Mapping
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These images show some of the making processes that are forming in the developement of the Pedagogical Art Objects . The objects shown here are not complete, but document a range of material ideas and approaches seen in relation to the the three sites that we are responding to. At times objects and images respond to themes, ideas, histories, formal qualities and to the everyday objects that are encountered across the sites. t
Small example of the images we took on our visit that remained significant. These images are not all that were taken but they act as reminders of patterns that were seen across the sites. Connecting points.
Some examples of small interventions that were made in the Gallery during our visit.
  • Images of the changing objects that may be used to make the final objects. 
  • Everything at this stage is changeable and so whilst some objects look like something reminiscent of from one of the sites - they are documented and manipulated to become something 'other'.
  • Things can be both recognisable and unfamiliar and it is important that the objects I make can do both.
  • There objects need to be allow space for the learner to find new routes into the collections and have a personal voice through play, dialogue  and physical encounter with the objects that are made.
  • The clam becomes an oyster.
  • Referring to the personal and everyday objects seen across the sites that function differently interms of their status value, context, history.
  • What do we grasp onto when we recognise an object ? - something that might have been seen or held before that is presented away from us - or categorised with information we might not have heard before. 
  • Suckers -thimbles, locating points.
  • Reordering embroidery that speak of craft, or still life and portraiture. 
  • Physically unpicking and reforming , unstitching and re embroidering.
  • Allowing space for other alternative narratives in what is seen and what is touched.
  • The wig makers heads relate to the segments of bodies and identities across the sites, parts of bodies.
  • They respond to the gas masks, wounds, casts and damage of touch and time, or perhaps the millenary shop on castle street.
  • we might ask :
  • What does it feel like to hold this head?
  • What does the spoon articulate?
  • What does the stitching - darning provide?
  • Has it been mended?
  • What is obscured or revealed by the spoon?
  • collars
  • inside out
  • what is hidden and revealed 
  • starched and upright
  • costume or status
  • ​intimate and architectural.
  • Aligned with the tools seen in castle street,
  • Lenses alternative was of seeing
  • Fake eyes - sockets 
  • Double cymbal.
  • Flower press.
  • Sound muffled 
  • The goblets becoming linked to the ceramic or domestic/decorative pottery. 
  • Alternative serving, spillage, flow.
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  • Lace making bobbins.
  • Thinking about the physicality of the rhythm of using this objects - threading devices 
  • Nearly pencils, figures, potential scratched marks.
  • Remembering the conversations from the visit about the origami bird in the objects from Sheffield and Helen Chadwicks Boat in the gallery.
  • This boat )one of many)  is made from pages from books on sculpture.
  • ​This one is made from images of Henry Moore's studio.
  • This is the start of a process, and casting of two holding hands.
  • Something that becomes like a bone, something unearthed,  or like a discarded apple core.
  • The finger and palm indentations allow you to find your own bodies space in the object, to hold your own hand or to connect with another.
  • Horse hair, portrait hair, ceremonial hair, .......
  • This alternative brush cannot be part of the collection of objects being made but shows the start of the material  thinking process