All the work was actually done at the end of the previous school year. In fact, a significant part was put in place during the tail end of the last lockdown that we had in schools here in the Netherlands back in the spring as this previous post documents:
But once back in school, with whole classes back together, what started as a walk in the countryside and photographic assignment, could take on a more ambitious drawing and painting character.
The idea was relatively simple. I wanted, after months of disruption and children following my lessons on their laptops and iPads at home to do a fairly loose group project that would deliver a result that was significantly bigger than the individual parts. It was also obliquely connected to the Surrealist’s Exquisite Corpse drawing game where elements of drawing connect vertically without one part actually being made with the intention that it should seamlessly connect.
Our ‘corpses’ weren’t to me figures, but trees. Linked together by a vertical trunk that ran through the drawing. The pupils had spent time outside looking at trees and photographing them. We had made small digital collages connecting various sections of diverse trees into an arrangement that hinted at where we were going.
But still, the greatest challenge was to get the pupils (14-15 years old) to loosen up a bit and dare to start on the relatively large-scale drawings I was asking them to make. To help reach the point where we got quite high contrast drawings there was really only one material to use and that was charcoal.
After a few nervous minutes at the beginning the class soon got into it. I kept hammering on about daring to draw and being a bit aggressive in their mark-making. Also, I kept again and again repeating to make sure that they got different scales of mark in the drawings, from the thick and lumpy trunks to the lace-like finest twigs and everything in-between. We used the photographs made earlier as a reference point to make sure that nobody slipped into the ways of drawing trees that they may have used when they were at primary school.
Charcoal delivers fast results, and it was very quickly clear that the drawings that were being made have qualities that were going to mean that my hopes to make a larger group display of them was likely to be a possibility.
The speed of the drawing process meant that in subsequent lessons we moved onto similar work, but this time drawn out in paint. The pupils were working with a freedom that I rarely see, not just from the ‘artists’ of the class, but pretty much right across the room.
The resulting work now hangs in the hall at the main entrance to the school, backlit from the light outside and against a backdrop of real trees.