Block building-extension: narrative play, perspective and mapping.Releasing our butterflies-science: 'lifecycle of a butterfly'.Planting our sunflower seeds-science: 'lifecycle of plant'.Rainforest work- Geography, C and L, Literacy.Songs we are using in our learning this half term.Henri Rousseau- art, geography, fine motor skills and communication and language.
Practical maths- baking using a balance scale.Building a bug hotel- maths, science and C and L.
Useful websites to support your child's learning. Letters for parents with HOMEWORK LINKS. School term dates and holidays in term time. Parents/carers: What can I do to help my child with SEND at home?. Special Educational Needs and Disabilities. COVID-19 Catch-up Premium and Risk Assessment. Christmas 2014 Eco Warriors Raise Money At The School Fair. Summer 1 eco meeting dates- growing activities. Awe and Wonder- Whole School Competition. January 2020: Growing food for the school’s kitchen. Litter Picking Time Table following analysis of Eco Warrior School Suggestion Box. Discussions about Earth Day at 8.30 pm. (Goldsworthy 2004, p.9.)įurther reading Andy Goldsworthy, Hand to Earth: Andy Goldsworthy Sculpture 1976–1990, London 2004.ĭoes this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you. The photographs leave the reason and spirit of the work outside. A drawing or painting would be too defined. Process and decay are implicit in that moment. There is an intensity about a work at its peak that I hope is expressed in the image. Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. It is very demanding and a balance is kept in which documentation does not interrupt the making. Taking the photograph is not a casual act. Goldsworthy has written about the significance of photography in his work, most notably in Hand to Earth, published in 2004: Although these are by their nature impermanent, they are documented in the form of photographs and texts. Goldsworthy’s practice encompasses gallery-based sculptures and installations using stone, wood and other natural materials, as well as permanent constructions made outside in the landscape – including earthworks and pieces consisting of dry stone walls – and more ephemeral constructions made using ice, leaves, flower petals, sticks and rocks. Often categorised as a ‘land artist’, Goldsworthy’s work is frequently linked with that of Richard Long (born 1945) and Hamish Fulton (born 1946) in that it directly engages with the natural landscape. It is possible the last work I make will be a hole. I am drawn to them with the same urge I have to look over a cliff edge. The black is the earth’s flame – its energy. 
The flame makes the energy of fire visible. The black of a hole is like the flame of a fire. Goldsworthy has made holes in natural materials throughout most of his career, and has explained their significance for his work in his publication Hand to Earth: Typically, the title of the work describes the object, location and date of the artist’s intervention. The effect is one of irregular concentric rings, getting progressively darker towards the centre as the holes get deeper. Holes / Middleton Woods, Yorkshire / 1 February 1981 1981 is a black and white photograph showing three holes, each inside a larger one, that have been made in a forest floor.
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