St Scholasticas School, Hackney

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.


For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.


The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.


What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.

If we just consider some of the form these children have presented with their drawings, the drawings which are the basis of the model design, then we really have to question why more art workshops are not provided for children in inner city areas.



The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.


The skills and imagination are plain for all to see. As you look through these models consider the detail and imagination these children have employed.

Burbage School, Hackney

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.

For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process


The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.



What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.



The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.


The skills and imagination are plain for all to see. As you look through these models consider the detail and imagination these children have employed.

Baden Powell School, Hackney.

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.



For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.


The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.


The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.


The skills and imagination are plain for all to see. As you look through these models consider the detail and imagination these children have employed.

Stewart Hedlam School, Tower Hamlets

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.


For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.


The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.



What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.


For example, three dimensional models of whales and orca where the detail of the whale spouting is rendered. If we just consider some of the form these children have presented with their drawings, the drawings which are the basis of the model design, then we really have to question why more art workshops are not provided for children in inner city areas.


The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.


The skills and imagination are plain for all to see. As you look through these models consider the detail and imagination these children have employed.

St John's School, Tower Hamlets

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.


For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.


The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.


What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.


If we just consider some of the form these children have presented with their drawings, the drawings which are the basis of the model design, then we really have to question why more art workshops are not provided for children in inner city areas.


No words necessary here, these sculptures speak for themselves. The untutored eye might see the use of a template here but using a template in designing a sculpture is a skill in itself. The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.


The skills and imagination are plain for all to see. As you look through these models consider the detail and imagination these children have employed.

Nightingale School, Tower Hamlets

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.


For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.

The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.



What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.



If we just consider some of the form these children have presented with their drawings, the drawings which are the basis of the model design, then we really have to question why more art workshops are not provided for children in inner city areas.


No words necessary here, these sculptures speak for themselves. The untutored eye might see the use of a template here but using a template in designing a sculpture is a skill in itself. The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.

Mowlem School, Tower Hamlets

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.

For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.


The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.


What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.


If we just consider some of the form these children have presented with their drawings, the drawings which are the basis of the model design, then we really have to question why more art workshops are not provided for children in inner city areas.


No words necessary here, these sculptures speak for themselves. The untutored eye might see the use of a template here but using a template in designing a sculpture is a skill in itself. The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.

Malmesbury School, Tower Hamlets

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.

For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.

The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.

What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.

The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.


Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.


The skills and imagination are plain for all to see. As you look through these models consider the detail and imagination these children have employed.

Harbinger School, Tower Hamlets

One of the underpinning principles of the DOG Sculpture Installation was the desire of the artist to provide something of value to her community. As a consequence she has set up and run sculpture workshops for primary school children in the boroughs of Tower Hamlets and Hackney. The idea behind these was not to bring the children into the DOG Sculpture as "workers" or "contributors" but to bring them in as artistic partners.

For this to work Takayama provided the structure of a sculpture making workshop but did not define the form. In this manner the children, with their teacher, could decide on their own artistic ambitions within the remit of their existing educational programme. The idea was for the children to create their own sculpture which they could see in the context of Takayama's public art work and perhaps consider their own artistic future in the process.

The educational benefits of spatial awareness, three dimensional sculpture construction and then the public acclaim of having your work on public display (both in local venues and on this site) should be self evident.

What continually surprises is the quality of work 8 year old children are capable of when they work with an artist. Some of the drawing skills, some of the conceptualisation and all of the unbounded enthusiasm are simply to be marvelled at.

For example, three dimensional models of whales and orca where the detail of the whale spouting is rendered. If we just consider some of the form these children have presented with their drawings, the drawings which are the basis of the model design, then we really have to question why more art workshops are not provided for children in inner city areas.


Rabbits! No words necessary here, these sculptures speak for themselves. The untutored eye might see the use of a template here but using a template in designing a sculpture is a skill in itself. The purpose of the workshops was to give the children the opportunity to realise spatial awareness, management of projects, design, construction and delivery within the activity of being an artist. All of these skills are valuable educational experiences and reinforce the core curriculum activities but where, especially for children from inner city communities, this approach really has value is in the public presentation of the end results and the consequent approval each child receives for themselves and their work.

Each school involved in the workshops took their own approach, tailored the sculpture construction to relate to existing classroom deliveries. This is the advantage to the schools and the teachers of the approach Akane Takayama has taken; she hasn't sought to impose an "art agenda" on the schools but provide an "art opportunity" which the schools can fit within their own educational management schedule and adapt the workshop content to support that schedule.
The skills and imagination are plain for all to see. As you look through these models consider the detail and imagination these children have employed.

Paradise Gardens 19 & 20.06.2010

DOG Sculpture Installation 2010 by Akane Takayama
Paradise Gardens, Victoria Park, Tower Hamlets, London

These photographs come from both Saturday and Sunday and show some of the organisation and delivery management behind this project. The artist had worked for several years before hand creating the models, designing delivery, structuring a community benefit within a social inclusion remit and paying attention to every small detail. Behind her a management team and a group of volunteers built up an operational and marketing plan which all contributed to make the installations a very popular success. The image above shows the start of the day when the management centre (tent) has been set up and the DOG sculptures are starting to be laid in place by Akane Takayama.


Once the artist has taken time to place and arrange the DOG sculptures the team of volunteers then peg them into the ground.


The essence of the art of Takayama is the way in which she places and juxtaposes the elements of her sculptures. To the untutored eye all you see is a load of cardboard dogs, all basically identical, all with the minimal amount of personal character. They look like they are simple to make and to many it would be something you could probably just "knock up" in an hour. However, that is the heart of this artist's skill, to be able to put together an installation of this scale and yet retain a sense of simplicity and naturalness is no easy task.






Once the sculptures are in place they form connections and relationships which are compelling for the audience. Throughout the two days people were quite simply enchanted by this piece of public art sculpture.

The volunteers moved amongst the crowd giving out leaflets and posters and talking to the audience. All of these volunteers reported that people were fascinated and asked all sorts of questions about the artist, the sculpture and the role of art in the community.

One of the features of this work was that the artist went to primary schools throughout the area and ran one day workshops for year 4 to 6 children in model making. The children were encouraged to develop their own model making skills and understand sculpture through planning and spacial awareness.



At the end of each session the children were asked to write of their hope for the future. These messages were tucked into the back of the neck of the DOG.


Throughout the two days people went from DOG to DOG reading the messages of hope from the children.


This aspect of the sculpture was very important. The DOGS in themselves are in effect clones, each as similar as possible to the next. A pack of uniformity where all identity can only really be that which the viewer brings to the installation.


Yet once the panorama has been grasped and the audience move to interact they find that each DOG is personalised by the message of hope each one holds from the young children of the borough. As they moved from DOG to DOG the audience began to identify personally with individual sculptures.


During the course of the installation people want to move the DOGS, children want to carry them off, bash them, cuddle them or just tear their ears and tails off. Our team of volunteers spent the days replacing and repairing the DOGS. We took the position that this interaction was an intrinsic part of the installation, as the public interacted the installation changed and moved in response to that interaction. The public, unwittingly were manipulating the installation and adding to it in their interaction and thereby re-defining its appearance.


The last act of the installation was for the volunteer team to gather the DOGS together and then they were handed out to the audience. We were overwhelmed by the number of people who wanted to take and possess a DOG. Grown men begged for one, children wept for one, some people lied in an attempt to get one, some tried emotional blackmail but most just stood patiently in line waiting for the chance to own one. But the moment I will never forget is when a child in tears because all of the DOGS had gone was handed one of the sculptures by a young man who had been desperate to get his own DOG. That was a moment re-afffirmed our own common humanity, our ability to share and our ability to care.

DOG Sculpture Installation 2010 Part One: A Success

Next: Clissold Park, Hackney 31st July 2010
and
Holland Park, Kensington 8th August 2010