.

2009 Altogether Elsewhere, Zoo, London* Journeys With No Return, Akbank, Istanbul Biennale*. For the Straight Way is Lost, Athens Biennale* English Lounge, Tang Contemporary Art, Beijing

2008 Martian Museum of Terrestrial Art, Barbican Art Gallery, London* Tales of Time and Space, Folkestone Sculpture Triennial, Folkestone, Kent* Print the Legend, Fruitmarket Gallery, Edinburgh*

2007 Breaking Step, Museum of Contemporary Art, Belgrade* Gallery Exchange, Neue Alte Brücke, Frankfurt Beyond the Country, Glucksman Gallery, Cork

2006 One Brief Moment, apexart, New York* From There, Bloomberg Space, London Unfinished Business, Museum of Contemporary Art, Belgrade Fire, Galleria Franco Noero, Turin Belief and Doubt, The Aspen Art Museum, Colorado* 05

QUESTIONS TO ADAM CHODZKO BY KENT REFUGEE ACTION NETWORK STUDENTS, WITH ANSWERS, AUGUST 2015

1. WHAT TIME DO YOU START WORK? I wake up early and am alert. I start work straight away.

2. WHO IS ADAM CHODZKO? That is a difficult question to answer. Adam is always changing from life experiences. The man that went to Japan a few months ago is very different to the Adam you see here today.

3. HOW DID YOU BECOME AN ARTIST? I decided at about age 23 to become an artist because I kept telling my friends I wanted to be one.

4. WHERE DO YOU LIVE? I live in Whitstable in Kent. I’ve lived there since 2001.

5. WHO DO YOU LIVE WITH? I live with my wife Gretchen, who is an actress and my two sons Seph, 14 and Clay, 11.

6. WHEN DID YOU START SCHOOL? I started school when I was 5 years’ old.

7. WHEN DID YOU STOP SCHOOL? My formal education stopped in 1994 – 21 years ago.

8. WHY DO YOU LIKE ART? Good question. The freedom it can bring together incredible things in a very simple way without needing other people to help you.

9. WHAT WAS THE FIRST ART YOU DID? Probably when I was about 1 years old with a crayon or pencil.

10. HOW DID YOU GET YOUR IDEA WHEN YOU DID THE ART? They come partly from looking at the world and seeing things I like. Or by hearing some music I want to draw that in a lot too. I use film a lot. I’ve become bad a reading and film is a big influence on me. Quite often conversations I have with my sons will end up in part of an artwork. I often go running to empty my head and to allow stuff to come up.

11. WHAT IS YOUR FAVOURITE COLOUR? Olive green and electric blue (although I don’t wear it).

12. WHEN WERE YOU BORN? I was born in 1965 just outside of London. My father was half Polish and my mother is half Scottish.

13. WHERE DO YOU COME FROM? I come from London although I live in Whitstable.

14. WHEN DID YOU START THIS JOB? I gradually became an artist. I knew I wanted to work in a gallery but I always wanted to make my own work and to work on my own. Making art makes me feel free and I enjoy taking risks.

15. DO YOU LIKE THIS JOB? Yes I do. 16. WHO HELPED YOU TO BECOME AN ARTIST? My parents helped me to become an artist. My father died in 2000 but he had an incredible imagination – he liked to think but wasn’t very practical. My mother is very practical and has a great energy.

17. WHY DO YOU LIKE ART? I like the freedom it can give you.

18. DO YOU LIKE CHIPS? Yes I do! But I try not to eat too many of them; although there is a good chip shop near to where I live.

19. WHAT MAKES YOU HAPPY? My family and being with them and my work. I like walking and I like certain foods, like Tom Yum soup.

20. DO YOU LIKE PAINTING? Yes, I started off painting but I hardly paint anymore. I find it quite difficult and I like looking at it. I find it frustrating in that you have to wait for it to dry.

21. WHAT IS YOUR JOB? That’s a difficult question.

22. WHEN DID YOU START ART? My first artwork was when I was about 14 or 15. I was inventing album covers for musicians that I really liked. Before that, I drew a lot of spaceships. My dad used to draw and I drew a lot as a child.

23. WHERE DID YOU LEARN? I did an Art History degree at the University of Manchester and then studied an MA at Goldsmiths in London.

24. WHO HELPED YOU TO BECOME SUCCESSFUL? My parents did.

25. WHAT IS THE KEY TO YOUR SUCCESS? Hard work. Being very true to yourself and what you believe in. Be focused and trust in how strange your work is. It is a slow process. It is a long-term process finding what you believe in.

26. HOW MANY YEARS HAVE YOU BEEN WITH ART? Since I was a young child.

OVER TO YOU: What questions would you like to ask Adam? What do you think his answer to your questions might be? Do you think you would like to meet Adam? Are there any answers here that surprise you? Would you like to be in his art – like his sons often are? 07

ADAM CHODZKO: GHOST 2010

Alaskan yellow cedar, western red cedar, Fijian mahogany, oak, ash, olive, walnut, and mixed media. 23”h x 31”w x 22’l

Ghost is a kayak; a sculpture as vessel, coffin, bed, costume and camera rig.

It is designed to ferry people to the island of the dead. To initiate this process the first destination was Deadman’s Island, a small island off Queenborough, Isle of Sheppey. Deadman’s Island was used as a burial site for bodies of people who had died on the prison hulks moored in the Swale in the 18th and 19th C. So, Ghost is a vessel for visiting the dead. Its design (eg; the deck patterns, eyes in the hull, the position of the passenger, its cargo including wormwood seeds, etc) is influenced by the possibility of this encounter. On the deck is a mount for a camera which records the journey of the kayak from across its bows. Therefore Ghost Ghost is designed by Chodzko to have a rower in the back, generates a record of its own journeys and this footage and a member of the public in the front. The passenger lies will be archived as each passenger makes their own unique down low and flat. Like a body in a coffin with their head journey. slightly raised. A dome in the deck of the kayak also separates them During exhibitions Ghost will appear and disappear from physically and visually from the paddler at the back. the exhibition space in order to visit islands of the dead. Whether these islands are actual or metaphorical will alter according to circumstance. The marks it accumulates from this usage act as a further record of its activity. INFORMATION GLEANED FROM AN INTERVIEW WITH ADAM CHODZKO IN SEPTEMBER 2015:

Adam Chodzko was born in 1965 in Hammersmith but Adam currently lectures on the MA in Fine Art at Medway. grew up in the outer London suburbs of Pinner. His surname He doesn’t think that his students ever think of him as an originates from Poland as that is where his father came artist, rather that he is their tutor and, therefore, is not from. Adam still has fond memories of living in London, but entirely human. Conversations he has with his students says it feels like a long way from Whitstable as there isn’t might influence his work – particularly when he is trying anyone he knows there anymore. to work out how to talk about their work with them he discovers aspects about himself and his own practice. He has always liked pictures from a young age – finding Whilst teaching might take time away from his own practice them to be very powerful. He remembers the impact book it is a job that involves thinking about art. Adam enjoys illustrations had on him when he was a young child. As he engaging with art, ‘at the point when a young (or new) was brought up as a Roman Catholic, there was a lot of very artist first starts making a big discovery about what it is powerful imagery to see in the churches he visited. they have to say.’

As a young child he liked book illustrators like Arthur A number of artists have influenced his practice, from Rackham (1867-1939). Then he liked airbrush science fiction Sophie Calle, to Breughel, to Robert Smithson to Harun art and album covers. When he was around 14 he started Farocki. He comments, ‘sorry it’s an endless list of selected picking up the differences between art and illustration. individual works from many very interesting artists.’ He However, as a child, he didn’t imagine he would become an aligns himself to artists whose work he respects and they artist, he wanted to be an actor. can work in any medium. He works with every medium apart from painting on canvas. He likes to be out of One thing that strikes you when you speak with Adam is his depth, taking risks and improvising. He doesn’t feel his amazing imagination. He says his father really valued comfortable honing a craft in terms of a medium. Instead imagination and his mother valued the practicality to move he hones a craft through a process. imagination into reality. Speaking about his imagination he says, ‘I think I just spent a lot of time lost in my own Adam likes ideas. He says, ‘ideas can be massively strange thoughts anyway. It’s difficult to tell whether it was nature and beautiful and provocative in themselves and he or nurture.’ loves the economy of that. (I find artists doing massively expensive, huge bronze plaza sculptures really boring, and The biggest challenge in his artistic career he believes is literal, figurative work really pointless). Ideas and matter can ‘always the same challenge; to try to find ways, through evolve together to form something very organic and special. making art, to encourage someone to perceive the world, I think once the idea has planted energy into matter then better, through art. There are a lot of people out there materials, whether video, or a pencil drawing or a lump of who see no importance in art, seeing it as some kind of plastic, get pulled in, in a very harmonious way. But there unnecessary and extravagant frill on everyday life. So it is needs to be an economy. There is no point in just adding always a challenge working out new ways of making.’ more matter to the world for the sake of it. There is enough ‘stuff’ already.’ His advice to any new artist starting out on their career path today would be firstly to have a deep enjoyment To describe his work to children he would describe the and fascination in making, looking at, and thinking about process and the images etc. that result from this; saying art. Secondly, trust and work on what it is that they alone that, ‘it is best to not worry about whether it is art or not. can offer that is unlike anything else out there. Thirdly, be Children just experience it as an event, an engagement, patient, it takes a long time for people to trust that you in the world. As a form of play that is either intriguing might have something special to say. And fourthly, trust or tedious. The big misunderstanding (with adults more that it is worth it, certainly for a sense of freedom that is than children) is that they have to “get” what they are difficult to find anywhere else. doing. People are taught to be very suspicious if they don’t ‘understand’ something immediately. Children In his opinion, the most difficult aspects of being an artist are very happy with ambiguity but are taught by goal in today’s society is people’s obsession with money and oriented parents/schools etc. to feel uncomfortable with it. their fear of change and difference. Artists question the Ambiguity is fantastically productive because it is where we world which helps to destabilise a system of capitalism so can start discovering, and uncovering new space. But then many people out there have a problem with art. that causes questioning and change…and so again, is not so popular within a neo-liberal agenda.’ Adam’s two sons feature a lot in his artwork. He says, ‘I think they just think of it as part of their world. They see plenty more things out there which seem more immediately fun. But I think they appreciate that, although small, it is a very special part of life.’ 09

COMPREHENSION QUESTIONS:

1. DID ADAM ALWAYS WANT TO BE AN ARTIST? No, he originally thought he might become an actor.

2. WHAT TYPE OF ART WAS HE ATTRACTED TO INITIALLY? Book illustrations and album covers.

3. IS HIS SURNAME BRITISH? NO, IT’S POLISH. His father came from Poland.

4. WHO FROM HIS FAMILY FEATURES A LOT IN HIS ARTWORK? His two sons.

5. WHAT ADVICE DOES HE GIVE TO NEW ARTISTS? To have a deep enjoyment and fascination in making, looking at, and thinking about art. To trust and work on what it is that they alone can offer that is unlike anything else. To be patient, it takes a long time for people to trust that you might have something special to say. And, to trust that it is worth it.

6. WHAT ARE HIS PARENTS’ VIEWS ABOUT IMAGINATION? His father really valued imagination and his mother valued the practicality to move imagination into reality.

7. WHO DOES HE MENTION HAS INFLUENCED HIS PRACTICE? Sophie Calle, Breughel, Robert Smithson. Harun Farocki.

8. IN HIS OPINION, WHAT ARE THE MOST DIFFICULT ASPECTS OF BEING AN ARTIST IN TODAY’S SOCIETY? People’s obsession with money and their fear of change and difference.

9. WHAT IS THE ONLY MEDIUM HE CHOOSES NOT TO WORK IN? Painting on canvas.

10. DOES HE HAVE ANOTHER JOB APART FROM BEING AN ARTIST? Yes, he is a university lecturer in Fine Art at Medway. ADAM CHODZKO: SERVER LILY, 2015 11

AT SIDNEY COOPER GALLERY: HISTORIC PLAQUE (see fact-finding sheet at back of pack)

Sidney Cooper Gallery: historic plaque

On entering the gallery, look to the right hand side, above the doorway and read the historic plaque (see image below) and answer the following questions:

1. When was Sidney Cooper born? 26th September 1803

2. How old was he when he died? 99. He Died 7 February 1902

3. What is Sidney Cooper’s full name? Thomas Sidney Cooper

4. When did he found the art school? 1st June 1882

5. What material is the plaque made from? Bronze/metal

6. Are there any paintings by Sidney Cooper in the Sidney Cooper Gallery? No

EXTRA RESEARCH QUESTIONS:

7. Where is the nearest place that you can see works by Sidney Cooper? (The Beaney of Art and Knowledge, Canterbury)

8. How old was he when he painted his last piece? (99)

9. Where can this painting be viewed? (The Beaney House of Art and Knowledge, Canterbury) Sidney Cooper Gallery

FREE ADMISSION Tuesday to Friday 10.30am - 5pm, Saturday 11.30am - 5pm St Peter’s Street, Canterbury, Kent CT1 2BQ Tel +44 (0) 1227 453267 Email [email protected] www.canterbury.ac.uk /sidney-cooper Registered charity number 1098136 Sidney Cooper Gallery

AT THE SIDNEY COOPER GALLERY DESIGN FOR A FOLD EXHIBITION VISIT ADAM CHODZKO’S DESIGN FOR A FOLD EXHIBITION AT THE SIDNEY COOPER GALLERY

Ask pupils to make sketches in their sketchbooks that they can use when they are back in class.

(Sketchbooks are available to purchase from the Sidney Cooper Gallery.) 03

ASK QUESTIONS ABOUT EACH OF THE ARTWORKS:

Ask students to examine Adam Chodzko’s work closely. First of all focus on form, or formal elements of his work: • What different mediums does he use? • What colours does he use? Why? How is colour organised? • What kind of shapes or forms can you find? • What kind of marks or techniques does Chodzko use? • What is the surface like? • What kinds of textures can you see? • How big is the work? • Does it vary in size?

Next, look at the context of his work. In other words, how his work relates to a particular time, place, culture and society in which it was produced: • When was it made? Where was it made? Who made it? Did he make it alone? • Who was the work made for? • What do you know about Adam Chodzko? • How does the work relate to other art of his time – contemporary art? • Does the work relate to the social or political history of today? • Can you link it to other arts of the period, such as film, music or literature? • Does his work relate to other areas of knowledge, such as science or geography?

Then, look at the content or subject of a piece of Adam Chodzko’s work: • What is it? What is it about? What is happening? • Is it a portrait? A landscape? Abstract? • What does the work represent? • The title - what does Adam Chodzko call the work? • Does the title change the way we see the work? • Is it a realistic depiction? • Have any parts been exaggerated or distorted? If so, why? • What is the theme of the work? • What message does the work communicate?

Look next at the process. Study how the work was made and what techniques were used: • What materials and tools were used to make the piece? • What is the evidence for this? • Do sketchbooks provide any clues as to how the work developed?

Lastly, focus on the mood that Chodzko has created a certain atmosphere or feeling. • How does the work make you feel? • Why do you think you feel like this? • Does the colour, texture, form or theme of the work affect your mood? • Does the work create an atmosphere?

Ask students to study Chodzko’s work carefully – choose one piece that particularly interests them. Select from formal questions set out above. Get students to record their observations in their sketchbooks. Encourage them to use a variety of materials, i.e. pencils, pen, chalk, oil pastels, watercolour, etc. (this can be used as a preparatory studies in their portfolios). If I-pads are available, take photographs of Chodzko’s work so this can be placed alongside their observational . As they look at the artworks ask if students can make links between Adam Chodzko’s work and that with any other artists that they know.

What do they think his work is about? How does it make them feel? Do they like it? Why/why not? What does it make them think about? Do they think the exhibition title, Design for a Fold is fitting for the work? If not, what title would they give the exhibition? BACK IN CLASS: 05

KS3: TO RECREATE OWN M-PATH STYLE ARTWORK AND ART EXHIBITION (Cross-curricular with Citizenship and Literacy)

RESOURCES REQUIRED:

• Paper to create flyer for call out for shoes • Time to distribute flyers and then collect in donated shoes • Donated second-hand shoes – preferably labelled with shoe size • Benches or shelving to display second-hand shoes

ART AND DESIGN PROGRAMME OF STUDY NATIONAL CURRICULUM SUBJECT CONTENT:

Key Stage 3 How to use a range of techniques to record their observations in sketchbooks, journals and other media as a basis for exploring their ideas How to use a range of techniques and media, including painting How to increase their proficiency in the handling of different materials How to analyse and evaluate their own work, and that of others, in order to strengthen the visual impact or applications of their work To learn about the history of art, craft, design and architecture, including periods, styles and major movements from ancient times up to the present day

Start a discussion about shoes. When and why do we wear them? When do we get to take them off in public? Get students to read about M-Path, 2006 and ask what their reaction is to this artwork. Would they have understood what the work was about without reading the background information? Does the title shed any light on what the work is about? How about the poster and the description?

By designing flyers to send out into the school and local community, students will be recreating one of the processes that Chodzko took part in order to create this artwork. Students should gain a better understanding about the fact that it is not the end result that is what Chodzko’s art is about, but the processes and ideas that take part to create it.

Once satisfactory flyers have been created, distribute these within school and get students to think about the following: Where/how they will display the shoes? Which audience will they distribute them to? Will it be in school, during a school assembly, or will they use this to coincide with an alternative school event – a parents’ evening, etc.? How will they record the event – photography or by filming it?

Students should come up with a name for their Art show of shoes and publicize this too.

At the end of this event, students can organize for the shoes to be donated to a local charity, like Oxfam. A discussion could be held or a vote created as to which local charity they should be donated.

After the shoes have been donated, ask them to think about: who might have received the shoes and where they might be wearing them? What would those people think if they knew the shoes had been part of an artwork installation? Would they like to own a pair of second hand shoes that had been in an art exhibition? KS3: NUMERACY WORK SYMMETRY, ROTATIONAL SYMMETRY AND ASYMMETRY (see additional Numeracy sheet at back of pack)

A lot of Chodzko’s work is purposely asymmetrical and randomly formed. Students could identify which of the artworks they saw they remember as being asymmetrical.

RECAP ON THE MEANING OF SYMMETRY, ASYMMETRY AND ROTATIONAL SYMMETRY:

Symmetry – (from Greek ‘symmetria’ meaning ‘agreement in dimensions, due proportion, arrangement’) means when one shape becomes exactly like another if you flip, slide or turn it – one half is the reflection of the other half.

Get students to list a number of 2D shapes and letters that are symmetrical and draw these with lines of symmetry in them. i.e triangles: equilateral, isosceles, scalene, etc. How many capital letters in the alphabet have lines of symmetry in them? What insects are symmetrical? Butterflies, etc.

Rotational Symmetry – where you can turn an object or shape so that it looks exactly the same. The number of positions where it looks exactly the same give you its order of symmetry.

Provide students with a list of shapes and ask them to find which have rotational symmetry and to record the order of symmetry for each shape.

Show students the symbol that is seen on the flag of the Isle of Man. Does this shape have rotational symmetry? Yes. This shape has rotation symmetry of order 3.

Asymmetry – literally means ‘no symmetry’ or the absence or violation of, symmetry in an object or shape.

What letters in the alphabet are asymmetrical, i.e. F, N? What shapes and objects are asymmetrical, i.e. isosceles triangle, clouds, trees, faces, leaves, etc.? 07

KS3: LITERACY WORK – TO PROVIDE A NARRATIVE TO GHOST’S, 2010 JOURNEY (see additional Literacy sheet at back of pack)

ADAM CHODZKO GHOST, 2010 – VOYAGE TO DEADMAN’S ISLAND (ADAM PADDLING WITH ONE OF HIS SON’S IN THE FRONT)

Students should sit and watch part of the Ghost video and record their thoughts about this. Here is a link to watch part of the journey: https://vimeo.com/131369397

What did they think about the sounds? Where did they think the video was taken? Do they think anyone else was there apart from the cameraman? Then, show students the information about this artwork. Do they think differently about the video now?

Revise onomatopoeias. Onomatopoeias (are uncountable nouns) refer to properties of nouns that imitate the sounds they are describing, i.e., ‘oink’. Get students to include as many onomatopoeias, i.e., splash, etc. in the description. They could choose to write the narrative from the young boy’s perspective being rowed out to Deadman’s Island, or from Adam Chodzko’s perspective. How would these two viewpoints differ? Why?

BEFORE VISITING THE GALLERY/EXHIBITION:

If time allows, read the background information about Adam Chodzko from the recent interview with him in September 2015 and the questions that KRAN students asked him. This could be used as a general comprehension or a shared reading activity. Get students to write down what sort of art they think they might see in the gallery. Do they think they will like it? KS4: NUMERACY WORK TO CREATE OWN SCIENCE MUSEUM SCULPTURE INSPIRED BY ARK EYE, 2015 (cross-curricular with Science)

If possible, visit Rochester’s Guildhall Museum, to view the Seaton Tool Chest: http://www.kentattractions.co.uk/index.php/guildhall-museum-rochester.html Ask students to research Chodzko’s Great Expectations work on this site: http://hoodwink.org.uk/where/adam-chodzko-in-medway/

Students should watch the accompanying documentary and animation style film about Great Expectations, if possible, at the Sidney Cooper Gallery.

ADAM CHODZKO ARK EYE, 2015 09

BEFORE WATCHING GREAT EXPECTATIONS HERE ARE SOME DISCUSSION POINTS TO CONSIDER:

Great Expectations is a documentary and animated film. What are documentaries? What other documentary films have you seen? Do you think that documentaries always tell the truth? Should they represent more than one side to a story?

A is a film that tries to document reality. It records real life and presents information as factual. Documentary films can be described as ‘real-life’ or ‘non-fiction’.

AFTER WATCHING GREAT EXPECTATIONS:

What are your first reactions to this video work? What aspects of British culture does it reveal? Is it solely a documentary film? What did you like/dislike about the documentary? Why? What does the film teach you? Did you learn anything new? Do you think the documentary was an effective way of sharing information? Compare it to non-fiction books or internet sites. Which do you prefer and which do you think is the most effective?

RESOURCES:

• Old, small bits of wood – particularly from old furniture pieces or off cuts from wood yards (if wood is not available, hard cardboard could be substituted instead) • Wood glue • Sandpaper • Assortment of 21st century tools

Having watched Great Expectations, 2015 and read about the work, students should construct their own wooden sculptural object that has landed on earth. What tools they might choose to put inside their sculptural object that represent tools from 21st century? Is it necessary that these tools actually go inside their sculpture? How will they fix their materails together?

EXTENSION ACTIVITY WITH CHOSEN WOOD:

Use frottage (taking a rubbing from an uneven surface to form the basis of a work of art) and find out more about the pattern the tree has by rubbing its different edges with either pencil, charcoal or graphite. Find out the name of the tree and its Latin name too. KS4: LITERACY DESCRIPTIONS OF CHARACTERS (see adjectives/metaphors and similes worksheet at back of pack)

Get students to think about the characteristics of the Seaton Chest’s father and son. Having watched Great Expectations, 2015 and read about the Seaton Chest, students should write character descriptions about the two characters. A matching activity could be used to start off with students matching adjectives to definitions to get them thinking about using descriptive language – see worksheet at back of pack.

CHARACTERIZATION TIPS:

Think about the relationship between the two characters – father and son

Think about what the two characters think and/or feel

Use imagery, similes and metaphors to express parts of their identity

Think about both their voices and the dialogue that you will create between the two of them

FURTHER INFORMATION AND WORKS BY ADAM CHODZKO CAN BE FOUND AT THE FOLLOWING:

www.adamchodzko.com

www.marlboroughcontemporary.com

http://hoodwink.org.uk/where/adam-chodzko-in-medway 11

OTHER POSSIBLE NATIONAL CURRICULUM LINKS WITH ADAM CHODZKO’S WORK:

NUMERACY – lines of symmetry, rotational symmetry, asymmetry, tessellation, place value, angles, telling time, 2D/3D shapes, number sequences, codes, probability, function machines.

LITERACY – past, present and future tenses, Idioms and metaphors, reading signs, adjectives and adverbs, onomatopoeias, homophones, designing posters, mnemonics, creative story writing, writing adverts, legends, and debates on the function of museums, Great Expectations, .

ART – sculpture, video art, printmaking, drawing, installation, photography, illustrations, album cover art, perspectives.

DT – mask making, making signs, designing music album covers, illustrating books.

ICT – Internet research. Creating asymmetrical patterns, Microsoft Office – invitations.

MUSIC – creating sound effects and sounds to accompany onomatopoeias, explore how music can accompany different art forms.

HISTORY – archives – researching archives, history of museums, local history, war codes, history of hop collecting in Kent, ‘Golden Age’ book illustrators like Arthur Rackham, changes in agricultural work, history of tools, videos and DVDs.

GEOGRAPHY – flags – symbols and meaning, map reading/creating maps of places within school, compass points, grid references, locating Kent – counties in Great Britain, studying landscapes – especially in Kent, comparison of towns in Kent – Whitstable, Folkestone, Margate, etc.

PE – creating new team games, producing symmetrical and asymmetrical forms alone or in teams in gymnastic routines.

SCIENCE – forces – linked to upthrust for boats, movement, colour, material properties - transparent, translucent and opaque materials, shadows, sound.

CITIZENSHIP – identity, dealing with change, communities, special places, different spaces – domestic versus public, relationships, rituals and ceremonies, different career options, working holidays, i.e. hop picking, migrant workers

RE – symbols, Roman Catholicism, churches/cathedrals with stained glass art illustrations.

MFL – Greek, Polish, Romanian, Arabic, Eritrean, African, Latin, i.e. - ‘Ave, mater angliae’= ‘Hail mother of England – motto of Canterbury, etc. Sidney Cooper Gallery

FURTHER INFORMATION:

For more information about The Sidney Cooper educational programme please contact

Learning and Engagement Officer, Frances Chiverton, on 01227 767700, ext. 1752 [email protected] or, visit the Sidney Cooper website on: www.canterbury.ac.uk/sidney-cooper/

FREE ADMISSION Tuesday to Friday 10.30am - 5pm, Saturday 11.30am - 5pm St Peter’s Street, Canterbury, Kent CT1 2BQ Tel +44 (0) 1227 453267 Email [email protected] www.canterbury.ac.uk /sidney-cooper Registered charity number 1098136 Sidney Cooper Gallery

FACT-FINDING WORKSHEET

How much do you know about the Sidney Cooper Gallery? You will need to look both inside and outside the gallery to find the answers.

MATCH THE QUESTIONS BELOW TO THE ANSWERS 1. When was Thomas Sidney Cooper born? 2. How old was Sidney Cooper when he died? 3. What is Sidney Cooper’s full name? 4. When did Sidney Cooper found the art school? 5. What type of paintings was Sidney Cooper famous for? 6. What material is the memorial plaque made from? 7. Are there any paintings by Sidney Cooper in the Sidney Cooper Gallery? 8. Where is the nearest place that you can see artworks by Sidney Cooper? 9. How old was Sidney Cooper when he painted his last piece? 10. Where can Sidney Cooper’s last painting be viewed? 11. What nationality was Sidney Cooper? 12. What does the Latin phrase outside the gallery say and mean? 13. Where, in the gallery, will you find the answers to most of these questions? 14. Is the Sidney Cooper gallery open on Sundays? 15. Do you have to pay to get into the gallery or, is it free? 16. Who was one of the art school’s most famous students?

ANSWERS: The Beaney House of Art and Knowledge, Canterbury It says: ‘Ave, mater angliae’= ‘Hail mother of England’ – the motto of Canterbury. He was a famous for painting cattle Mary Tourtel, who created Rupert the Bear British No It’s free admission The Beaney House of Art and Knowledge, Canterbury 26th September 1803 99 On the bronze metal plaque above the doorway 99. He Died 7 February 1902 1st June 1882 Bronze/metal No Thomas Sidney Cooper Sidney Cooper Gallery

KS3 NUMERACY - ANGLES QUIZ

Look for angles within Adam Chodzko’s work and see if you can identify any of the ones below.

1. An acute angle is: 5. To measure angles you use a: Exactly 90 degrees Ruler Less than 90 degrees Protractor Between 90 degrees and 180 degrees Set square Between 180 degrees and 360 degrees Abacus

2. A vertex is where: 6. When measuring angles, make sure the Two lines are parallel centre of the protractor is on the …. of Two lines meet the angle: Three lines intersect Vertex Outside 3. A reflex angle is: Inside Less than 90 degrees Curve Between 90 degrees and 180 degrees Between 180 degrees and 360 degrees 7. There are….degrees in a complete turn: Exactly 90 degrees 90 180 4. In degrees a straight line measures: 360 90 270 180 More than 180 8. Angles in a triangle always add up to: 45 270 360 90 180

ANSWERS:

1.B 2. B 3. C 4. B 5. B 6. A 7. C 8. D Sidney Cooper Gallery

KS4 NUMERACY – 3D SHAPES QUIZ

Look at all the shapes you can see within Adam Chodzko’s work, i.e. Pyramid.

1. The shape of a can of baked beans 5. How many vertices does a is an everyday example of a: cylinder have? Cylinder None Cube Six Cuboid Eight Prism Two

2. Another word for Vertices is: 6. How many faces does a triangular Sides prism have? Edges Four Corners Five Faces Six Eight 3. Most dice are the shape of which 3D shape? 7. Which of the following is a 3D shape? Cuboid Octagon Cylinder Quadrilateral Cube Pyramid Square based prism Hexagon

4. What shape is the cross-section 8. Which two mathematical shapes of a cylinder? could you combine to make up an Triangle Oast House? Hexagon Cone and Sphere Circle Cone and Cylinder Semi-circle Cylinder and Sphere Sphere and Cuboid

ANSWERS:

1, A, 2. B, 3. C, 4. C, 5. A, 6. B, 7. C. 8. B. Sidney Cooper Gallery

KS4 LITERACY ADJECTIVE, SIMILE AND METAPHOR WORK LINKED TO DESCRIPTIVE CHARACTER-WRITING TASK

Match the following adjectives to their correct meaning. You might choose to use some of these in your character descriptions.

ADJECTIVE DESCRIPTION affable Humbly obedient empathetic Perceived by intuition, without rational thought nonchalant Warlike, aggressively hostile personable Psychological identification with thoughts, feelings or attitudes of others obnoxious Indifferent, unconcerned, casual versatile Offensive, annoying intuitive Capable, adaptable disgruntled Pleasing personal appearance, handsome or attractive belligerent Good natured/friendly submissive Displeased, sulky

To add richness and colour to your writing remember to use similes and metaphors in your character descriptions too. A simile is: a figure of speech that compares two things by using connecting words such as, like, as, so, e.g. I feel as hungry as a horse.

A metaphor is: a figure of speech that identifies something as being the same as another unrelated thing, e.g. ‘The world is a stage.’

SAY IF THE FOLLOWING SENTENCES USE A METAPHOR OR SIMILE NEXT TO EACH BY PUTTING M OR S:

1. The laundry was as crisp as an autumn morning. 2. The sea was a boiling cauldron on a hot summer’s day. 3. The car sickness hit the young child as fast as lightning. 4. The brothers are like two peas in a pod. 5. ‘My dog is my ray of sunshine on a really bad day,’ admitted Clare. 6. The puppy was a jack-in-the-box, trying to jump up on any visitors who came round. 7. He had been running so fast his cheeks were like roses. 8. Fog comes on little cat feet. 9. The hair on her head was as white as snow. 10. The classroom was a zoo.

ANSWERS:

1. S, 2.M, 3. S, 4. S, 5. M, 6. M, 7. S, 8. M, 9. S, 10. M. Sidney Cooper Gallery

KS3 LITERACY – DESIGN A FLYER TO INVITE SHOE DONATIONS AND INFORM ABOUT ART EXHIBITION (CROSS-CURRICULAR ICT)

Linked to the art exhibition task, use Microsoft Publisher to design own leaflet to request donations for shoes for M-path style exhibition.

TOP TIPS FOR MAKING YOUR OWN LEAFLET:

• Plan what information will be needed on each page carefully

• Use images to attract attention but don’t distort these

• Leave some space around any images you use

• Use the same style font throughout and have some headings in a larger font size

• Ensure all information is included: what is being asked for ( shoe donations) what these will be used for ( exhibition and then donated to charity afterwards), date of exhibition, where donations can be left and deadline for these donations

• A contact name and/or number for further information

• Don’t use more than 4 colours

• Use bullet points to summarise information

When you have made your leaflet design, email it to a partner in your class. Ask for their feedback on it and ask them to check all the information above is contained in your leaflet.

Look at their design and suggest one improvement that they might be able to make to their design – giving positive feedback to them in the first instance, followed by a suggestion of how they might improve.

Print off a copy of your leaflet and use it to advertise the donation of shoes for your art exhibition.