Moose’s fully-booked workshops certainly delivered great success. He his audience of keen young artists was completely transfixed by what he had to show, providing creative input into a collective narrative. Moose started by introducing himself and his work. I was surprised to see his incredible scope of work from doodled cartoons to realistic watercolour landscapes. His work for the Tate Gallery L.S. Lowry exhibition and Evolver magazine cover were also impressive.
He then went on to reveal a white sheet of paper with two coloured dots as an antidote for artist’s block. Rather that fearing a blank piece of paper he showed how the artist can respond to the organic forms of random paint marks. This way, the story comes from the art rather than vice versa. This method worked extremely well and it was a pleasure to see Moose drawing in front of an audience. In particular, the children responded well to his requests for narratives ideas -the names of characters and what they were saying to each other. At the end of the exercise the group had created Bertie Bean and Donald D’uque engaging in a tense confrontation with a sword and a leaf.
The audience were then given the chance to try Moose’s method themselves and work from a few coloured paint splatters. His mode of working proved extremely successful and many children produced exciting illustrations with a quirky story. Moose was always there to encourage and question, nurturing a broad range of narratives.
The feedback was very positive from both children and parents, with Freya saying “Just by seeing spots on a piece of paper can make everything more exciting.” And it really was an exciting experience. If you are interested in hearing more about his work and background, read the interview in the link below.