Artist Bio
A Sculptural Journey
Georgia McClure is a mixed media sculptor from Hamilton, Victoria. She completed her Bachelor of Fine Art in Sculptural and Spatial Practice at the Victorian College of The Arts in 2018 and is currently undertaking a Master of Teaching at The University of Melbourne. Georgia’s practice primarily incorporates the natural material of wool sourced from her small flock of coloured sheep. Having grown up in South-West Victoria, the Australian wool industry has had a large impact on her art practice. She ensures all the wool used remain in its raw state while aiming to manipulate this medium in ways that are unique and abstract. In keeping with the natural material, Georgia enjoys forming sculptures that highlight the organic and pure aesthetics that wool has to offer. She selects fleeces from a variety of different breeds and colours of sheep that hold vast amounts of tone and texture. Georgia’s sculptures allow her audience to connect with natural, unprocessed wool on a personal scale.
Georgia is also passionate about the significance of the Creative Arts in 21 century education. She creates dynamic, innovative and engaging experiences for all students. Through fostering an environment that embodies inquiry-based learning, Georgia is positioned, not only as an educator, but also as a learner, arts-based practitioner and researcher in her day to day involvement in the classroom.
Sculptural Practice
My Journey
Throughout the process of creating a practice journal, relentless reflection and consideration surrounding the notion of being research practitioner whilst being artist was prevalent. This reflection encompassed the big ideas of Art and Design teaching, learning and research, as well as personal views of practice and pedagogy as an artist-teacher. As a result, The Bellwether Chronicles, Vol. 1, was created, illustrating these revelations. At the centre of my thinking was student learning and my role as an Art facilitator.
​
The concept of becoming a ‘Bellwether’ additionally developed, co-existing with personal ideologies and pedagogy inclusive of the important role held within artist-teacher with the responsibility to uphold student wellbeing and foster layers of learning. The definition of becoming a ‘Bellwether’ aligns with the original connotation that a ‘Bellwether’ is the leading sheep of the flock, traditionally with a bell on its neck. Further to this, the noun presently exemplifies someone that takes the lead or embodies initiative and is also ‘an indicator of trends’ (Merriam-Webster, 2019). In light of this, my reflections conclude that in order to shift and adapt the way in which Art education is embraced within the 21st century, I must become a ‘Bellwether’. Through becoming ‘an indicator for trends’ such as promoting 21st century skills within the classroom and the wider schooling community, I am able to promote change and foster creativity and innovation in future curriculum design and pedagogy. This will further support a strong foundation for students to excel in their education and to prosper in an ever changing world (Benade, 2015).
Whilst embodying an environment that is cultivated and adopts critical reflective practice through teaching contemporary Art and Design, I will be able to foster inquiry-based education that will scaffold ‘layers of learning’ for students. With this, I have the ability to adapt the way in which practice is viewed within the classroom and select content that will have positive impacts on students (O’Donoghue, 2015). Through becoming a ‘Bellwether’ I can advance and assist student learning whilst remaining an artist- researcher- teacher and reflective practitioner.
​
References
Benade, L. (2015). Teachers’ Critical Reflective Practice in the Context of Twenty-First Century Learning. Open Review of Educational Research, 2(1), 42–54.
Merriam-Webster. (2019). Definition of BELLWETHER. Retrieved https://www.merriam-webster.com/dictionary/bellwether
O’Donoghue, D. (2015). The Turn to Experience in Contemporary Art: A Potentiality for Thinking Art Education Differently. Studies in Art Education, 56(2), 103–113.