SchoolArts Magazine

October 2018

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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drawings. Students worked in pairs and individually, swinging their chalk and charcoal filled hands around the large pieces of paper taped to the floor. There was much laughter dur - ing the process and some confusion, because after all, we were in a 3D class, and instead of working sculp - turally, students were creating these large-scale symmetrical drawings by engaging their whole arms. Working from Abstracted Forms After working through the collab- orative and individual drawings that followed Hansen's process, I asked students to come up with a series of thumbnail sketches that interpreted the marks made in these large-scale drawings as symmetrical and asym - metrical relief forms. Most students in the class were used to working from life and in the realm of objec - tive art that stems from realism. Asking them to work from these more abstracted forms and develop them into concepts for relief paper sculptures proved an interesting and new challenge. This divergence from Hansen's process helped students see that we can use a variety of art - ists' works to make new understand- ings of ideas with different media and approaches. Working in Three Dimensions Once sketches were complete and critiqued by peers, students each selected one symmetrical and one asymmetrical 3D piece to complete. Before beginning their final works, I encouraged students to use the white paper I gave them for their sculptures to play with ideas stem - ming from their selected sketches, making adaptations and edits as they discovered new ways of mak - ing the paper curl, bend, fold, and intersect. Using these paper- sculpting techniques, students completed their sculptures and made edits based on process cri- tiques before mounting their work onto black presentation board. Outcomes This exercise of adaptation demon- strates to students that they can be inspired by artists without having to copy their work. It shows them that there are ways to approach art-making that may be outside of their comfort zone. Most important to me, it allows students to see a linkage between 2D, 3D, performance, and collaboration in making art and validates it as a way to form ideas and create work that is lay - ered throughout the process. Janine Campbell is an art teacher at Byron Center West Middle School in Byron Cen - ter, Michigan. N A T I O N A L S T A N D A R D Creating: Conceiving and developing new artistic ideas and work. W E B L I N K S This exercise of adaptation demonstrates to students that the an be inspired b rtists without having to cop their work. Lauren D., abstract paper sculptures. SCHOOLARTSMAGAZINE.COM 27

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