Jenny Orchard - Townsville City Council

townsville.qld.gov.au

Jenny Orchard - Townsville City Council

XSTRATA CHILDREN’S EXHIBITION

zookini

Jenny Orchard

EDUCATION RESOURCE

for Secondary Teachers & Students

PERC TUCKER REGIONAL GALLERY

15 APRIL - 10 JULY 2011


XSTRATA CHILDREN’S EXHIBITION

zookini

Jenny Orchard

1

Exhibition: Zookini

An Overview

2

Artist: Jenny Orchard

Biography

Artist Statement

Resume

3

4

5

Artworks

Ceramics

Etchings

Digital Paintings

Book Pages

Local Artists

Robert Crispe

Jenny Finn

Hugh Martin

Christine Spain & Mel Williams

Glossary

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

study resource.

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: angela.cheung@townsville.qld.gov.au

ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 1


EXHIBITION: Zookini

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

universal soul.”

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.

BIOGRAPHY

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

of childhood.

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.

ARTIST STATEMENT

“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.”

RESUME

EDUCATION

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,

Canberra

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

Art Gallery

2004 “The Hollow and the Whole; Contemporary Ceramics”, Delmar Gallery,

Sydney

“Singular Visions”, Cowra Art Gallery, Cowra, NSW

2005 “Trace” College of Fine Arts Exhibition/Performance space, University of

NSW, Sydney

“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,

USA

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

SELECTED PUBLICATIONS

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,

3 October

2003 Ceramics: Art and Perception, No. 52

2004 Australian Art Review. Issue 5.

2005 “Strange figures of deep mutation”, Meredith Hinchliffe, Canberra Times,

1 March

2006 Australian Art Review. Issue 11.

500 Animals in Clay, Lark Books

2007 “Creatures repel and attract”, Kerry-Anne Cousins, Canberra Times, 21

June, p8

REPRESENTED

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


ARTWORKS: Ceramics

ARTWORKS: Etchings

Looking:

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

why?

Activity 1:

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

making it.

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

have chosen?

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.

Activity 2:

“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

animals.

4. Exhibit your sculpture to the class.

Consider how you display it.

5. Explain what you used for inspiration and

your method of making.

Extension:

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

Australian mythology.

Looking

Which important visual elements has the artist

used in this etching and others in the Zookini

Exhibition?

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

this?

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.

Activity 1:

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

and reflections.

Activity 2:

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.

Extension:

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

work?

Artwork : Jenny Orchard, The Tumbler, Etching, 2010

Artwork: Crazy (detail) by Jenny Orchard, Ceramic, 2010

ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 4 ZOOKINI PERC TUCKER REGIONAL GALLERY: EDUCATION RESOURCE 5


ARTWORKS: Digital Paintings

ARTWORKS: Book Pages

Looking:

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

background?

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.

Looking:

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?

Activity:

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

Orchard.

Extension:

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

strongly about.

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

Activity:

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

Zookini.

2. Use computer technology to create

your poster design. Scan drawings

or take digital photographs of your

favourite animals and fruit or

vegetables.

3. Consider your character’s features,

special qualities and the way you can

use colour, shapes and words to

express this.

4. Experiment with different arrangements

and composition.

5. Print out your design and display your

work as a class.

Extension:

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

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Local Artists

Glossary

Robert Crispe

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,

relate 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

cooling.

FIRING After drying, the clay body is baked

in an oven called a kiln to harden the clay

permanently.

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

structure desired.

Jenny Finn

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.

Hugh Martin

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

island vistas.

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

acetate.

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.

COLOUR

PATTERN

SHAPE

TEXTURE

FORM

MYTHOLOGY a traditional story told over many

generations.

ORGANIC An art form that emphasizes a living

object or natural shape that is not geometric or

man-made.

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

undecorated.

KEY VISUAL ELEMENTS AND DESIGN PRINCIPLES

Primary, secondary, tertiary,

complementary, tints,

contrasting, shades

Repetition, Continuous

motif. Two dimensional:

geometric (man-made) and

natural shapes (organic)

Two dimensional:

geometric (man-made) and

natural shapes (organic)

Surface quality. Tactile

texture (real texture),

Implied texture (looks like

it feels)

3D Objects. Geometric

(man-made) and natural

(organic form)

LINE

TONE

Length, thickness, and

direction. Curve, horizontal,

vertical, wavy, diagonal,

parallel, dash, dotted

Light, dark, highlight, shadow

COMPOSITION Background, foreground,

middle ground, focal Point

BALANCE

PERSPECTIVE

SPACE

MOVEMENT

Symmetrical or asymmetrical

Aerial, linear, horizon

foreshortening, depth,

vanishing point

Positive and negative space

Linear rhythm, direction

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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

ptrg@townsville.qld.gov.au

www.townsville.qld.gov.au

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

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