Seahorse Sculptures

1. On loose paper or in a sketchbook, have students draw a seahorse. They can begin by drawing from memory but should move on to drawing from an actual image or images. Discuss as a class the unique shape seahorses possess that makes them recognizable (pointed blunt nose, outward curved belly, slightly concaved back, tail rounded inward).
2. Introduce them to Canadian artist Joy Ann Kirkwood. Currently residing on the West Coast Kirkwood is known for her mixed figurative dolls but also created a series of figurative seahorses. Show multiple images of Joy Ann Kirkwood’s pieces and discuss as a class. Examples of discussion questions: Which piece were they most drawn to? Why? What are some elements that tie the artist’s pieces together? What would they change if they were the artist?What do they feel the artist is trying to accomplish with their pieces? What type of media does the artist use? What, if anything, do the pieces remind them of (something they have seen or experienced before)?
3. Distribute Crayola® Model Magic™ packs. Students will need approximately 2 oz.(56 g) to create their sculpture (2 smaller packages and a little extra at the table for added details). Have students start by combining their Model Magic, pinching off a bit for reserve, then rolling out a 6-8 in. (15.2 cm – 20.3 cm) thick rope with tapered ends. This is the base of their seahorse.
4. Encourage students to remember the shape of the seahorse and manipulate their Model Magic ropes into that basic shape. Now students can use modeling tools (or pencils, toothpicks, fingers for pinching techniques, etc.) to add details and texture to their seahorses. This can be whimsical, extra spikes or fins, unique scale patterns, and importantly a prominent enough eye. Caution students that they will be adding fabric and tissue paper to their creations once they are dry so texture and details should be pronounced and large enough that they won’t be swallowed by the next layer. Dry seahorses in a fashion that allows air to circulate around the body of the seahorse (like resting on drinking straws) to increase drying speed and prevent cracking.
5. Once seahorses are dry, provide students with a mix of colored fabric scraps and tissue paper pieces. Students should cover the entirety of their seahorse in bits of alternating scraps gluing them on using watered down Crayola School Glue. Caution students not to use too much glue, a thin layer under the scrap and another thin coat when their seahorse is covered. Encourage students to take their time when working around details to keep them sharp. Allow to dry.
6. Throughout the creation process, because this particular project has many waiting points, it is an excellent project to encourage artistic process and media choices evaluation. Upon returning to the dried piece between steps, encourage students to discuss with a peer what they like or dislike about their art at that point in time and how they intend to proceed from there.
7. Once glue is no longer tacky, students can add the finishing details to their seahorses. They may wrap them in chenille sticks, string or yarn and add buttons, sequins or flat beads as adornments. When completed the seahorse may be hot-glued to a piece of cardboard or foam core for display purposes.

VA: Select media, techniques and processes; analyze what makes them effective or not effective and reflect upon the effectiveness of their choices.

VA: Analyze contemporary and historic meanings in specific artworks through cultural and aesthetic quality.

VA: Compare the characteristics of works in two or more art forms that share similar subject matter, historical periods, or cultural context.

VA: Use art materials in a safe and responsible manner.

Tie in to a science unit on specific types of seahorses or other animals which can be found in the ocean (jellyfish, crustaceans, whales, corals, etc.). Have students create a scientific file on a marine animal and recreate it using Model Magic and Joy and Kirkwood’s style.

Organize a debate where class must argue whether dolls are considered art or not using valid arguments and research.

Have students compare and contrast Joy Ann Kirkwood’s type of sculpture to other known sculptural artists’ artworks. Alexander Calder, Auguste Rodin, Claes Oldenburg, Alberto Giocometti, Louise Nevelson, Andy Goldsworthy, each use very different techniques and media. What is similar? What is different? Which do the students prefer and why? What are the benefits and drawbacks to the choices of media the artists made? Etc.