4. Project Information
• For teachers, youth workers
and facilitators.
• This package will facilitate
the delivery of personal and
social education, citizenship,
creative writing,
drama/dance, art history,
medieval history and art.
5. What is the ‘Disarming
Innocence’ package?
• Disarming Innocence places
the issue of gun and knife
crime in its historical and
social context to enhance
our young people’s
understanding of the
problems and challenges
facing them today.
It was developed to provide
a unique, interest engaging
tool to stimulate a search for
solutions and bring about
change in all sectors of our
communities.
6. Is this teaching package
• Yes…..If you to in
relevant believeyou?
the power of ideas
linked to the
imagination. This
learning experience will
focus perceptions and
intensify responses and
awareness. Designed to
challenge values,
taboos, customs and
social interactions.
7. Project Content
• A contemporary work of art entitled ‘Disarming
Innocence’ in the style of a Medieval Altar Piece.
Based on the Stations of the Cross it draws on the
deep traditions and origins of communication and
learning, but it is dealing with the most serious issue
of gun and knife crime. The dynamic between
organised crime and the choices needing to be made
to extrapolate a reasoned response to peer pressure.
It emphasises the interdependence of society in
terms of its structures and the responsibility of the
individual.
• What does it mean to be young and British today?,
this relevant powerful rendition of the visceral forces,
pulling away at the pillars on which society operates.
The most powerful message of all is the importance
of love in all our lives, it changes us. Forever and for
the better.
8. Two options available.
• OPTION ONE
• The sequence of paintings
‘Disarming Innocence’ is
available for hire. It consists
of 15 paintings and is 15
meters in length. It is free
standing and designed like a
folding screen to be versatile
and easily assembled.
• The booking fee for this will
vary according to the costs
involved in setting up the
exhibition.
• OPTION TWO
• An online version is available
to be downloaded. A full
description of the images is
provided that explains each
image and enables analysis
of the imagery.
9. Teacher/Facilitator
Strategic Planning
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Prevention of violence
It has been established that it pays to think ahead, not only what will be taught/discussed but also where
and under what conditions this package is presented.
1. Be aware of your local environment and the layout and routes that lead to and from the teaching venue.
Check that they are well lit, free from obstructions that could provide hiding spaces to those intent on
causing trouble. Secure any bins/furniture so they cannot be used in a way that is unintended. It has been
established that clear sight lines and good surveillance of potential conflict zones will deter disruptive and
violent behaviour.
2. Avoid over-crowding and stagger the dispersal of students.
3. Educators can initiate the models of how to de-escalate violence through the positive use of nonaggressive communication e.g., requests for co-operation and not aggressive verbal demands. There can
be a disparity between what is meant and what is actually said or received. Be aware that people may not
always hear what is being asked of them, and consequently sometimes the response does not match the
request .So clear non aggressive communication is needed.
4. By raising the level of ambition, increasing the awareness of social skills, developing leadership potential
through the use of teamwork and group work, interpersonal skills and relationships within the peer group
will improve.
5. Focus on positive self-esteem, reinforce and reward effort with praise to build confidence in the
individual.
6. Develop and emphasise the positive responses that are life affirming and enhance emotional awareness,
you will then be able to focus on appropriate ways for the expression of emotion.
7. Personal perception of safety, what does it take for them to feel safe and secure.
8. Conflict resolution is an essential life skill, use your voice calmly to respond to situations of conflict. It is
as important to listen to the other person as it is for you to communicate what you need to say.
9. As the nominated educator you must be aware of the students under your supervision as to their
individual and group needs. It has been established that there are multiple ways a child can be vulnerable
here are some potential background issues to be aware of;
a. A track record of being violent. b. Spending time with delinquent groups of youths.
c. Lack of a strong parental, supportive guidance. d. Underachiever at school. e. Economic deprivation..
11. The Purpose.
• This learning pack provides an interface between the
contemporary world and the Medieval mind.
• Allowing you to see a new way to connect with the traditions of
our heritage and shared culture. It provides a pathway to link
you into the culture and traditions that surround you.
• Creates awareness of the dangers of drug and knife crime that
surround us. and prompts discussion on how to combat the
effects on you, your friends, family and society.
13. Student Content
Index.
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Personal and interpersonal ethics.
Questions for students to aid reflection on their behaviour and quality of
friendships with peers.
Being young in the middle ages felt much like being young today. How can we
know who or what we are unless we understand the influences that have
shaped how we live today? We can make observations and judgements about
how our democratic society works today because of the traditions established by
our ancestors.
Signs of gang membership.
What counts as gun and knife crime?
So what would you do?
Medieval painting- an over view of methods, aims and ideas.
The Altar Piece Disarming Innocence.
Glossary of terms.
Conclusions and evaluations.
Relevance.
Use-fullness.
Strategic thinking.
Conflict management.
Interdependence and independence a contradiction, but one that enables our
democracy to work.
14. Personal and Inter
Personal Ethics
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Questions
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1. What is it that you like about your friends?
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2. What strengths do you have?
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3. Why is it important to have a good selfimage?
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4. Why do we celebrate and reward heroes and
heroines?
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5. Tenacity, resilience and independence, how
can these qualities help us?
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6. Do you prefer to please or challenge people?
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7. When is it the right time to challenge bad
behaviour?
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8. How responsible are we for our actions and
for the actions of others?
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9. Why do we all enjoy being part of a group
and feeling accepted and valued?
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10. When you like admire or love someone is it
easier to trust them, and is it reasonable to do
so?
15. Questions continued…..
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11. Do you think talking to friends and trusted adults can
help solve problems?
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12. How are the interests of the family served by the
community and visa versa?
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13. Do you respect people more if they have courage?
•
14.Here is a list of the Medieval Virtues and Sins do you
think they have any relevance today?
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Sins .
Virtues
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Lust (excessive sexual appetites).
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Gluttony (over indulgence)
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Sloth ( idleness )
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Wrath (anger)
Forgiveness
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Envy (jealousy )
Kindness
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Pride (vanity )
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15.Does love make the world go round, has an act of
kindness from a stranger or a friend changed how you
think about your life?
Chastity (purity)
Temperance (self restraint)
Diligence (zeal/labour/integrity)
Humility (no boasting)
16.
17.
18.
19. •
•
Common Myths About
My gang will protect me, and I will feel safe.
Gangs
Wrong! While you may believe that joining a gang will protect you from
bullies or other gang members, being in a gang greatly increases your
chances to be a target for rival gang members. You are far more likely
to be injured or killed if you are in a gang. Many former gang members
report that they had to change their lives dramatically as a gang
member. They could no longer wear clothing they used to wear. They
got into fights while attending school with rival gang members, and
ended up dropping out of school. They felt unsafe going out of their
neighbourhoods, and they couldn't ever be sure where rivals might
confront them. Even if they got out of gangs, their rivals didn't forget
them. They still had many enemies who might hurt or kill them.
• Other people will respect me more if I am in a
gang.
•
Wrong! Respect in many gangs really means fear. If you join a gang,
you will constantly have to commit crimes in order to keep other gang
members afraid of you. At any age, respect is something you can earn
by getting an education and accomplishing goals in your life. Respect in
the gang culture will go away the first time you fail to hurt someone
who insults you or puts you down. That kind of respect isn't real, and it
doesn't last.
20. More Myths About Gangs
• Joining a gang means I'll have lots of friends.
• You will have friends, but you'll also make lots of enemies--the
members of rival gangs. Also, your friends who haven't joined
the gang may stop wanting to be around you. Your gang may
not approve if you have friends or date people outside the
gang. They may question and test your loyalty, and insist that
you hang out only with them.
• My gang will be just like a family.
• Wrong! Real families don't force people to commit crimes to get
respect and love. Real families accept you and love you for who
and what you are. Even if your family is having problems, being
in a gang will not solve them--it will only make things worse. If
you join a gang, your family members may become targets for
rival gangs. Joining a gang will only increase the number of
fights you have with your parents. You will eventually get into
trouble with the law, and your parents and family members will
be hurt and disappointed. You will set a bad example for your
brothers and sisters. You will not find the kind of love you're
looking for from a gang.
21. Another myth…..
• I'll make lots of money
if I'm in a gang.
• Most gang members make
very little money being part
of a gang. Those who do,
usually end up doing time.
Plus, if you're in a gang, it's
far more likely that you'll
drop out of school because
of problems with rival gang
members. Getting your
education is the key to
making money--not joining a
gang.
22.
23.
24. When I Die.
• The poem opposite was
written by an anonymous
young person who is
involved in gang culture,
it was posted on a
related web site.
• Read through the poem
and decide for yourself
what you think the
writer’s state of mind is.
Have they made
decisions about their life
and where they expect it
to go?
• What else can you say
about the person, their
way of life, their family &
friends.
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When i die
Tell my brothers thanks for always being
there for me no matter wat i did
tell them i love them more than they cud
ever know
When i die
Tell my twin its ok to b differnt but not ok
to b like ev1 else
WHen i die
Tell Shada CHantelle Sasha Cynthia Leah
and the rest that i love them more
than the world and they r the best friends
a chula cud have
When i die
Tell Papi no matter how many times he
beat me..
i love him cuz he is my papi
WHen i die
Tell all those who doubted me that im
going to heaven to b wit ma friends
and family and im gunna b watchin over
them
But most imporant
When i die
Jus promise me u wont cry
SOURCE:
http://www.gangstyle.com/poetry/wid.p
hp
25. How to identify the warning signs of
potentially violent behaviour.
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a. Trust your instinct, if your gut feelings tell you there is possible danger listen
to it. We have a natural capacity to judge the feelings of others from the body
language that they use.
b. Learn to read the body language signals, it will give you a better chance of
working out if you are in a good place or a bad place.
c. What type of eye contact is going on? How intense is it? How appropriate is
it? Does it imply a challenge or criticism, or is it a happy mutually friendly gaze.
d. What does the voice sound like? Is it pinched, sullen, happy, engaging?
e. What is their stance like, are they rigid and aggressive, are the shoulders
raised and muscles flexed, or do the shoulders droop slightly?
f. Is there any physical contact, does it threaten or invite playful responses.
g. Have they invaded your physical space, in a manner that you find unpleasant?
h. Are they wildly gesticulating with their hands or are they very quiet and still?
i. Can you talk to them easily or are they sullen and withdrawn, or conversely do
they speak rapidly or make any sense?
j. Be aware of the possibility that the body language can tell you one thing but
the words do not match the body language, this could be a sign of danger.
26. How to protect yourself in
moments of conflict.
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Take one step back
Lower your shoulders and try to stay calm. The advantage is yours as you have time to
decide what to do. If someone is in a rage they are unable to think as clearly as you.
Leave your hands at your sides. Do not fold your arms in front of yourself, defensively or
challenge them. You will make the situation worse.
Try to breathe evenly, and show no signs of panic or intimidation.
Do not stare at them keep eye contact to the minimum.
Remain polite confident and calm.
Speak quietly, the louder they become the more quietly you should speak.
Remember if people resort to shouting, bullying, intimidating and generally displaying an
acute lack of social skills it is a tragic expression of unmet needs, this often can lead to
violence but avoid confrontation, disarm with your charm.
Distract them change the focus. For example let’s say you really like their haircut, or style
of dress you could compliment them on it or maybe mention a mutual friend. Find a neutral
piece of common ground to form a bond with them.
Think and do not retaliate if possible. Free yourself from the situation as soon as possible.
Report any encounter of intimidating violence, to someone you know and trust to keep you
safe.
Facing your fears is something we all need to learn and we all struggle with.
27. Are you, your friends, family, school or
community at risk?
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Let’s do a risk assessment.
You could be a witness, a perpetrator or a victim.
In this current school term have you experienced any of the following situations;
Online bullying.
Direct bullying in person.
Groups or individuals physically fighting.
Aggressive verbal exchanges. Arguments, vicious sarcasm or humiliation.
Any situations in which you or your friends were injured, frightened or anxious
as a result of intimidation.
Have you seen any physical injuries as a result of fighting or abuse.
Have you seen anyone take a weapon with them to school or to an event
outside school.
Have you ever sent or received a text or email designed to frighten or threaten.
Have you or your friends ever skipped school or avoided particular places due to
fear?
Have you ever been emotionally bullied? Has anyone spread rumours about you
or refused to talk to you. Have you made statements to purposely hurt someone
else?
28. Purpose For Debate
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1. We share the same heritage that shapes and regulates the
mechanisms which govern our society. By studying the past we can
understand the present.
2. Times change but human nature does not . Managing conflict is a
vital life skill (fight or flight.)
3. Raise awareness of organised crime, develop strategies to avoid it.
4. What have we gained as a society as a result of the Medieval mind.
5. How can you make a difference and change your environment to
make a better place with more opportunity for you and your family.
6. The spiritual message of the Crucifixion is that of self- sacrifice and
of working for the greater good, it is alive and active in our community
by talking and debating. We must and we will find a way. The way has
been shown and it is through the grace and love of the Madonna.
Her love line, your life line. The love line we hold together will restrain
the violence.
30. What did it feel like to be young and live
in the middle Ages?
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Well first of all you must imagine what life would
be like before industrialisation. You would have
lived in a quiet, small rural community. There
were cities but even London was a relatively
small in size.
The home would probably be made of wood,
wattle, mud and straw mixed together to create
walls. Glass was too expensive for ordinary
people, so windows were small openings in the
walls. Covered in animal skins to keep out the
weather. Consequently the homes were very
dark and quite drafty.
Life was governed by the weather and the
seasons. In summer working outside, tending
crops and livestock was a very busy time.
Whole families and villages worked together. It
was important to prepare and store food for
winter. Often the living space was just one
room, built above a stable so that they could
keep warm by being close to the animals .
Everyone had fleas and did not wash, it was a
simple existence. In winter there was less to do
so often people used this time to make things,
weaving, carving, or repairing.
31. Being young in the
middle ages cont'd
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Priests were known, during these long dark
nights to tell ghost stories. They believed that
the spirits of the dead would come back to
haunt and harm the living. In many respects the
priests had a vested interest because it meant
that more people would pay money for prayers
from the priest to keep them safe from harm.
Superstition and the idea of witches able to
speak with the devil was a powerful one. Many
girls and women were tortured and killed
because they were charged with this crime.
Medicine and cures were made using natural
plants and animals. Wild flowers and herbs were
thought to soothe and heal. Honey was used to
cure burns and the women would get up early
and collect spider webs from the forest to make
a cover to bind an open wound. The medieval
cure for measles was to kiss the muzzle of a
roasted mouse.
It was believed that if you became ill, God was
punishing you for something that you had done.
There was a famous story often recounted, of a
rich man refusing to give food to a beggar. The
beggar left the rich man’s door and was found
dead in a ditch the next day. The rich man
realises that God will punish him for it, so he
gives money to the church for the distribution
of charity to the poor.
32. Being young in the middle
ages……
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Poverty released them from temptation, so consequently
poor people were nearer to God. Therefore the rich had to
give to charity, thereby investing in their own eternal life.
So the notion was set, the rich gave money for the poor
and in so doing received blessings from God to allow them
to enter the Kingdom of Heaven. The Church became very
rich because they charged a fee for saying mass or
praying for someone.
When important people died they were surrounded by
priests not doctors while they waited to die. That is why
to this day people in hospitals are patients. That is
because they had to be patient in order to either wait for
their death or with the blessing of God a recovery.
Death was symbolised as a hooded figure in a long black
robe carrying a scythe. This was a very large curved blade
that was used to cut and harvest, hay and other crops. In
this symbolisation the figure of death or old father time he
used the scythe to cut down people and harvest their
souls. Life was short by our standards .Marriage was often
arranged for the benefit and the enhancement of the
wider family circle sometimes they were pledged in
marriage after birth. Children under ten, certainly girls of
12 and 13 were married and expected to do all the adult
duties that are part of marriage. These rituals were rites
of passage. It has been said that the past is like a
different country but when we look across towards this
distant land, we can still see the links that connect us to
our past. Ideas pass from one generation to the next. Yet
we know every generation makes choices as to how they
organise and manage their lives, it is only reasonable that
all decisions are made when the facts indicate the reality,
but in medieval England, decisions are based on
superstition, and on the limits of the boundaries of their
knowledge.
33. Being Young in the Middle
Ages
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There were very few maps, people did
not travel except when it was necessary
to go on a pilgrimage, to ask for a cure
or for blessings .Work was labour
intensive, few machines were available to
do the heavy physical jobs.
The Church Abbeys and Monasteries held
the reservoir of knowledge and learning,
they used their position to intercede
between God and the population. The
biggest contrast between the two
different eras is the fact that modern
technology has liberated information and
knowledge. Now with a literate and
educated population we are able to have
more control over our lives. To be poor
in the middle ages meant a hand to
mouth existence. Poor children were put
to work and received no education.
Justice was trial by ordeal, and really was
an institutionalised method of frightening
people to obey the laws set down by
their lords and masters .It even became
a crime to eavesdrop on private
conversations.
34. An Overview of
Medieval Painting
• Middle Ages also known as the Dark Ages this spanned from
800 AD to 1500.The paintings made during this dates were
designed to be seen in dark or semi darkened spaces and they
were also designed to be seen by candle or taper light. Powerful
strong colours were used in combination with gold and precious
jewels to create sacred devotional religious painting that was
uses as a tool for prayer and meditation .At this time the
general population could not read or write much of the available
knowledge was in the care of the Church. Convents and Abbeys
took care of the social needs feeding the poor and helping the
sick. The church used the paintings to teach the population
about Heaven and Hell. Saints were important to know, because
you needed to pray and ask different Saints for different things.
St Anthony if you had lost something, St Christopher if you were
to travel and go on a pilgrimage . People prayed to Mary the
Mother of God to ask her for healing and cures. The concepts of
the seven virtues and the seven vices appeared about this time
as people tried to establish codes of conduct and behaviour.
Rules of honour, loyalty and integrity were part of the Codes of
Chivalry that the Knights on horseback accepted marked them
as a member of the gentry and not an ordinary person.
35. Overview continued 2
• Many of these sacred altar paintings were used as a travelling
altar for worship and were actually quite small, roughly the size
of a large book. Where the pictures were to be in a church they
could become much bigger.
• The Pope was a powerful political figure and he could force
change on different principalities across Europe. The map of
Europe looked very different in the Middle Ages many of the big
countries we recognise had not developed.
• The Church was a Patron of the Arts. This meant that the
church would commission a painting from an artist who had a
good reputation. The church would decide on the size of the
painting, the number of angels and which saints were to be
included. A design would be submitted for approval and
corrections or additions were agreed on before the work would
begin. Artists were considered to be of low status, the work was
to be done for the glory of God and they were paid in food and
wine. At this time artists did not sign their paintings, many
medieval artists remain anonymous.
36. Overview continued
3……
• To create these paintings they first took a piece of wood. Oak
was used for small panels and larger works were achieved by
joining together planks of Poplar wood. The glue was made with
a mixture of chalk and rabbit bone glue. The wood was sealed
with rabbit bone glue. This layer prevented the acids in the
wood from migrating into the painting layer. After this a fine
layer of linen was spread on top and sealed with Rabbit bone
glue. On top of this layer was a layer of gesso , which was a
mixture of calcium carbonate and rabbit skin glue .A team of
apprentices were working on this and it took 24 hours for the
mixture to be brought to the boil gently. Too much heat and the
mixture spoilt and a bumpy cracked surface would result. So it
was a tense moment until the surface was perfectly smooth and
level.
• The drawing was transferred onto the gesso by pricking holes
with a pin along the lines of the drawing and gently rubbing
through soft powdered charcoal. Then the drawing was defined
by strong charcoal outlines. Any mistakes would be brushed
away with a feather.
37. Overview Continued 4
• The Halo was a symbol to show who the holy saints were. They
were made by beating gold coins out till they were so thin you
could see a candle flame through the metal. It was then stuck
to the surface by water gilding, often this meant the artist had
to breathe on the surface and drop the gold down whilst the
moisture was still present. The gold was decorated by patterned
punches that added to the layers of ornamentation. When the
golden rays extended across the image it symbolised the love of
God because it was so precious.
• All colours were obtained from minerals and vegetable sources.
Lapis Lazuli a rare mineral and in the Middle Ages more
precious that gold was used for the most important figures .All
the minerals were ground down to a powder and mixed with
distilled water, enough to make a paste. Then it was mixed with
linseed drying oil and egg yolk. They found that country eggs
had a darker yolk and this was used for the skin colour and
paler town eggs were used for the angels and saints.
38. How Medieval Paintings
Were Made.
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1. Medieval painting was based on a
mathematical grid divided into fifths and thirds.
This was known as The Golden Mean. It was the
mathematical formula for beauty and visual
harmony.
2. The Crusades brought back to England
objects and images that had been looted from
the Middle East. These were icons, illuminated
manuscripts which inspired the medieval artists
to work using bright colours and gold. The
decorative motifs of birds and animals and
figures were incorporated into the religious
books that were produced by the Church.
3. Composition gradually became more complex.
Generally the figures were arranged so that the
more spiritually important they were, the higher
up the image they would be placed. The shapes
within the composition will lead the eye around
the image in a circular fashion.
4. Al images have a focal point. This is
traditionally just off centre. However if the focal
point of the painting is constructed on a
diagonal axis, it would create greater tension
and make a more dramatic image.
5. The face of baby Jesus did prove a problem.
For how could they show that a baby could
express such vast power and knowledge and yet
remain a baby innocent and unknowing? They
solved this problem by often making the face
appear to be old.
Image. The Garden of Earthly Delights.
Hieronymus Bosch.
40. Madonna Says. This way……….
•
My love line is….. Your life line
• Indifference kills.
• Headline chills
• Corrosive friction.
• Ignition action
• Sorrows enfolding
• It’s a rap
• Riotous storm
• Surrender to love
• Death will find us
• All
• Wanting
• Oblivion
• No peace for me
• Love waits for spring
• Tenacity
• All together
• NOW
41. The Black Madonna of the Midnight Snow (1)
•
Standing astride the snow
covered world the Madonna is
surrounded by a magical
starlit void. She holds aloft a
fragile mask of the Virgin
revealing the humanity of
love. Snow is falling
indicating the transient state
between life and death. She
represents the universal
mother. Enduring love both
physical and spiritual, joyfully
radiating the vitality of life.
She is the Madonna of new
beginnings and renewal. The
love line flows from her body
like an umbilical cord
connecting us together.
42. Dying Child (2)
•
•
A sinister figure clutching a gun
waits for his victim. He
represents organised crime. On
the right hand side we see a
child dying alone. The child is
painted using thin layers of
paint .Leaving a stain on our
conscience as his life drains
away. Underneath a
multiplication sign asks us to
remember that this is not one
dead child but many.
In this composition the eye is
led to the bottom right hand
corner, where the image fades
to nothing. The white arrow on
the road indicates the child has
been led astray. Their life has
gone nowhere.
43. News (3)
• The paper delivery
boys reading the
news about their
friend realise that
they are the news.
The lamp posts form
a crucifix, evidence
of tragedy surrounds
them.
44. Rust (4)
•
•
The Queen surveys the scene.
She is gravely concerned for the
welfare of these children.
Unsure what will be the most
effective way to solve these
problems? The Queen
represents the nation, the
political structures that allow a
nation to flourish. She stands by
a gate, the lock is broken the
gate swings open indicating that
some structures are no longer
keeping the pressures under
control, and crime from our
streets.
The Victorian terraces are
shored up with scaffolding. This
becomes a multiple of
crucifixes. I am implying some
of our concepts and attitudes
are corroded.
45. Auto Pilot (5)
• This painting depicts speed
and life in the fast lane. We
are all in the driving seat, in
varying degrees of control of
our lives. Often we fail to
notice what is happening
around us.
• The mathematical symbols
refer to the positive and
negative forces that are
shaping society. The image
challenges us to wake up
and see where and how we
are living. Take time , make
time, you have all the time
that there is.
46. Lamentations (6)
• On the street a child is found
dead. Mourned over by the
weeping figure of a mother.
Her body heavy like stone.
Her garment frail like old
parchment. This archetypal
portrayal of sorrow, in the
foetal position she lies over
her dead son. Numb hands
feel for the lifeless face. The
street below listens to the
cries of anguish, and the
sightless eyes of the dull and
faded windows, resonate
with the echoes of
desolation. The street is
used in this instance as a
metaphor for the community
consciousness.
47. It’s A Wrap (7)
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This child has been hooked by
crime, violence and drugs.
In this image the idea of being
wrapped in a culture and also
the idea of a chrysalis, the child
is represented in a state of
transience. Fished out of a safe
environment and being hung
out to dry.
The percentage sign indicates
the number of children affected.
The target sign plainly shows
that this was no accident they
have been deliberately selected.
The bottom line emphasises
that we share responsibility for
the welfare of these children.
48. Dead Ringer (8)
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This is the image of equilibrium. It is
the pivotal point in the balancing of
the two halves of this story.
Revealing the tragedy of black on
black violent gun crime.
Two heads face each other
aggressively. They are
superimposed on a street ‘No Entry’
sign. The division sign is contained
within the ‘No Entry’ sign. The
Crown of Thorns expresses the
suffering involved. The equals sign
reflected in the sunglasses on the
head at the right hand side.
The love line flowing from the
Madonna is halted at this point, and
continues after this image. Fully
saturated red is used as a symbol of
pain and suffering.
49. Riotous Storm (9)
At a crossroad the
dying prostrate figure
of Christ has fallen for
the third time, under
the surging mob. There
is a malevolent
darkness within which a
turbulent struggle takes
place. The dark forms
suggest a riot is
happening.
• Everyone is a target.
• The love line moves
across the canvas
following the form of
the fallen Christ.
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50. Sacrifice (10)
• The sacrificial figure of
Christ his arms wide
open in a gesture of
unconditional love. The
cloak falls to his waist
as he steps forward to
surrender to his fate.
• Inside the arc of his
cloak under a starlit sky
these troubled children
are caught in the net of
his loving protection.
51. Crucifixion (11)
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Clearly visible is the love line falling
from the Madonna. The blood line of
sacrifice describes the outline of
the figure. Angels drift away into the
distance. The falling snow
symbolises the dying and merging
of body and spirit.
Either side of the diagonal spear are
minus and plus signs, representing
the positive and negative forces in
action.
The powers of the engines of
government are represented by the
tubular exhaust shapes on the top
left hand corner.
The expression on the face of the
soldier, suddenly aware that he has
murdered an innocent man.
Where are the boundaries of
responsibility drawn?
52. Angel Of Death (12)
• The Angel of Death revs
the engine and roars
away to oblivion. He
carries away a young
man who lies back to
enjoy the ride. He has
not yet realised there is
no return for him. The
intoxicating mix of
glamour and danger
proved to be too much
of a temptation.
• The risks are high and
consequences
catastrophic.
53. Pieta (13)
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The world of these women has
collapsed. The elder woman
supports the younger .The
implosion of sadness and loss of
hope shown by the melancholic
and restrained colours. The
surface of their skin smooth like
marble, still as statues, the
women stand in the full shock
wave of realisation of the death
of her son.
The two worlds colliding,
represented by the planets
behind the figures.
Intense pity for the mother at
the depth of her eternal sorrow.
She has been unable to protect
and save her child.
54. Regeneration (14)
• Snowdrops are the first
flowers of Spring. The Christ
Child is dead and is laid in
the long green grass. The
huge size of the flowers,
indicate we are in a different
reality. Green is used as a
symbol of regeneration and
decay. The latter, being
essential for the former to
take place. It is snowing
and this tells us that the
spiritual regeneration is
taking place. The snow falls,
forming a protective blanket
over the figure. In this love
drift, we wait for the time of
the thaw.
55. Tenaciter (15)
• In this painting we see a
portrait of Nelson Mandela.
He stands to the left of the
image, as if about to speak.
At the base we see the
stripes of his prison clothing,
forming an equal’s sign,
which reveals that this is the
sum of all we know.
• We view him, as if on a lit
T.V. screen.
• Love is released from its
cage. Moving upwards and
out to us all.
• The gift of love makes all
things possible, but
TENACITY cements reality.
56. Glossary of Terms
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Commission – give authority to a person
to complete a task
Concepts – idea or notion
Devotional –religious worship
Diligence - careful effort or work
Gluttony – greed
Harmony – agreement or pleasing effect
Independence – self governing
Institutionalised – a person needing care
in an institution
Industrialisation – to make industrial
Literate – able to read and write
Lust – passionate desire
Mechanisms – structure or parts of a
machine
Meditation – exercise the mind in
contemplation
Patron – one who gives financial support
Principalities – government or state ruled
by a prince
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Regulates – control by rule
Reservoir – supply of information
Resilience – ability to recover
Ritual – procedure regularly followed
Scythe – cutting tool for hay making
Sloth - lazy
Superstition – belief in the supernatural
Symbolised – symbol of; represent by
means of symbols
Taper – wick coated with wax
Temperance – moderation, self- restraint
Tenacity – tough, to hold tightly
