for artworks on the jubilee line 2010–2011february 2010 – february 2011 exhibitions – london...

Project Notes for artworks on the Jubilee line 2010–2011

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Project Notes are designed as free, downloadable PDF documentsfor use by wide audiences, from individual Tube customers andfamilies to educational groups. They offer ways to look at fivecommissioned artworks currently situated along the Jubilee line andto generate discussion about the themes that arise throughexperiencing the artworks on the Underground.

Activities have been grouped into three types:

– Information– Questions – Activities

Quick activities at the exhibition or on the TubePlanned activities ‘At the station’, ‘Out and About’, ‘At thestudio/home/school’

You may wish to use the questions or activities as starting points forfurther projects or adapt them for your particular needs.

Introduction

Project Notes – Jubilee line

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4 Planning your visit on London Underground

5 Background information One Thing Leads to Another – Everything is ConnectedA new series of artists’ projects commissioned for the Jubileeline, exploring time and its value

6 Dryden Goodwin Linear60 portraits of Jubilee line staff

10 Nadia Bettega ThreadsExploring portraiture and place

14 John Gerrard Oil Stick WorkA new digital projection at Canary Wharf

18 Matt Stokes The Stratford Gaff: A Serio-Comick-Bombastick-Operatick InterludeA film and installation for Stratford

22 Daria Martin Jubilee line customer daydream surveyPoster project and call for entries

26 Evaluation form27 Useful information and credits

Contents


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Planning your visitart.tfl.gov.uk/visit

Before you set out to visit any of the projects on the Jubilee line,please visit our website, where we’ve put together a list oflinks to practical information to assist your journey, including:

– The Current Project map for station locations for our exhibitions

– TFL Journey planner to help you plan your route, from your street to your destination by all modes of transport

– Travelling by Tube for useful information and links to help to plan your journey

– Accessible Tube maps

– Direct Enquiries for detailed information on access to individualstations, including walking distances between platforms

For further assistance contact London Underground Customer Service Centre:Tel: 0845 330 9880 (08:00–20:00 hrs, seven days a week)Post: Customer Service Centre, London Underground, 55 Broadway, London SW1H 0BD


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One Thing Leads to Another – Everything is Connected

A new series of artists’ works commissioned byArt on the Underground for the Jubilee line. Thetitle is from a print by Richard Long that was givenaway to thousands of Jubilee line customers inJune 2009, as the first in this series.

The print shows an image of the CairngormMountains in Scotland, where the artist made asolitary walk, capturing features and elementsthat he encountered en route. This imagecontrasts significantly with the landscape in whichLondon Underground customers encountered thefinal print at stations, from Stanmore to Stratford.This interplay between travel and place is a fittingstarting point for the exhibition. It provides aninsight into the connecting ideas between eachartwork and the complexities of the Undergroundnetwork in which they are located.

The artists were invited to make new works at avariety of locations on the Jubilee line, which wasfirst opened in 1979. Since June 2009, they havebeen investigating ideas such as time, economicsand travel and our changing relationship with themover the last 30 years. Each work brings a newunderstanding to these concepts in the context ofthe Tube. They provide insights into how we useour time when we travel, what broader ideasinfluence our reasons for travel and the nature ofour individual and collective relationships withtime and the network.

John Gerrard’s real-time digital projection Oil StickWork (Angelo Martinez / Richfield, Kansas) 2008 atCanary Wharf Underground station links the dailylabour of the eponymous Mexican-American toour above-ground speculative world of shares andcommodity values. Other projects in the seriesdraw upon the individuals and communities thatinfluence, inhabit or work on the Underground.

Backgroundinformation

In Linear, Dryden Goodwin has created anintimate and diverse social portrait of Jubileeline staff, through 60 pencil portraits ofemployees at work, and 60 films recordingconversations and the drawings being made.Nadia Bettega and young people from BrentYouth Inclusion Programme went on a week-long journey to explore portraiture and placethrough photography. Daria Martin undertook asurvey to research customers’ daydreams onthe Jubilee line. Matt Stokes worked with EastEnd performers to create a new multi-channelfilm work and intervention for Stratford stationthat draws from the heritage of entertainmentin the area.

By working with world-class artists to revealunique aspects of the London Underground for itsdiverse customers, Art on the Undergrounddelivers an award-winning programme of projectsby contemporary artists. These commissionsfurther London Underground’s role as a leadingpatron of art over the last century, forming thenewest layer in a unique history of excitingartworks that connect Londoners with London.

Richard Long, One thing leads to another – everything is connected, 2009.Limited edition print.


Portraits – People / Place / Drawing

Dryden GoodwinLinear, 2010

Dryden Goodwin, Linear, 2010. Installation outside Southwark Underground station. Photo: Daisy Hutchison

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Portraits – People / Place / Drawing

Dryden GoodwinLinear, 2010DatesFebruary 2010 – February 2011

Exhibitions– London Bridge Underground station

(Borough High St exit)– Southwark Underground station– Stanmore Underground station – 60 films to watch online at art.tfl.gov.uk

Dryden Goodwin drawing staff for Linear. Photos: Louise Coysh

Linear by Dryden Goodwin is a series of portraits of individuals withdifferent working roles on the Jubilee line. Dryden has made 60pencil drawings of staff at work, or at moments of pause in their day,and has created 60 films recording the portraits being made. You canunlock the drawings by watching the films online at art.tfl.gov.uk.Conversations between artist and sitter tell us about the individuals’aspirations, personal obsessions, feelings about love, life and death,and give an insight into life behind the scenes of the Jubilee line.

Project Notes – Jubilee line Dryden Goodwin Linear

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At the station

Dryden made each of his portraits from ‘life’(drawing directly from the individual). Are thereany clues in the drawings themselves to tell youthis? Do you think the drawings would havelooked different if they had been drawn from aphotograph or from memory?

Look at the mark-making that Dryden used todraw his portraits. It looks like points on a map,which he revisited over and over again as thedrawing progressed. What does the mark-makingtell you about how he made the drawings, andabout the process of looking?

Why do you think Dryden only drew the heads ofthe Jubilee line staff? Why did he choose to leaveout their bodies and clothing?

Look at the billboard of drawings. How manyportraits do you see?

The original drawings are much smaller and moreintimate compared to these. How do theseblown-up drawings change the way we experiencethe work?

Each portrait has written beneath it the length oftime Dryden spent drawing and the length of timethe individual has worked for the Jubilee line.What is the effect of Dryden choosing to revealthis information?

Portrait Drawing / Staring ContestDryden says his portraits are a way of connectingwith (or getting to know) the person he is drawing.In pairs, draw the other person but only look athim/her and not your paper whilst you draw. Bothdraw each other at the same time (spend about 2minutes drawing).

ReviewNow look at the drawings. How are they different when you do not look atthe paper?

What was your experience of drawing in thisway? How did it feel to look at and be looked atby your partner? How might you have got toknow or connected with your partner by doingthis drawing?

Activities


Dryden Goodwin, Linear, 2010. Installation at Southwark Underground station. Photo: Daisy Hutchison Dryden Goodwin, Linear, 2010. Film stills

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Out and About

60 PortraitsNow draw members of your class, family orfriends as described above. Remember your‘sitters’ should draw you whilst you draw them.Alternatively, you could try drawing people youdon’t know – without them noticing youdrawing – such as Jubilee line customers whilstyou travel the Underground. Can you make 60portraits? How does your drawing ‘style’ changeas you become more familiar with this way ofdrawing? You could display your drawings in agrid like Dryden.

At the Studio / Home / School

Dryden spent time getting to know his sitters inanother way: through conversation. How mightyou reflect this in your own artwork?

Drawing from LifeMake a portrait from ‘life’, roughly the same size asDryden’s original drawings (A5). Ask your sitter tostay as still as possible for 10 minutes whilst youdraw. Ask him/her to tell you about him/herself –even if you already know the person, you might


Questions

1 What type of media ormaterials has Dryden used to make Linear, and what has he produced?

2 What do you think the work is about? What didDryden discover?

3 How do the media andprocesses Dryden used tomake the work reflect hisintention to reveal personalhistories and connections?

4 Why do you think Dryden feltit was important to spendtime with the station staff?

5 Why do you think Drydenused the grid to represent hisportraits at the stations?

6 What is the effect of showingthe process of drawing theportrait as it progresses?

7 When looking at the portraits,what thoughts and feeling doyou have about the peoplewho have been represented inthe drawings and films?

Linear poster at Swiss Cottage. Photo: Daisy Hutchison

discover something new. Like Dryden, you couldset up a video camera to record the drawingprocess and conversation.

After drawing, write a short summary (50 words)about the person, and place it next to the drawing.Swap roles so that you are now the sitter. Ask yourpartner to draw your portrait and write a shortsummary about you.

ReviewLook at the drawings and text displayed together.How does the written information about theperson affect your thoughts and feelings aboutthe person in the drawing?

Swap the text around so that it no longer matchesthe original portrait. Do the ‘new’ text and imagework together? How is the relationship betweenword and image significant? Can you think ofother ways that words and images are usedtogether today? What effects do they have onhow we understand images? What about theeffects of sound and image together (like inDryden’s work)?

If you are in a group, you could mix up the textand match it to a number of other portraitdrawings. You could try this activity with soundclips instead of text. How does the work reflectideas about time?

Nadia Bettega, Threads, 2010. Poster exhibition at Kingsbury Underground station. Photo: Daisy Hutchison

Identity – Place / Characters / Photography

Nadia BettegaThreads, 2010

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Identity – Place / Characters / Photography

Nadia BettegaThreads, 2010DatesFebruary 2010 – February 2011

Exhibitions– Kingsbury Underground station– Charing Cross Underground station

Threads, a project for Kingsbury and Charing Cross stations drawsinspiration from the common expression, ‘Travel expands the mind’.Young people from Brent Youth Inclusion Programme set out fromtheir local Underground station, Neasden, to join photographerNadia Bettega on a week-long journey to explore portraiture andplace through photography. Together they visited significant places inBrent, located along the Jubilee line, including Wembley ParkUnderground station and Wembley Stadium.

Project Notes – Jubilee line Nadia Bettega Threads

Nadia Bettega, Threads, 2010. Portrait sequences.

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At the station

Look at the young people in the portraits and thegestures they make. How does the specific placein which they have been photographed influencethe character they are performing? Can you guesswhich character each person is acting out?

Why do you think Nadia and the young peoplechose to act out their characters in their ordinaryclothes? What props did they use to help them?

Photography is commonly thought of as capturinga moment of ‘real life’, but photographs producedby artists, photographers and the mass media arefrequently ‘staged’ or ‘edited’. The young peoplein the portraits were fully aware of beingphotographed by Nadia. They created their owncharacter for the camera.

How do the portraits of the young people playwith our ideas about identity?

Observe the other people around you. People’sbody language is often affected by the placesthrough which they travel, and tells us somethingabout them.

Record CharactersMake some notes and sketches describing thecharacters you see and the gestures they make.You could write a list of all the characters you see,including the ‘props’ they carry or wear (such asbrief case, newspaper, security jacket etc).Imagine what roles they might have. How manydifferent characters can you identify?

Make a series of 20 ‘gesture drawings’ (spendabout one minute on each drawing). Gesturedrawings involve you putting on paper as rapidlyas possible your immediate response to the poseof an individual and his/her body movement. Useswift marks (e.g. using a graphite stick or soft 6Bpencil) to describe the pose (e.g. a person waitingin line for the ticket machine) and the essence ofmovement (e.g. a person striding towards his/herdestination).

ReviewWhat characters did you discover? What propsdoes each character carry and how do the propshelp describe the character? How do yourdrawings capture the gestures of individuals asthey travel around the station?

Activities


Nadia Bettega, Threads, 2010. Poster exhibition at Charing Cross Underground station.Photo: Daisy Hutchison

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Out and About

Travel to Find Your CharacterNadia travelled with the young people from theirneighborhood to four different places: WembleyStadium, Wembley Park Underground station, ShriSwaminarayan Temple and Roundwood Park.

With your family / friends / class choose fourplaces along the Jubilee line to visit. You couldexplore a different part of London. For example,after going to places in Brent you could visitSouthwark Underground station, the Young Vic,Tate Modern, all in Southwark.

The young people kept a journal to record theirdiscoveries about different places they visited andthe people they found there. Find your characterat your four chosen destinations (list thecharacters you identify, make quick gesturedrawings of them and discuss your findings withyour family / friends / class).

From your journal research, choose a character todevelop and act out. With a partner discuss thename/age/birth place/likes and dislikes yourcharacter might have. What conversations wouldyour characters have with one another?

Now act out those conversations ‘in character’using gestures and props. By creating a narrativefor your character you develop their personalityand embody a new identity. Ask your friend tophotograph you in character, and thenphotograph your friend. Swap characters andrepeat the activity.

ReviewWhat was your experience of acting out yourchosen character in your chosen place? How didthe specific place shape your character? Can youthink of any other professions in which anindividual might visit a particular place to developcharacters and explore identity? Why do you thinkthis might be useful? What do you think you learnby ‘trying on’ different identities?


Walking PartyGet to know a local place by planning walksexploring your area. You could set up a regularwalk and invite your friends and familyalong. Whatcan you discover about the local history and wholived/worked in your area? What are theconnections between past and present?


Questions

1 What media has Nadiaused to create Threads andwhat has she produced?

2 What do you think theartwork is about?

3 Why do you think Nadiaand the young people feltit was important to spendtime visiting the differentplaces that are seen in thepictures?

4 How do the media andprocesses that Nadia andthe young people usedreflect the connectionbetween place andidentity?

5 How has the place in which the young people were photographedshaped their character?

6 What is the effect of Nadiachoosing to present theportraits of the youngpeople ‘in character’ withthe quoted text?

Nadia Bettega, Threads, 2010. Exhibition at Willesden Green Library, February 2010. Photo: Daisy Hutchison.

Place – Geographic / Social / Real and Imaginary / 3D Real Time

John GerrardOil Stick Work (Angelo Martinez/Richfield, Kansas),2008

John Gerrard, Oil Stick Work. Digital projection at Canary Wharf Underground station. Photo: Andy Keete

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At Canary Wharf Underground station’s iconic ticket hall, artist JohnGerrard presents a large-scale installation of his Oil Stick Work(Angelo Martinez / Richfield, Kansas). This is a complex digital moving-image piece that plays in real time – the artwork will run for a total of30 years! The character presented in the work (called Angelo)painstakingly paints a grain silo (container) one square metre per day,until eventually – in 2038 – the whole building will be a blacksilhouette in the virtual landscape. We get to see the work, whichstarted in 2008, three years into the slowly unfolding story.

Place – Geographic / Social / Real and Imaginary / 3D Real Time

John GerrardOil Stick Work (Angelo Martinez/Richfield), 2008DatesMay 2010 – May 2011

Exhibitions– Canary Wharf Underground station

Project Notes – Jubilee line John Gerrard Oil Stick Work

John Gerrard, Oil Stick Work. Digital stills

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At the station

The character in Oil Stick Work is a charactercalled Angelo. He is entirely animated in the sameway as the landscape in which he exists. To createthe character of Angelo, John photographed a realperson performing different actions. He thentook these images and via mapping and scanningprocesses used in computer games the characterof Angelo was created. Why do you think Johnhas presented the work to us in this way?

Many of the people at Canary Wharf shareAngelo’s working hours: from dawn until dusk.Why do you think John has chosen to make thework last for 30 years?

John chose for Angelo to work quite alone in theAmerican industrial landscape. Angelo worksprecisely, systematically and repetitively on histask and he appears to have a long period of timeto spend thinking. What do you imagine he isthinking about?

Look at the people passing through CanaryWharf station. Where do you think they’re goingand what do you imagine they’re thinking about?Look in particular at their body language. Usingyour sketchbook, make quick drawings of the

Activities

Project Notes – Jubilee line John Gerrard, Oil Stick Work

John Gerrard, Oil Stick Work. Photo: Andy Keet e

people you see and list all the different types ofjobs you think each person might do. Whatwork/economic activity do you think takes placein Canary Wharf?

John’s work comes from his research intoAmerican environmental catastrophes triggeredby human activity on the land. These activitiessustain western capitalist lifestyle. Angelo’slivelihood as a worker in this system is supportedby the economic cycle. How do you think thiswork relates to the place in which it is shown, i.e.Canary Wharf, the economic heart of the city?

Mapping PlaceObserve people’s paths of movement as theymake their way through the ticket hall. Using asystematic and repetitive drawing process, a bitlike Angelo’s painting process, record people’smovement. Start by roughly sketching the basicshapes of the architecture, like a plan. Now drawa line for each person that passes through yourplan, tracking his or her route, probably to andfrom work. Build up an abstract ‘map’ recordingthe paths of movement of the individuals as theytravel through the urban landscape.Try this activity again in a different location andusing a different colour for male and female, orfor people dressed in suits and people dressed incasual wear, or for the different characters youidentified earlier.

ReviewLook at the drawings. What visual informationhave you gathered by doing this drawing? Arethere patterns that have emerged? What doesyour map tell us about social places (i.e. the waypeople inhabit the space)? What was yourexperience of drawing in this way?

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Out and About

Portrait of a PlaceAs part of his meticulous process of constructinga ‘portrait of a place’ John takes a great manyphotographs of his chosen place (Richfield inKansas), visually mapping the area, which is thentransferred into 3D. How would you make a‘portrait of a place’?

Go on your own journey to explore your chosenplace in London – make rubbings and drawings,take photographs, film with a video / mobilephone camera – recording ‘place’. Look at smalldetails (e.g. the textures, surfaces, shapes). Lookat the whole landscape (e.g. the scale, colours,style of buildings). Think about differentviewpoints. You could draw from very high up orlow down, or position your camera athead/waist/knee/foot height.

ReviewWhat was your experience of researching andgathering information about physical place? Howcould you develop work from your discoveries?


Capturing TimeChoose a subject to investigate near your studio,home or school. Set up your camera and tripod.On the hour, every hour for 12 hours take aphotograph of a chosen subject (e.g. a façade of abuilding, a tree, and a bus stop) from the sameposition. In recording the changes in light yourecord time. You could do this with a video camerafor a one-hour period. This time, chose a view thathas lots of movement (people, traffic, weather)and capture time by tracking movement.

You could extend this activity by taking aphotograph of a chosen subject (e.g. the viewfrom your bedroom window or front door) everyday for one year!

Another idea is to make or buy a pinhole camera.On a sunny day, leave the pinhole camera in awell-lit, stable place outside to capture the sun’spath as it moves across the sky. Can you think ofother ways you could show time?

Project Notes – Jubilee line John Gerrard, Oil Stick Work

Questions

1 What media has John usedto make Oil Stick Work, andwhat has he produced?

2 Describe the work – what ishappening? What do youthink the work is about?

3 Why do you think it wasimportant for John to spendtime at the original site ofthe work in Kansas?

4 How do the media andprocesses that John usedreflect his intention to revealthe connection betweeneconomic systems and human activity?

5 What is the effect of viewingthe work in ‘real time’?

6 How does the scale of thework affect our experience?

7 How does the presentationof the work at the chosenlocation – Canary Wharf –relate to ideas about OilStick Work?

8 What is your experience ofthe work and what do youfeel you learn through OilStick Work?

John Gerrard, Oil Stick Work. Digital projection at Canary WharfUnderground station. Photo: Andy Keete

Performance – Public / Temporary / Entertainment / Installation

Matt StokesThe Stratford Gaff:A Serio-Comick-Bombastick-Operatick Interlude

Production photograph of Charlie Seber. Photo: Nadia Bettega

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Performance – Public / Temporary / Entertainment / Installation

Matt StokesThe Stratford Gaff:A Serio-Comick-Bombastick-Operatick InterludeDatesSeptember 2010 – March 2011

Exhibition– Stratford Underground station

Matt Stokes presents a multi-screen video as part of his exhibition at Stratford Underground station, which draws on the heritage oftheatre, cinema and music in Stratford.

The artist’s idea for the work has been influenced by the Victorian‘Penny Gaffs’, notorious temporary theatres that were popular in theEast End at this time, where for one penny audiences could beentertained.

Matt invited local performers to present their acts, ranging fromopera and beatboxing to magic tricks. Together the shows of ‘TheStratford Gaff’ offer a contemporary take on historical forms ofpopular entertainment.

Project Notes – Jubilee line Matt Stokes The Stratford Gaff: A Serio-Comick-Bombastic-Operatick Interlude

Production photographs of ‘Larry Barnes, Mangal Singh, Murray Melvin, Ascention Eagles cheerleader and Pearly King’. Photo: Nadia Bettega

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Activities At the station

Locating your GaffMatt has researched the social history ofStratford, discovering how people wereentertained. What he likes about the Penny Gaffis its temporary nature – the Gaffs were set upanywhere – and that it was for local people bylocal people.

Look inside and outside the station. Can youidentify any spaces that look like a stage orperforming area? Imagine where you would setup your own Penny Gaff. You could makedrawings of the spaces and design your Gaff andsignage. What colours would you use to createyour Gaff’s identity?

Out and About

Public Performance to Imaginary AudienceWith a friend, choose several spaces that youcould use as a stage – e.g. a raised area in a parkor a small section of pavement. Listen to yourfavorite soundtrack or imagine a song that youenjoy. Mime your song and act out big gestures,using your whole body, to an imagined audience.You could use props to help you. Can you thinkof any other actions that you could perform?Take photographs to document your experience.

ReviewHow did it feel to perform on your chosen stage?Could you imagine performing to hundreds ofpeople? How might this feel different?


Production photographs of ‘Mr K, Bhanu Kanthagnany, Sovra Newman, Charlie Seber, musician from Aven Romale’. Photo: Nadia Bettega

Questions

1 What media and processeshas Matt used to make TheStratford Gaff, and what hashe produced?

2 What do you think the workis about?

3 Why has Matt invitedentertainers fromStratford?

4 How and why do you thinkMatt selected the particularacts? Are there similaritiesbetween them?

5 What is the effect of Mattchoosing to present thefilms of the entertainers in a space that appears to belike a stage?

6 What is the relationshipbetween the video and thevinyl panels within theexhibition space?

7 How does the work reflectthe connection betweencontemporary and historicalentertainment?

8 What does the subtitle ofthe video The Stratford Gaff:A Serio-Comick-Bombastick-Operatick Interlude tell youabout the how the workmight be experienced bypeople at the station?

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GaffIn a small group make your own temporaryPenny Gaff, inviting friends / family / class toperform and be the audience.

Firstly, select a ‘stage’ area and make an entranceor façade using cardboard, and decorate it toattract your audience and to create an identity forthe Gaff. Secondly, with a group of friends, devisean act of your own. Can you choose somethinghistorical to interpret in a contemporary way (e.g.a scene from Romeo and Juliet)? You couldinterpret a piece of music, recite a poem, performa trick or ask your audience to do something foryou! You could dress up in costumes, usetheatrical props and paint your faces.

You could set up a video camera to record theprocess and display the video in your Gaff afterthe performances are over.

ReviewWhat was your experience of performing? Do youthink your audience was as entertained as youwere? How did the acts reflect a contemporarytwist to historical entertainment?


MR K

QUEENS

T H E P E AR LY K I N G S & Q U E E N S

KANTHAGNANY�

EWMANSOVRA N

A S C E N S I O N

E AG L E S

GH

VICTORIA ELIZABETH DAY

OMALE

A V E N

C H A R L I E STHE AMAZING EAST END BEATBOXER

ES’

THE EXTRAORDINARY OWL MAN OF STRATFORANS

MUSIC BMAGICIAN AND FEMALE IMPERSONATOR

PRESENT THE DANCE “THODAYA MANGALAM”

NEWHAM’S OWN WORLD-RENOWNED CHEERLEADERS

Exhibition detail at Stratford Underground station.

Personal – Text / Found Imagery / Collaboration

Daria MartinJubilee lineCustomer Survey

Objects on the desk of psychoanalyst Sigmund Freud at the Freud Museum. Photo: Benedict Johnson

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Personal – Text / Found Imagery /Collaboration

Daria MartinJubilee line Customer SurveyDatesAugust 2010 – October 2010

Exhibitions– Posters across the Underground – Online contributions of daydreams

at art.tfl.gov.uk

Daria Martin asked Jubilee line customers to describe their daydreamsas they travelled on the Underground. She conducted a survey at 10Underground stations, which was based on a 1970s questionnaire byscientist Auke Tellegen. Like that questionnaire, Daria’s survey soughtto discover how likely we are to daydream.

Over 800 customers responded to the survey and you can see Daria’sposters of their daydreams across the Underground. The posters showcustomers’ daydreams together with photographs of objects andantiquities taken from the desk of the famous nineteenth-centuryViennese psychoanalyst Sigmund Freud at the Freud Museum.

Project Notes – Jubilee line Daria Martin Jubilee line Customer Survey

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Activities At the station

Three DaydreamsLook at the posters by Daria Martin. Why do youthink customers’ daydreams appear unsettlingwhen they are placed alongside photographs ofobjects from the Freud Museum?

Let your mind wander. Let the sounds aroundyou and the visual stimuli trigger your thoughts.Write down three of your own daydreams andon a separate piece of paper draw yourdaydreams too.

With a partner, swap your drawings and placeyour partners’ drawings with your own writtendaydream. How does the memory and meaningof the daydream change with the new imagery?

Out and About

Mind MapTime often feels strangely stretched orcondensed when we daydream – we experiencedaydreams haphazardly with one runningillogically into the next.

As you travel on the Underground, draw a mindmap of your daydreams. A mind map is a way ofvisually collecting and connecting information.Use drawing paper, colour pens/pencils to createtext and images of your daydreams.

Freud created a kind of mind map for his studyon dreams in order to try to understand theunconscious mind. What does your mind mapshow about your own mental processes?


Collective DaydreamsIn a group, draw a large-scale mind map of yourcollective daydreams. Start by laying out a largeroll of paper (e.g. 1 x 10 m). Now, using a rangeof drawing materials lie down on your back withthe drawing paper underneath you. Close youreyes and write/draw your daydreams… Youcould select a piece of sound to play or select a fragrance to smell, which may triggerparticular daydreams.

Now select and cut images from newspapersand magazines to add to the drawing. Theimages will be quite small when collaged ontothe large drawing. Like Daria, choose images thatseem to create an unsettling tension betweenthe daydream text and the found imagery.

Add more drawing to the daydream collage. You could repeat the lying down activity but this time make drawings in response to newdaydreams. Repeat the collage process, addingmore drawing and so on until the piece issaturated.

ReviewWhat was your experience of creating a giantmind map collaboratively in this way? How dothe text, found imagery and drawings worktogether? In what ways does the work reflecthow we daydream? How does daydreamingaffect our experience of time?

Questions

1 What media and processeshas Daria used to make theCustomer Daydream Surveyand what has sheproduced?

2 What do you think thework is about?

3 Why has Daria chosen tomake work directlyinvolving Jubilee linecustomers?

4 Why do you thinkdaydreams are particularlyrelevant to peopletravelling on theUnderground?

5 What is the effect of Dariachoosing to place thedaydreams with an imagefrom the Freud Museum?

6 How might the posterscontinue to createdaydreams?

Project Notes – Jubilee line Daria Martin Jubilee line Customer Survey

One Thing Leads to Another – Everything is Connected, exhibition at City Hall, May – June 2010. Photo: Benedict Johnson

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Evaluation

We would be grateful ifyou could comment onour Project Notes so thatwe can improve ourresources to suit yourneeds and interests.

Please print out the form,complete and post to

Art on the UndergroundLondon Underground55 BroadwayLondon SW1H 0BD


Tick the box next to the appropriate answer.

Which is most applicable to you?

■■ Individual (student/artist/personal interest)■■ Teacher – (Primary/Secondary)■■ Youth Leader■■ College Tutor■■ Other

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How accessible and appropriate were theNotes for your group?

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Did the Notes contribute to yourunderstanding and enjoyment of the ProjectExhibitions? If so, how?

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Do you have any suggestions for how we couldimprove the Notes?

Do you have any general comments aboutthese Notes or the Jubilee line Projects?

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Thank you

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Art on the Underground

For further information and to leave a comment

[email protected] 027 8694

Commissioned by Art on the Underground on the occasion of One Thing Leads to Another – Everything is ConnectedArtworks from Stanmore to Stratford, Jubilee line2010–2011

Project Notes written and devised by Jessie BrennanEdited by Melissa LarnerDesigned by Rose© 2010 the artists, writer and Art on the Underground

Art on the UndergroundLondon Underground55 BroadwayLondon SW1H 0BD

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for artworks on the jubilee line 2010–2011february 2010 – february 2011 exhibitions – london...

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