Introduction

This sculpture walk is designed to meet the following National Curriculum objectives:

-To know how art and design both reflect and shape our history, and contribute to the culture, creativity and wealth of our nation.

Key Stage 1 – To know about the work of a range of artists, craft makers and designers, describing the differences and similarities between different practices and disciplines, and making links to their own work.

Key Stage 2 – To have an increasing awareness of different kinds of art, craft and design; to know about great artists, architects and designers in history.

Discussions around how the Folkestone Triennial has become a ‘cultural’ part of our town and as each Triennial ends and permanent pieces are left, how it makes an historical implant on the town. What is the role of the arts in the regeneration of our town? How does the increased tourism help our town? How do the permanent pieces improve the landscape?

Within the Sculpture Walk there are short explanations and then a few ‘discussion’ questions to promote engagement with the art works. You may find more in depth information and lesson ideas within our Location, Location, Location Unit of Study and I am sure you will have your own ideas as you walk around and talk with the children.

The route of this chosen ‘walk’ excludes some other pieces for no other reason than geography and that the planned route, which takes approximately 1 to 1 ½ hours, is known to teachers for guidance of trip times. I have made a map on Google Maps that has markers that show where the sculptures are. If you click on the marker you will see a picture of the art work that is at that point. Go to , or if it is easier I can email the link to you. Please use the contact page and ask for the Sculpture Map.

Other pieces such as ‘Lucky Things’ (Strange Cargo) by Central Station and Green Light (Jyll Bradley) by the viaduct on Foord Rd  are fantastic pieces and can be added to your route as you see fit. An interactive map of all of the works is available on the Triennial website http://www.folkestonetriennial.org.uk/ and this is a great resource to use before you take your class on their walk, both with the class and to give you extra ideas and information.

Baby Things – Tracey Emin, Folkestone Triennial 2008 – Tales of Time and Space

 © http://folkestoneartworks.co.uk/
© http://folkestoneartworks.co.uk/

Tracey Emin grew up in Margate which is similar in size to Folkestone and also by the coast in Kent. She has made pieces of baby clothing out of bronze and left them in various places around Folkestone, this one is of a matinee jacket. There are several other bronzed baby items – a mitten, shawl, bootie and so on – which have been placed around Folkestone as a reflection of the high number of teenage pregnancies across the south-east . Many people think that these are ‘sad’ pieces of art as they have been lost and they look forlorn.

Tracey said of her work: “For me personally I find a lot of public sculptures very big and very macho and dominating and intrusive. I like little things in public. As I walked around all I kept seeing was lots of young girls with babies, it’s like Margate and the whole of the south-east really. I was thinking how could I make something for them.”

For younger classes, you may like to discuss the ‘autobiographical’ nature of Emin’s work, drawing on how we use our own lives and experiences to shape our art. There is also the concept of the ‘treasure hunt’ as there are 6 items of ‘Baby Things’ left in the Folkestone town area. (On the railings above The Stade, as seen; on the steps leading down to the Sunny Sands beach; on some steps outside of the Glassworks building in Mill Bay; on a bench outside of Debenhams; under a bench at Folkestone Central Station; placed in The Bayle).

Discussion

What would you cast in bronze that would represent your childhood? Favourite clothes, how to preserve them?

Is this a happy or sad piece of art?

The Folkestone Mermaid - Cornelia Parker, Folkestone Triennial 2011 – A Million Miles from Home

Cornelia Parker. The Folkestone Mermaid, 2011 © Cornelia Parker
Cornelia Parker. The Folkestone Mermaid, 2011 © Cornelia Parker

Parker has created a Folkestone version of one of the most popular tourist attractions in the world, Copenhagen’s ‘Little Mermaid’. All women of Folkestone were offered the opportunity to model for the mermaid. Through a process of open submission, Parker chose Georgina Baker, mother of two and Folkestone born and bred. Unlike the idealised Copenhagen version, ‘The Folkestone Mermaid’ is a life-size, life-cast sculpture, celebrating the local and the everyday. Parker’s mermaid, a more confident and knowing lady of the sea than Hans Christian Andersen’s fairytale one, is a permanent work for Folkestone. Inspired by the story of The Sea Lady by HG Wells (a long-time resident of Folkestone) and the famous fairy-tale of Hans Christian Anderson (who visited Folkestone in 1857). The Mermaid’s watchful gaze over the horizon is also an allusion to the threat of rising sea levels and endangered populations living by the sea. It also tells of the women waiting for their men, who are fishermen, to come home and the dangers that the sea possesses, many men all over the world die at sea but it also provides an income for their family and is very beautiful. Cornelia Parker is a British sculptor and installation artist.

Discussion

Icons – What do YOU think represents Folkestone? (As this has become a symbol of Folkestone for some people).

Do you think the mermaid is waiting/watching?  What for?

Folkestone Digs – Michael Sailstorfer, Folkestone Triennial 2014 - Lookout

 © http://www.folkestonetriennial.org.uk/
© http://www.folkestonetriennial.org.uk/

Folkestone Digs was a secret until the very last minute so that people would not start digging for gold too early. Sailstorfer (a German artist) announced that he had buried 30 individual pieces of 24-carat gold under the sand of the Outer Harbour beach. The pieces of gold were dispersed across a wide expanse of beach, which was only revealed during low-tide. Metal washers were placed in the sand to fool those using metal detectors.

The work raised intriguing questions about what people would do with any gold they found. “An interesting part of the artwork is considering whether it is going to be worth more as an artwork. Do you take it to the pawnbrokers or do you take it to Sotheby’s? Or do you keep it on the mantlepiece because you think it is going to be worth more later? Will its price increase as an artwork or as a piece of gold?” (Approx value £250-£350 as gold).

As well as the fun of finding gold, organisers believe the mass digging of the beach will create its own piece of land art, washed away when the tide comes back in. The next day it can start all over again. “The piece lasts forever because no one will ever know if all the pieces have ever be found or not, a lot of people won’t admit to having found one even if they have. Would you? We see no end to the artwork. It is meant to be a lot of fun.” One way of looking at the harbour beach project is that it is the place on which Folkestone was once reliant – it is where tourists sat in their deckchairs, where hovercrafts once went from. Now culture is becoming more important to the town.

There are many news articles online about this piece.

Discussion

What would you bury in the sand?

Would you tell people if you found some gold?  Is there still gold there? Have all of the people owned up to finding gold?

Discuss the worth of art. What IS art?

Steve – Sarah Staton, Folkestone Triennial 2014 -Lookout

 © Paul Browne
© Paul Browne

For Folkestone Triennial 2014, Staton has developed Steve, conceived as a ‘people friendly sculpture’ and placed on The Stade. The Stade was originally a working area alongside ships berthing in the harbour, but now for the most part it has been given over to leisure and tourism. This location provides a great home for Steve, conceived as a monument to a person of the future. Local fishermen still use the open public space to lay out their nets and happily pass the time of day with locals and tourists alike taking a stroll along the Stade.

Steve is set among a group of three seating benches with planters – Steve’s ‘children’ – also made from steel and producing a supply of edible costal plants destined for use in the local restaurants.

This is also a piece about community engagement. Locals who live around Steve take responsibility for the herbs and plants that grow in the gardens, Rocksalt and other restaurants use these herbs for their food, the residents were asked their permission to build Steve and there was an opportunity for the residents to name the three children of Steve. Of course, it is also for the residents and tourists to use to sit down in or play in, it is not just decorative but to be used. Staton has purposely placed a simple, concrete plinth in the middle of Steve, an invitation for you, the visitor, to propose your own ‘monument to the future’.

Discussion

This is a useful community sculpture as you can sit in it and it grows food.

The purpose of art, is art better if it has a purpose/use?

Withervanes , A Neurotic Early Worrying System (NEWS) - Rootoftwo, Folkestone Triennial 2014 - Lookout

 © http://stamps.umich.edu/
© http://stamps.umich.edu/

For Folkestone Triennial 2014, rootoftwo has created Whithervanes, a Neurotic Early Worrying System (NEWS) consisting of a network of sculptures in the form of five headless chickens, to be presented on the highest points of five buildings. The buildings have been selected for their prominence and significance to the community in which they are placed, as well as for their height (on top of Rocksalt, Quarterhouse, The Cube, Red Cow pub and Leas Cliff Hall).

The Whithervanes, weathervanes for the twenty-first century, will track and measure the production of fear on the internet. Their software looks for predetermined keywords related to fear (e.g. natural disaster, economic collapse, war, etc.) in newsfeeds from Reuters. The keywords have been generated in part from the people of Folkestone through community engagement workshops, and also from the 2011 US Department of Homeland Security Media Monitoring Capability Analysts Desktop Binder. When fear is encountered, the chickens respond by rotating at increasing speeds and are illuminated in different colours. The degree that the chickens turn away from world news events is determined by the relative threat these pose and their distance from Folkestone. At night, the chickens also illuminate different colours indicating the threat level of events, ranging from low (green), guarded (blue), elevated (yellow), high (orange) to severe (red).

They share real time news-feed data from around the world and passers-by will be able to influence their behaviour via Twitter. The public can interact with the Whithervanes via Twitter to increase or decrease the amount of fear in the system by tweeting using the hashtags: #keepcalm or #skyfalling.

Discussion

Can you come up with another ‘early warning system’ that links to the news?

Discuss the term ‘headless chicken’ and its meanings.

Rug People - Varga Weisz, Folkestone Triennial 2011 – A Million Miles From Home

 © tfpc.co.uk
© tfpc.co.uk

The five-headed sculpture, its body wrapped in blankets and cardboard, appears stranded and forlorn. Arrived, as if by magic, the group huddles together on a carpet, which covers the disused railway tracks of the old harbour station. This station, with its history of bringing First World War soldiers to the harbour to embark to France, as well as being the terminus for the Orient Express until 2008, provided the major inspiration for Varga Weisz’s work.  Considering the piece is about relocation, emigration and displacement the sculpture was moved along the line for the 2014 Triennial and placed on a new rug.

Discussion

Consider feelings of the people in ‘Rug People’, do their faces give away their feelings?

Describe the faces…give the faces a story.

Do the children have relatives who have migrated from other countries?

(Folkestone Harbour station Dereliction; history. Within Location, Location, Location there is a Unit of Study about the station. If the Station Café is open, which is next to the entrance to the station, they are happy for the children to go in and look at photographs on their walls of soldiers at the station during WW1)

Sophie Ryder – Minotaur, Dog and Lady-Hare Not part of a Triennial but supported by Shepway Council and De Haan Family Trust.

Sophie Ryder

 

minotaur

Sophie Ryder, a British born artist, is concerned with mystical creatures, animals and hybrids. She makes her sculptures out of saw dust, wet plaster, old machine parts, toys, angle grinders, torn bits of paper, charcoal sticks and acid baths. A fascinating aspect of Sophie Ryder’s sculpture is her concern with hybrids; not only the Minotaur, but hares combined with human features. The Lady Hare has occupied her imagination for many years and the human parts are based on the artist’s own body. These sculptures have the potential to forge powerful images charged with character and emotion which go well beyond representation. The Lady Hare was imagined as a companion for the Minotaur and she is often accompanied by a dog or a horse in Sophie’s sculptures.

http://www.sophie-ryder.com/#!sophie-ryder/clqv

Discussion

What objects can you see in the sculpture?

Make up a story about the Lady Hare and dog, what brought them to Folkestone?

Payers Park, muf Architecture/Art, Folkestone Triennial 2014 - Lookout

The renovation of Payer’s Park creates a ‘Lookout’, an open-air belvedere with views across to the East Folkestone Downs, and yet conversely responds to the Lookout theme as taking counsel, to take care, be mindful and make space for the unknown.

Set on a steep, sloping valley the park is set out as a series of open-ended invitations – welcoming visitors to occupy and appropriate structures that allude to what may be real or fictitious relics of the past. Theses relics of the past include: fields of hemp grown along the banks of the Pent Stream that used to provide ropes for passing ships, a place where the yards in which cattle waited in line to be slaughtered and market gardens slowly encroached on by the workshops of the travelling artisans.

A boardwalk, a plateau, and a number of shortcuts are the main components inviting a number of uses. The boardwalk envelops the site, and acts as a loge, a stage, a site for parkour, and open air gallery. The plateau provides a destination at the centre of the site. The shortcuts connect the boardwalk with the plateau at the centre, providing meeting points, and opportunities for adventurous play, and places for rest. Power is provided to allow events to be held at Payer’s Park, for example by the adjoining Quarterhouse theatre. Seating both formal and informal is provided throughout.

The biodiversity of Payer’s Park has been increased through shrub and wild meadow planting. A variety of trees have been planted to complement the existing Sycamore trees, and call attention and frame the park from its various entry points.

Discussion

Is this art or just a park to play in? What is the difference?

Banksy –Art Buff

The anonymous artist had revealed it was his contribution to the Folkestone Triennial.

Art lovers soon flocked to the town to catch a glimpse of the piece depicting an elderly woman listening to what appears to be an audio guide while staring at an empty plinth. The Art Buff mural was removed from the wall of the arcade in Folkestone’s Payers Park at the weekend – prompting angry protests.

Shepway District Council, which had been helping to maintain the mural, said it was “disappointed” to hear that ‘Art Buff’ had been removed. Damian Collins, Conservative MP for Folkestone and Hythe, also appealed to the Godden family to save the Banksy piece for Folkestone. “I was very disturbed to hear that the Banksy artwork on the wall of Palace Amusements in Folkestone was removed at the request of the Godden family who own the building,” he said. “It would have been much better if they had discussed this with people in the town before acting as they have.”Mr Collins has written to the family asking to discuss an alternative solution to selling the piece, which would see the artwork remain on public display in Folkestone “either at the same or a different location.”

The Godden family, which owns the arcade, were “no longer prepared to carry the burden of protecting the work”. It was expected to go for up to £500,000 in a show of his work in Miami in December, but, it did not sell in Miami as Banksy’s Pest Control outfit are yet to confirm its authenticity.

Discussion

Is Banksy’s work art or just graffiti?

Is all graffiti art?

Who should own this piece of art? The person who owns the wall or the people of the town that the artist has done the art work for?

Folkestone Memorial Arch - sponsored by Kent County Council, Shepway District Council, the Roger De Haan Charitable Trust

The new Arch on The Leas is a project by charity Step Short. Philip Gearing, of Hythe-based firm Foster Gearing, designed the arch. He said: “I was asked to design an arch and chose this area because people could get to it. We created an outdoor classroom, it’s quite an interactive space. There’s a compass which tells the story of the various countries that sent people through Folkestone. They can use it for geometry and maths, geography, history and storytelling.   There’s a big planter come bench opposite the seaside with an audio facility that will play recordings and stories about World War One, poetry and songs. In the very top there are 100 manmade diamonds that are backlit. As you walk  underneath them they will prism, twinkle and change colour. It’s like 100 tiny stars.”

The memorial was built to mark the role Folkestone played and commemorate the thousands of lives lost and millions of men and nurses who left the harbour bound for the horrors of the battlefield.

Discussion

Why are there “100 manmade diamonds to look like 100 tiny stars?” (100th anniversary).

Poppies on railings – Who makes them, when do they appear?

Read the information written by the seating area, which is done in chronological order. Discuss.

Out of Tune – A K Dolven, Folkestone Triennial 2011 – A Million Miles From Home (This piece can be seen from the Leas railings near the Memorial Arch)

Since the 1990s Norwegian artist A K Dolven has worked with the idea of being at odds with one’s surroundings, and more specifically, for the past three years, with disused bells. ‘Out of Tune’ continues with this series.

Folkestone Seafront, opposite The Leas Lift, is home to Dolven’s installation. It features a 16th-century tenor bell from Scraptoft Church in Leicestershire, which had been removed for not being in tune with the others. It is suspended from a steel cable strung between two 20m high steel beams, placed 30m apart.

*You can get the key for this from hannahconroy@creativefoundation.org.uk , this allows you to ring the bell.

Discussion

This bell was removed from others in its church because it was ‘out of tune’. Should things be discarded when they are not the same as the majority?

Can you think of a time when being different from the rest is a very good thing!?

We Could Have Been Anything That We Wanted To Be - Ruth Ewan, Folkestone Triennial 2011 – A Million Miles From Home

Decimal Time
Decimal Time

On 5 October 1793 the recently formed Republic of France abandoned the Gregorian calendar in favour of an entirely new model, the French Republican Calendar, which became the official calendar of France for 13 years. Each day of the Republican Calendar was made up of 10 hours. Each hour was divided into 100 minutes and each minute into 100 seconds. Inspired by this historical model, Ewan created new clocks and altered existing ones around the town to tell decimal time.

Discussion

Can they come up with their own method of telling the time?

Folk Stones – Mark Wallinger, Folkestone Triennial 2008 - Tales of Time and Space

Mark Wallinger’s Folk Stones at first appears like an almost banal numbering exercise, a “significant yet pointless act” as he put it. Yet the precise number of beach pebbles collected and laid out into a massive square reveals a profound underpinning: 19,240 individually numbered stones stand for the exact number of British soldiers killed on 1st July 1916, the first day of the Battle of the Somme. The work is inspired by the one million soldiers who left from Folkestone harbour to fight on the battlefields of France and Flanders.

Discussion

How would they represent the 19,240 soldiers killed in the 1st day of battle at The Somme?