Material Trials: Mauri

Overview

This is Lesson 7 of 20 in Mauri: Guardians of Awa. Students investigate how clay, natural materials and found objects can communicate ideas about the mauri of an awa (waterway). They will test texture, form and construction methods, then record evidence to guide the design of their group diorama.

Learning intentions

Students will:

• experiment safely and purposefully with clay, natural materials and found objects
• explore how visual arts elements, including texture, form, colour and space, communicate meaning
• test construction methods for strength, stability and visual effect
• give and use specific feedback to improve an artwork idea
• make connections between material choices, guardianship and the wellbeing of an awa

Success criteria

• I can make at least three different material or construction trials.
• I can describe the texture, form and effect created by each trial.
• I can explain which materials best communicate my idea about protecting the awa.
• I can record one decision and one next step for my diorama.

Curriculum links

• Visual Arts — developing and communicating ideas through exploration of materials, processes, elements and principles.
• Visual Arts — evaluating artistic choices and responding to artworks using subject-specific language.
• Te Mātaiaho — learning through making, critical thinking, communication, collaboration and active participation.
• The local environment and mātauranga Māori — considering relationships between people, place, living systems and guardianship.

Lesson structure (60 minutes)

1. 0–7 min · Reconnect and hook. Teacher displays photographs or close-up details of an awa, including rocks, tangled roots, flowing water, litter and native plants, and opens with the hook and material close-up slides. Ask: “If this material could speak for the awa, what might it say?” Students revisit their group’s diorama concept, identify one feature they need to represent and share an initial material idea with a partner.

2. 7–15 min · Demonstrate material thinking. Teacher models three quick trials: pressing natural textures into clay, building a stable form with found objects, and joining materials using scoring, slip, wire, masking tape or PVA where appropriate. Use the demonstration and safety slides to highlight that a trial is an experiment, not a finished artwork. Students observe and identify what changes when a material is rolled, pressed, layered, bent, joined or repeated.

3. 15–20 min · Set up the investigation. Teacher places students in their existing diorama groups of approximately four and explains the rotating workstations: clay and texture, natural materials, and found-object construction. Distribute the material trials and evaluation sheet and establish safe routines: use tools carefully, wash hands after clay, do not taste materials, check found objects for sharp edges, and return all resources. Students assign practical roles, choose a feature to investigate and predict which material may communicate it most effectively.

4. 20–42 min · Material trials. Teacher circulates, asks probing questions and prompts students to make purposeful comparisons: “What does this texture suggest?” “Will this structure survive being moved?” “How does the scale affect the meaning?” Students complete at least three small trials, ideally one at each workstation, and record the material, process, observed effect, strength or limitation, and possible use in the diorama. Encourage groups to test alternatives rather than simply decorate.

5. 42–52 min · Gallery feedback and refinement. Teacher pauses making, asks groups to arrange their trials with their worksheet open, and uses the critique prompts and discussion slide. Students complete a silent gallery walk, then give feedback to two groups using the prompts: “I notice…”, “This material communicates… because…”, and “You could test…”. Groups select one promising trial, explain why it fits their awa concept, and make a small refinement or second version.

6. 52–60 min · Decisions and exit reflection. Teacher brings the class together and revisits the opening question through the plenary and decision slide. Students complete the final section of the material decision and next-step section, stating which material or method they will use, what it represents, and what they need to solve in the next lesson. Invite two or three groups to share a surprising result or a material they rejected and why.

Resources

• the Material Trials teaching deck
• the material trials and evaluation sheet
• Air-dry or reusable clay
• Natural materials such as leaves, bark, seed pods, small stones and twigs
• Clean found objects such as cardboard, fabric scraps, paper tubes, wire and recycled packaging
• Clay tools, wooden skewers, scissors, masking tape, PVA glue and paintbrushes
• Work mats, trays, aprons and water containers
• Phones or cameras for photographing trials, if available
• Cleaning cloths, handwashing access and rubbish/recycling containers

Assessment

• During demonstrations and making, check whether students can explain the intended meaning of a material choice rather than selecting materials only for appearance.
• Use questioning and the worksheet to assess experimentation, understanding of texture and form, construction problem-solving, and ability to compare alternatives.
• Review the final decision and next-step response as an exit ticket. Use it to group students for the next lesson: construction support, material refinement or independent development.

Differentiation

• Provide a visual process checklist on the worksheet, pre-sort materials into labelled trays, and model one trial slowly for students who need additional structure.
• Offer sentence starters: “This texture suggests…”, “This form is effective because…”, “A problem with this method is…”, and “For the awa, I want to show…”.
• Allow students to demonstrate thinking through labelled sketches, photographs or an oral explanation before writing full responses. Provide thicker clay, larger components and adult support with cutting or joining where needed.
• Extend confident students by asking them to combine two contrasting materials, consider scale and symbolism, or develop a construction method that can be repeated consistently across the diorama.
• Be respectful when discussing awa, whenua and guardianship: invite students to draw on local knowledge and relationships with place without requiring personal or cultural knowledge to be shared.