Art and design
- Evaluate and analyse creative works
- Actively engage in the creative process of art
- Know about great artists and understand the historical and cultural development of their art forms
- Produce creative work, explore ideas

Art and design

KS 4
- Develop ideas through investigations, demonstrating critical understanding of sources
- Refine work by exploring ideas, selecting and experimenting with appropriate media, materials, techniques and processes
- Record ideas, observations and insights relevant to intentions as work progresses
- Present a personal and meaningful response that realises intentions and demonstrates understanding of visual language

Art and design

Level 4
- I have continued to experiment with a range of media and technologies, handling them with control and assurance to create images and objects. I can apply my understanding of the properties of media and of techniques to specific tasks (EXA 4-02a)
- I can use the visual elements and concepts with sensitivity to express qualities and relationships and convey information, thoughts and feelings. I can use my skills and creativity to generate original ideas in my expressive and design work (EXA 4-03a)
- Having chosen personal themes and developed my own ideas from a range of stimuli, I can express and communicate my ideas, thoughts and feelings through 2D and 3D work (EXA 4-05a)
- I can analyse art and design techniques, processes and concepts, make informed judgements and express considered opinions on my own and others' work (EXA 4-07a)

Art and design
- Students use their knowledge about the work of other artists to enrich and inform their work through analysis and evaluation
- Students use a variety of processes
- Students evaluate their work through discussion
- Students explore, experiment with and apply the visual, tactile and sensory language of art

Expressive Arts

Exploring the expressive arts is essential to developing artistic skills and knowledge and it enables learners to become curious and creative individuals.

Progression step 5:

I can explore and experiment with my own creative ideas and those of others, demonstrating technical control, innovation, independent thinking and originality, showing confidence to take risks and developing resilience in order to overcome creative challenges.

I can investigate and analyse how creative work is used to represent and celebrate personal, social and cultural identities.

I can independently research the purpose and meaning of a wide range of creative work and consider how they can impact on different audiences.

Responding and reflecting, both as artist and audience, is a fundamental part of learning in the expressive arts. 

Progression step 5:

I can critically and thoughtfully respond to and analyse the opinion and creative influences of others in order to independently shape and develop my own creative work.

I can purposefully apply knowledge and understanding of context when evaluating my own creative work and creative work by other people and from other places and times.

I can critically evaluate the way artists use discipline-specific skills and techniques to create and communicate ideas. 

Creating combines skills and knowledge, drawing on the senses, inspiration and imagination.

Progression step 5:

I can synthesise and apply experience, knowledge and understanding with sophistication and intent when communicating my ideas.

I can use professionally established, discipline-specific techniques confidently and convincingly in my creative work and work towards industry standard.

I can design creative outcomes to professional and industry-standard with sophistication, clear purpose and intent.

I can use effective strategies to take risks with my own creative work and can display resilience to overcome creative challenges.

I can evaluate and judge the appropriateness of my creative work in relation to ethical and legal considerations and its effect on participants and audiences.

- The original statue of Queen Victoria is a 1951 bronze copy of a marble sculpture created by Thomas Brock and erected on the site in 1901.
- The five replicas stand around the original and face in different directions – as if they are looking at the different regions of the Empire (and have everywhere covered in their sights!).
- Locke has added helmets to the existing statue as well as the smaller replicas. The original Victoria wears a Roman gladiator's helmet and her face is partially covered by a visor.
- The replicas also wear helmets, two of which have spikes protruding from them. These look like the rays of light of a halo – perhaps suggesting the saintly or godly status that powerful people are often raised to.
- Medals representing different colonial conflicts are attached to the statues.
- For many years Locke had wanted to re-imagine a public statue. The location of this existing statue of Victoria in a busy square during a busy event meant that lots of people would see it.

- Hew Locke worked with Pangolin Editions, a sculpture foundry and fabricator, to create Foreign Exchange.
- Once Locke had drawn up his plans, Pangolin Editions used 3D imaging software to scan the location and the individual elements of the existing sculpture.
- From the scans, they created moulds for the replicas that duplicated the forms and details of the original sculpture.
- They then cast the statues in resin, treating the surfaces so that they appear like patinated bronze and match the original statue.
- Pangolin fabricated the boat based on Locke's designs and scans of the forms of existing boats.
- The helmets and masks added to the statues were made by Locke from cardboard and were then cast in resin and painted gold.
- Resin was chosen for the artwork as it can be cast and allows for fine details. It is also lightweight so can be easily moved. Although resin is durable and can withstand many weather conditions, it isn't suitable for extremely cold weather conditions, so wouldn't have been used if the installation was permanent.
- The original, permanent statue of Queen Victoria, is bronze: a material that is generally used for casting permanent outdoor sculptures as it is more durable.

- Like much of Locke's work, Foreign Exchange addresses themes of empire and colonisation.
- Queen Victoria's reign saw the biggest expansion of the British Empire in the history of the country, often through violent conflict.
- Statues of Queen Victoria were shipped around the world and placed in locations across the British Empire. (Locke remembers seeing a statue of Queen Victoria in Georgetown, Guyana as a child.) By creating replicas of the statue and presenting them in a boat as if ready to be 'shipped off', Locke references this.
- For Locke statues of royalty symbolise power and the preservation of power. Locke underlines this by adding war-like helmets and medals representing different colonial conflicts to the statues. He wants to remind us of the violence and bloodshed that happened during Queen Victoria's reign and in her name.
- The artwork's title, Foreign Exchange, suggests an exchange of goods.
- The boat makes us think of trading – especially the transatlantic slave trade. It perhaps suggests the unequal trade that took place between Great Britain and the countries that were made to be part of the British Empire. Britain took wealth – and the lives of many of the people in those countries through slavery and conflict. In exchange, countries were subjugated and were given a statue to remind them of the power of Queen Victoria and her armies.

- Some people criticised Locke's installation as disrespectful to Queen Victoria, to the history of Great Britain and to the original artwork.
- Locke has commented that his artworks are not about a particular person but about their representation of a nation. 
- He intended the sculpture to raise questions and provoke discussion about the nature of public sculptures and the histories they represent.
- Rather than damaging or removing the original, Locke temporarily embellished it so that it told other stories and presented multiple sides of the history of the British Empire.
- After the brutal murder of George Floyd in the USA in 2020 and the rise of the Black Lives Matter movement, there was much debate in the UK about statues of people who had been involved in the slave trade or in the expansion of the British Empire. Rather than removing the statues, Locke feels that additional explanations should be added to the statues to inform us about the history and actions of the people represented.
- In Foreign Exchange, Locke prompts us as the viewer to dig deeper into the history of the British Empire. He encourages and empowers us to ask questions not just about history but also about public sculpture. Who is it for? Who does it represent? Who decides who is represented?

- The Procession consists of 150 separate life-size figures surging forward in the same direction as if in a protest march or carnival parade.
- The figures carry banners, flags, musical instruments, boxes and other objects. Some wear masks or headdresses.
- The figures are all different and seem to represent all of humanity. Art critic Laura Cumming describes them in her review of the installation in The Guardian as: 'Soldiers, refugees and fishers, mechanics in overalls and dandies in dinner jackets, a green man crowned with chilli peppers, another dressed as a skeleton in a cardinal’s mitre. Pregnant girls, stooped sages, carnival queens in outsize dresses: none alike, and yet all alike, in this endless tide of humanity.'
- The bright colours, fantastic costumes and carnival atmosphere of the installation draw us in. But on closer inspection, some of the details are dark and disturbing. For example, on the back of one of the jackets is a copy of artist William Blake's print of a hanged slave. A funeral cortege also forms part of the procession.

- The logistics of creating such a huge and complicated installation seem overwhelming, but Locke said he took it one step at a time. He started by creating one row of figures and then another … and then worked from there.
- Altogether, the process took around 10 months to complete.
- The figures are made from a range of materials including plaster, cardboard and paper mâché.
- Cardboard is a material that Locke often uses in his sculptures. He sees it as a warm and accessible material: 'As kids we get into cardboard boxes and they become boats, they become cars. It is malleable and bends in a certain way.' He finds it interesting as it's useful but throwaway at the same time.
- Locke sourced the clothing for the figures from all over London. Some are dressed in readymade clothes that Locke bought second-hand: school uniforms, suits and army overcoats. Others wear outfits patched and stitched together from scraps of material that we recognise as coming from different cultures: such as old saris, batik and tartan.
- He wanted there to be a range of contrasting materials – shiny and flamboyant alongside plain and rough.

- Hew Locke used the theme of a procession as it is something that we can all relate to – we gather in processions as part of life to worship, celebrate, mourn and protest.
- He created an artwork that represents a broad view of humanity and reflects geographical points across the globe including China, Russia, West Africa, Europe and Guyana.
- But he also added additional layers of meaning in the objects that the figures carry and the images printed on the clothes they wear. He invites visitors to 'reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.'
- Global finance and brutal colonial control are two of the key themes referenced. The drums that the boys at the front of the procession carry are stretched with fabrics printed with old Russian oil corporation bonds. At the back of the procession, a fabric pavilion is printed with derelict colonial buildings from Guyana and stocks and shares for land sales that include enslaved people as part of the deal.
- Towards the end of the procession are groups of figures whose clothes are duller and tattier. They look as if they have been through hard times and have struggled for miles to get here. They are perhaps migrants leaving their homes in search of something else.
- The complex histories from around the globe that Hew Locke explores in the installation, like the figures he creates, all seem to be connected in some way. These are our shared histories, he seems to be saying.
- Despite some disturbing details and dark histories, Locke sees The Procession as optimistic. The figures invite us to walk alongside them, into a bigger vision of an imagined future:

'The movement of people in procession is a positive movement, it's not a negative movement. People are moving to a new life – they may be coming from difficult times they may be heading through difficult times. But the energy in the work is about hope, and the future. Let's make something positive.'

- The Jurors is formed of 12 high-backed bronze chairs that are illustrated with images, inscriptions and symbols. The chairs represent the modern jury system which consists of 12 people.
- They are grouped with five chairs lined up on either side facing each other and a chair at each end, as if around a table in discussion.
- Clause 39 is important because it forms the foundation of our legal system.
- Locke emphasises the relevance of Clause 39 to the present day: 'The fight for gay rights, for women, for race equality, refugees, the impact of the internet on freedom of speech', are just some of the ways that justice and the protection of the rights of the individual are important.
- He sees the artwork not just as a commemoration of Magna Carta but as a celebration and discussion of the ongoing fight against injustice and inequality.
- Locke hopes the work will provoke people into reflecting on and discussing matters of injustice.
- As well as celebrating the significance of Magna Carta, Locke wanted to ensure that his artwork fitted into the quiet rural environment of Runnymede
- He created something that he felt wouldn’t be 'bombastic' and overwhelm the site.
- The form of the chairs is simple, almost rustic. Among the imagery on the chairs are reminders of the rural location – including flowers and a stoat.
- Chairs or benches are also something we are used to seeing in the countryside – somewhere to rest our feet and sit and contemplate nature.

- Locke used a rich layering of imagery and symbols in his sculpture. He documents the struggle for freedom and equal rights – as well as abuses of human rights.
- Images are used to reference people and events from around the world and from different times in history from the suffragettes fighting women's rights in the UK and the Australian aborigines' battle for land rights to the assassination of gay activist Harvey Milk in the USA and the ongoing migration crisis in Europe. Even the Russian feminist punk rock performance art protest group, Pussy Riot, are referenced on one of the chairs.
- Locke has sometimes grouped the chairs according to theme. Several of the chairs, placed on one side of the sculpture, feature boats. The Zhong, the ship used in the Transatlantic slave trade, from which 133 slaves were thrown overboard so that the owner could claim insurance, is on one of the chairs. Nearby is a chair carrying an image of a migrant's boat. Another chair shows a leaking oil tanker.
- Locke has used keys as repeated as symbols across the chairs. Copies of the prison keys where anti-apartheid leader Nelson Mandela was imprisoned for 25 years are used on one of the chairs. On another chair is a replica of the Bastille key given to George Washington after the French Revolution in 1793.
- Flowers are another symbol that appears across the chairs. Locke references the Victorian language of flowers – where flowers were used to convey different meanings. Chestnut flowers (which mean 'do me justice') and hop flowers which represent injustice are carved into the designs
- Locke chose images that relate to events around the world because he wanted to ensure the message of the work was international. Magna Carta was exported around the world and is central to many other legal systems and systems of rights.

- Hew Locke carved the images and symbols into clay to create relief sculptures that could be attached to the frames of the chairs.
- The clay relief panels were then cast by Meltdown Studio in bronze.
- Once they had been cast, Locke reviewed the panels and suggested tweaks and changes to ensure the imagery was as impactful as possible and conveyed the message he wanted to put across. This process reflects Locke’s meticulous attention to detail.
- Locke chose bronze for the sculpture as it can withstand extreme weather and is widely used as a medium for outdoor sculpture.
- Locke also feels that bronze has authority so was the right material for the commemoration of the momentous Magna Carta.

- It is important to Locke that The Jurors is interactive.
- In the sculpture, he brings 800 years of history up to date and wants us to reflect on and have conversations about justice. He uses imagery and symbols to encourage debate and discussion.
- It is also important to Locke that the sculpture can be walked around and touched – and sat on. So that as visitors we can feel part of the history that it celebrates and scrutinises.