XSTRATA CHILDREN’S EXHIBITION
for Secondary Teachers & Students
PERC TUCKER REGIONAL GALLERY
15 APRIL - 10 JULY 2011
XSTRATA CHILDREN’S EXHIBITION
Artist: Jenny Orchard
Christine Spain & Mel Williams
This resource has been designed in response to the Xstrata Children’s exhibition. It aims to highlight
key works and themes from the exhibition and can be used as an independent pre-visit or post-visit
Its purpose is to assist both students and teachers with the interpretation of Jenny Orchard’s
artwork, as well as provide insight into her art practice. It also includes a number of artworks
sourced from local Townsville artists.
This resource has been written with reference to the Department of Education and Training,
Queensland Visual Arts Syllabus (2009); Essential Learnings 1-10 (2007 & 2009) and Senior Syllabus
(2007). It includes questions and activities for students based on artworks and selected themes that
may be adapted to better suit particular curriculum requirements.
Contact Angela Cheung (Audience Development Officer) at Perc Tucker Regional Gallery
for more information. Phone: 07 4727 9011 or Email: email@example.com
ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 1
ARTIST: Jenny Orchard
Zookini is the 2011 Xstrata Children’s Exhibition, and centres on the vibrant works of renowned
ceramicist Jenny Orchard. Using earthenware clay and an array of vibrantly coloured glazes, Jenny
Orchard brings to life her hybrid ‘creatures’, each one possessing a unique personality. Jenny’s
hybrids are at once plant and animal yet show signs of the technological exploitations and
explorations that have created them.
Of her creatures, Jenny states, “some are magnificently confused, some bizarre, some sublime.
A Zookini’s itchy touch comes from the Australian landscape - choko plants, banksias, the coral
reef of Queensland, grasses and weeds, kangaroos and backyard chooks; they have mingled with
strange genetic codes and foreign species”.
“My work expresses my joy and awe at the diversity and beauty of all creation and its
The exhibition is complemented by artworks from local Townsville artists, Robert Crispe, Jenny Finn,
Hugh Martin, Christine Spain and Mel Williams. There is a range of interactive activities and an
activity booklet for children to engage with Orchard’s exotic and multi-species creatures, exploring
their vivid imaginations.
Born in Turkey, Jenny grew up in Rhodesia (now Zimbabwe) in southern Africa
moving to Australia in 1975. She has vivid childhood memories of Rhodesia: her
first glimpses from the window of her parents’ car of “red earth, scattered trees and
vast horizon - and the animals”. The natural world was abundant in the innocence
Orchard began teaching ceramics in 1982. She has taught at various tertiary
colleges including the College of Fine Arts - University of New South Wales, Sydney
College of the Arts - University of Sydney and the National Art School, Sydney.
She has exhibited widely in Australia since 1981 and participated in shows in
Germany, Japan, Italy and the USA, internationally beginning her career in 1989
in Los Angeles and in Tokyo. Her work is represented in most state and regional
galleries, many major private collections and the Aichi Prefecture Government
Design Collection, Japan.
“My Zookini’s are PlantAnimals, PlantPeople and SoulFlowers representing species we witness departing
everyday and genetic laboratory misfits. They express a personal mythology inspired by cast-off objects,
organic life forms and wild fantasies.
We as people are being changed by the metamorphosis of the planet we live on. By genetically manipulating
our food, combining animal, vegetable and the chemical to create a mix to consume we are becoming a new
Multi-species, changed by our own manipulations, mistakes, experiments and imaginings. The characters play
with ideas of innocence and freedom versus domination and greed. Some are magnificently confused, some
bizarre, some sublime.”
1977-79 College of Fine Art, University of NSW, Sydney
1982-98 Various teaching positions at University of NSW; University of Sydney;
National Art School, Sydney; Randwick CAE, Sydney
2006 Masters degree, College of Fine Art, University of NSW, Sydney
SELECTED SOLO EXHIBITIONS
2000 “Imps, Goddesses, Tricksters and the Spirit of the Tree”, Beaver Galleries,
2001 “Australian Dreamscapes”, Bartley Drey Gallery, London
2002 “Odd couples - transitional creatures”, Beaver Galleries, Canberra
2004 “Metempsychosis”, The Foyer Gallery, Sydney College of the Arts
“Plant People, Soul Flowers”, Sir Herman Black Gallery, University of Sydney
2005 “Plant People - Soul Flowers”, Beaver Galleries, Canberra
2007 “Creatures of consequence”, Beaver Galleries, Canberra
“Misfits in Metempsychosia”, Maunsell Wickes
“Zookinis from Metempsychosia”, Sydney College of the Arts, University of Sydney
2008 “Creatures of consequence”, Coffs Harbour Regional Gallery
2010 “Dining with cannibals”, Beaver Galleries, Canberra
SELECTED GROUP EXHIBITIONS
2000 “Celebration”, Manly Art Gallery, Sydney
Australian Ceramics, Marrianne Heller, Heidelberg, Germany
2001 International Ceramics, Rufford Craft Center, Nottingham, UK
“Australian Dreamscapes”, Bartley Drey Gallery, London
2003 The Christmas Show, The Ceramic Gallery, Paddington, Sydney
Ceramics, The Australian and New Zealand Context. Campbelltown City Bicentennial
2004 “The Hollow and the Whole; Contemporary Ceramics”, Delmar Gallery,
“Singular Visions”, Cowra Art Gallery, Cowra, NSW
2005 “Trace” College of Fine Arts Exhibition/Performance space, University of
“Chilli” Cudgegong Gallery, Gulgong, NSW
2006 SOFA, Chicago, USA
2008 “Arafura Exchange, Trajectory of memories - tradition and modernity in ceramics,
Australian and Indonesian artists”,
Museum and Art Gallery of the Northern Territory, Darwin.
2009 “Replacements: other drawing, reveries of the everyday”, Tin Sheds Gallery,
University of Sydney
“Animal Farm”, Brenda May Gallery, Sydney
“Sculpture by the Sea”, Bondi, Sydney
“International Ceramic Conference”, Maunsell Wickes Gallery, Sydney
AWARDS / COMMISSIONS
1987 Eight ceramic murals for Sheraton International Hotel, Arlington, Virginia,
70ft long ceramic mural for Darling Harbour, Sydney
1990 Fish panels for Vatuele Resort, Fiji
2001 6m tall sculpture for Joshua Berger, Paddington, Sydney
2002 Acquisitive award - Schubert International Ceramic Award, Gold Coast, Qld
2005 Sculptures for Methodist Ladies College, Sydney
2000 Rhein-Neckar-Zeitung, 20 November
“Wild with whimsy”, Fran Kennely, Canberra Times, 2 July
2002 “Elemental beauty from the earth”, Meredith Hinchliffe, Canberra Times,
2003 Ceramics: Art and Perception, No. 52
2004 Australian Art Review. Issue 5.
2005 “Strange figures of deep mutation”, Meredith Hinchliffe, Canberra Times,
2006 Australian Art Review. Issue 11.
500 Animals in Clay, Lark Books
2007 “Creatures repel and attract”, Kerry-Anne Cousins, Canberra Times, 21
National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne;
Tasmanian Museum and Art Gallery,
Hobart; Queensland Art Gallery, Brisbane; Museum & Art Gallery of the Northern
Territory, Darwin; Art Gallery of Western
Australia, Perth; Art Gallery of South Australia, Adelaide; Queen Victoria Museum
and Art Gallery, Launceston;
Powerhouse Museum, Sydney; Snowy Mountains Hydro-electric Authority,
Cooma; University of NSW; Darling Downs
Institute, Qld; Newcastle Region Art Gallery, NSW; Orange Regional Gallery,
NSW; Shepparton Art Gallery, Vic;
Queensland Institute of Technology; Gold Coast City Gallery, Qld; Bathurst
Regional Gallery, NSW; Grafton Regional
Gallery, NSW; Newcastle Regional Art Gallery, NSW, Campbelltown City Bicentennial
Art Gallery, NSW; Coffs Harbour
Regional Gallery, NSW; Aichi Prefecture Design Centre, Japan.
ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 2 ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 3
Look carefully at the artworks in the exhibition.
What similiarities and differences does Jenny
Orchard’s creatures have with a person and/or
plants and animals?
Describe some of the different shapes and
textures you can see in these sculptures.
What do you think these artworks are made
from? What tools and special techniques may
have been used to make the artworks?
Discuss other things you could use to create
patterns on clay, either through pressing
something into the surface or by mixing it into
the clay before firing it.
Orchard has glazed her figures in bright colours.
Discuss why she has used these colours. Some
parts of the sculptures are unglazed. Why has
the artist done this? What do you prefer and
1. What is your favourite animal?
2. What is your favourite fruit or vegetable?
3. Combining these two responses, make a
Zookini creature moulding the clay to
create a 3D form.
4. Plan your sculpture before you start
Think about how would you colour
it, what textured skin would it have?
Consider what are you telling your
audience about the animal by the style you
5. Exhibit your sculpture to the class.
Consider how you display it.
6. Explain what you used for inspiration, your
method of making and what you have
called your creature.
“These totem poles are my celebration of life.
Forms from the microscopic to the epic they
represent the diversity of life around us from
which I take inspiration.”
1. Visit the Zookini exhibition and look closely
at Jenny Orchard’s totem pole sculptures
in the Zookini Sculpture Garden.
2. In groups of two, research and select
various images of organic forms from the
internet, books or take digital photographs
from around your home and school.
3. Use these forms as inspiration to design
and construct a totem made from clay
which illustrates the North Queensland
vegetation, landscape and its native
4. Exhibit your sculpture to the class.
Consider how you display it.
5. Explain what you used for inspiration and
your method of making.
1. Read Jenny Orchard’s Biography and Artist
Statement. Discuss how Orchard’s
personal memories from childhood,
traditions from other cultures and
reflections on modern society have
influenced her work.
2. Create a sculptural work of a creature
whose form is drawn from nature and
Which important visual elements has the artist
used in this etching and others in the Zookini
What effect is created by the etched image being
placed on top of a text document?
Why do you think the artist has chosen to do
Discuss the meaning or intention of the artwork.
What is Jenny Orchard trying to represent? What
are the ideas or purpose behind this artwork?
What are your feelings about this artwork?
Do you like it? Explain your reasons.
1. Orchard describes her artworks as arising
from ‘symbolic shapes’. Can you find any
shapes within this artwork?
2. Use monoprinting techniques to create
shapes with ink on paper that could look like
creatures. Create folds to look at repetition
1. Create a drypoint etching on an acetate
plastic sheet using a large needle.
Scratch into the surface, making various lines
of different depth and concentration.
2. Rub etching ink over your drawing evenly and
consistently making sure it reaches all the
areas you scratched.
Remove the excess with newspaper.
3. Wet the paper you are going to print your
image on. This allows the ink to be absorbed.
4. Place the drawing and a piece of paper
through a etching press.
5. Remove the work from the press and allow to
dry in a safe place.
1. Look at Jenny Orchard’s artwork as a group.
What do you think she is saying about the power
of imagination and belief in alternative realities?
2. Discuss how modern science has changed
society’s view of humanity and human ideals.
How has Orchard expressed this through her
Artwork : Jenny Orchard, The Tumbler, Etching, 2010
Artwork: Crazy (detail) by Jenny Orchard, Ceramic, 2010
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ARTWORKS: Digital Paintings
ARTWORKS: Book Pages
Name the objects, colours, lines and shapes that you are see in Jenny Orchard’s Digital
painting. Describe what you see. What is in the foreground, the middle and the
Think about the colours Jenny Orchard uses. Are they harmonious or disjointed? Why?
Discuss how colours can evoke various feelings or emotions: for example, red is hot, blue is cool.
Imagine stepping into the painting and being confronted by these two creatures.
What would be your reaction?
Think about Jenny’s creatures which she created from her imagination.
Look at the types of imagery she has used in the paintings.
Are they referencing other ideas and objects? Give examples.
Look carefully at the book page artworks in Zookini.
Describe what types of animals and plants that you see?
How would you describe the personalities of each creature: happy, sad, proud, scary...?
Refer to the Key Visual Elements and Design Principles on the Glossary page of this booklet.
1. What are the key design features in this image?
2. Who do you think the target audience is?
3. How does the style and drawing reflect this?
Compare Jenny Orchard’s book pages to other children’s books in the library or at home.
What similarities and differences can you identify?
Why do you think the artist has used the style of a children’s book to convey her message?
1. Consider the style the artist uses.
What unique characteristics are
demonstrated within the paintings?
2. Paint your own Zookini creature
appropriating the style of Jenny
1. Artists often make artworks that contain
strong messages to educate the viewer
about, or to raise awareness of, a
significant social or cultural issue.
Research the art of Jenny Orchard
online. After analysing the work,
discuss how effectively her imagery
depicts this focus and its relevance to
the concerns of our modern society.
2. Create a poster which demonstrates
a political or social issue that you feel
Think about the way you are going
to express your message and the
imagery that conveys it. Focus on the
design principles and visual elements
to help you target your audience.
Jenny Orchard, Drop Shadow Woman, Digital Painting, 2010
1. Design and create your own book
page about a creature as an A4 poster
design like Jenny Orchard’s
Kablooky Book Pages exhibited in
2. Use computer technology to create
your poster design. Scan drawings
or take digital photographs of your
favourite animals and fruit or
3. Consider your character’s features,
special qualities and the way you can
use colour, shapes and words to
4. Experiment with different arrangements
5. Print out your design and display your
work as a class.
Write your own short poem about your
Zookini character designed in your poster.
Use descriptive words to communicate the
appearance and personality of the character.
Written by John McWorter, illustrated by Jenny Orchard.
Page from Fixing Kablookey, Computer Graphic Drawing, 2010
ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 6 ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 7
My intention as an emerging New Media Artist is to
investigate and re-conceptualise the visual dialogue
one has when relating to space. The thought processes
and ideas surrounding my work provokes audiences to
reevaluate their interest and relationship with reality and
how they relate themselves to the space they exist within.
APPROPRIATED refers to the use of borrowed
elements in the creation of new work. The
borrowed elements may include images, forms
or styles from art history or from popular culture,
materials and techniques.
TARGET AUDIENCE a specific group of people
that the artist wishes the artwork to appeal to,
CERAMICS Often refers to items made from clay
bodies and fired in a kiln to obtain the finished
form by the action of heat and subsequent
FIRING After drying, the clay body is baked
in an oven called a kiln to harden the clay
GLAZE A overcoat liquid that can be applied to
a fired item to to decorate the clay with colour.
MONOPRINTING A monoprint is a single
impression of an image made from a reprintable
block with ink.
MOULDING Process of using the hands and/or
tools to make the clay into the shape or
Since beginning work I have been continuously involved in
many facets of commercial type art. The last 20 years has
been spent running my own business, including producing
promotional and production banners, displays and sets,
murals, folk art, signs, children’s art and various private
commissions. Included is a recent successful exhibition at
“Art on Kings”, and transforming the children’s ward at the
Townsville General Hospital with floor to ceiling murals.
I was in my parent’s garden enjoying its beauty when
I noticed some butterflies milling round some flowers,
grabbed my camera and managed to get some pictures
before they flew off. Right place right time. As an artist
I draw a lot of ideas and inspiration from the natural
environment, especially the creatures that live in it.
Christine Spain & Mel Williams
Christine Spain began about fifteen years ago, after
seeing a magic quilt for a Dance North children’s show
and has been hooked on fabric ever since. She loves
working with the incredibly rich colours and the different
textures and surfaces. Her particular interest is in creating
things exotic. Mel Williams began showing art in group
exhibitions with the Magnetic Island Arts Co-operative in
2004. Predominantly self-taught, she uses vivid colour,
vibrant glazes and print-making to build images in acrylic
paint layers. Tending towards the whimsical, Mel’s imagery
features cheeky characters, quirky curlews, and majestic
DRYPOINT is a printmaking technique in which
an image is incised or scratched directly into a
plate with a hard-pointed “needle” of sharp
metal or diamond point.The plate can be
copper, zinc, metal or a hard plastic such as
ETCHING is an printing process in which an
etching needle is used to draw into a wax
ground applied over a metal plate. The plate
is then submerged in a series of acid baths,
each biting into the metal surface only where
unprotected by the ground. The ground
is removed, ink is forced into the etched
depressions, the unetched surfaces wiped,
and an impression is printed.
MYTHOLOGY a traditional story told over many
ORGANIC An art form that emphasizes a living
object or natural shape that is not geometric or
SCULPTURE Three-dimensional artwork created
by shaping or combining hard or soft materials.
STYLE The aspects of the visual appearance of
a work of art that relate it to other works by the
same artist or one from the same period.
UNGLAZED The ceramic surface is uncoated or
KEY VISUAL ELEMENTS AND DESIGN PRINCIPLES
Primary, secondary, tertiary,
motif. Two dimensional:
geometric (man-made) and
natural shapes (organic)
geometric (man-made) and
natural shapes (organic)
Surface quality. Tactile
texture (real texture),
Implied texture (looks like
3D Objects. Geometric
(man-made) and natural
Length, thickness, and
direction. Curve, horizontal,
vertical, wavy, diagonal,
parallel, dash, dotted
Light, dark, highlight, shadow
COMPOSITION Background, foreground,
middle ground, focal Point
Symmetrical or asymmetrical
Aerial, linear, horizon
Positive and negative space
Linear rhythm, direction
ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 8 ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 9
Perc Tucker Regional Gallery
Cnr. Denham and Flinders Streets,
Townsville QLD 4810
Monday - Friday 10am - 5pm
Saturday - Sunday 10am - 2pm
Closed Public Holidays
07 4727 9011
Artwork on Front Cover :
Pansy by Jenny Orchard, Ceramic 2010
Artwork on Inside Cover (left to right) & Back Cover :
Crazy (detail) by Jenny Orchard, Ceramic, 2010
Chrispot planterson (detail) by Jenny Orchard, Ceramic, 2010
Rhinogirl (detail) by Jenny Orchard, Ceramic, 2010