School Matters 36

24

Amelia placed the production of the work firmly in its cultural context and spoke movingly about the meaning of light not only in this painting but in communities and cultures around the world. Amelia proceeded to the next round of the competition which was held at the Lightbox Gallery in Woking. Here, Andrew Ellis, Director of Art UK, presided over the heat as adjudicator. He praised Amelia for a “wonderful” presentation and for introducing him to Sawlaram Haldankar, an artist he had not come across before but whose life and work he now intended to research! He added that it was clear that Amelia had a real passion for the work and applauded her on her beautiful descriptions and on a very well-articulated presentation. Even though Amelia was not selected to advance to the London Final, she now joins the family of ARTiculation alumni and should be justly proud of a

ARTICULATION Five intrepid LVI pupils squared up for this year’s IPS ARTiculation heat.

Inside the disconcertingly empty cavern of the Great Hall but backed by a suite of three sleek screens, each speaker shared a 10-minute presentation on a single artwork that had sparked something in them. Our esteemed external adjudicator Dr Catherine Troiano, Curator of Photography at the National Trust, was looking for aspects of content, structure and delivery in her selection process. Maddie Hathaway spoke with clarity and pace about the surprising inter- connections between Vincent Van Gogh and Leonardo da Vinci, unravelling the religious subtext in the famous Night Café by the Dutch Post-Impressionist. Hannah Harvey spoke next about her passion for fashion, identifying with her well-measured delivery the impact that the colossal kinetic sculptures of Anthony Howe have had on the fashion

industry. Iain Kennedy’s detailed delivery on the explosive 19th century Japanese woodblock print Soga brothers and Mount Fuji by Okigawa Kunisada III invited us into a broiling family saga. Rhianna Boyle’s presentation on Ophelia by John Everett Millais was punctuated by beautiful language and a focused and forensic eye. In the end it was Amelia Mehta with her persuasive and confident talk on Sawlaram Haldankar’s enchanting Glow of Hope from the mid-1940s that took home first place!

fantastic achievement. Mrs Aleid Farnum-Ford, Head of History of Art

DESIGN AND TECHNOLOGY VISIT TO THE DESIGN MUSEUM AND THE V&A

products thrown away every year. They then explored the permanent collection, looking at iconic pieces from the past century. In the afternoon, the pupils visited the V&A again starting with the Design Galleries, where they encountered both familiar and unfamiliar exhibits, before immersing themselves in the labyrinthine galleries within. We look forward to seeing

GCSE Pupils in Design and Technology spent a sunny day visiting two of the best museums at which to study design in the country. In the morning, at the Waste Age exhibition at the Design Museum, they learned about the damage uncontrolled consumption is doing to the environment and the many ways in which design can be used to cut down on the vast number of

them produce their own work inspired by some of their experiences. Mr Charles Tatchell, Teacher of Design and Technology

ARTISTS AND ART HISTORIANS TRAVEL TO ROCHE COURT

We split into three groups and dived into the fantastic pool of monumental sculptures scattered throughout the park, all dressed in its finest multi-hued autumn foliage. Works like Barry Flanagan’s towering left-handed drummer and Michael Craig Martin’s quirkily coloured fountain pen revelled in their bucolic surroundings and sparked lots of interesting and probing discussion as well as innovative and eye-opening drawing/looking exercises. After a quick lunch it was off to lay down deep visual impressions of case studies for a technical workshop. Peter Randall-Page’s colossal series of globular or protruding forms called Fructus, Corpus and Phyllotaxus carved from fossil-studded Kilkenny limestone gave ample mental and visual stimuli for an exercise in reductive drawing with a rubber on charcoal-blackened paper. What an absolute treat it was to be standing in front of and responding to real artworks once again! Mrs Aleid Farnum-Ford, Head of History of Art

A band of bubbly PVI, LVI and UVI artists and art historians made an early start for a sleepy corner of the Wiltshire countryside, nine miles east of Salisbury. We wove through fields of glossy brown cows chewing the cud towards the

New Art Centre, an art space featuring top tier British art from the last century alongside flashier works from a younger generation. The Roche Court sculpture park and New Art Centre are the culmination of 60 years of work by the grand dame of British sculpture Madeleine Bessborough who originally set up New Art Centre as a Sloane Street gallery in 1958.