Writing the Artist Statement

Overview

In this fifteenth lesson of Mauri: Guardians of Awa, students begin drafting an artist statement that explains the ideas, research and values informing their artwork. They choose to write either a short story or an editorial, using a scaffold to connect their creative decisions with kaitiakitanga and the mauri of the awa.

Learning intentions

• We are learning to explain how our artwork communicates ideas about the awa.
• We are learning to connect visual art with research, kaitiakitanga and mauri.
• We are learning to structure an artist statement as either a short story or an editorial.
• We are learning to select precise language for a specific audience and purpose.

Success criteria

• I can clearly describe the message or response I want my artwork to communicate.
• I can connect details in my artwork to research about the awa and the responsibilities of kaitiakitanga.
• I can use the features of a short story or editorial to organise my writing.
• I can draft, reread and improve at least one substantial section of my artist statement.

Curriculum links

• Visual Arts — developing practical knowledge, ideas, and communication and interpretation through an artwork and its accompanying artist statement.
• English — selecting language, structure and style for a particular purpose and audience.
• The refreshed curriculum focus on identity, belonging, participation and contributing is developed through students’ relationship with place and responsibility for the awa.
• Students practise critical thinking, communication, self-management and relating to others through drafting and peer feedback.

Lesson structure (60 minutes)

1. 0–6 min · Reconnect and notice. Teacher opens with the hook and learning intention slides and displays students’ current artworks alongside the question, “If this artwork could speak for the awa, what would it say?” Students silently write three words or phrases describing their artwork’s message, mood or concern, then share with a partner.

2. 6–16 min · What makes an artist statement? Teacher uses the artist statement teaching slides to model how an artist statement explains intention, visual choices, research and significance rather than simply describing what is visible. Introduce the two choices: a short story may use a narrator, setting, imagery and a turning point; an editorial may present a position, evidence, explanation and a call to action. Students annotate a brief model on the artist statement writing scaffold, identifying the artwork detail, research connection and kaitiakitanga idea.

3. 16–24 min · Choose and plan. Teacher revisits the class research and artwork process, then uses the choice and planning prompt slides to pose: “What has changed, been threatened or needs protecting in your awa?” Students choose short story or editorial and complete the planning boxes: intended audience, central idea, relevant research, artwork details, relationship to mauri, and the response they hope to create.

4. 24–43 min · Draft the opening and main section. Teacher conferences with individuals, prompting students to move from general claims to specific evidence: “Which colour, symbol, texture, composition or material shows that?” Students draft on the artist statement writing scaffold. Story writers establish a setting, voice and connection to the awa; editorial writers state a clear position and support it with research and reference to their artwork. Students should aim for approximately 250–350 words, or an equivalent developed draft if handwriting or language needs require more time.

5. 43–53 min · Peer response and revision. Teacher displays the peer feedback and revision slides and models kind, specific feedback. In pairs, students read one another’s draft and respond to three prompts: “I understand your message to be…”, “A strong connection to the awa or kaitiakitanga is…”, and “One place that could be more specific is…”. Students revise one sentence for clarity and add one concrete artwork or research detail.

6. 53–60 min · Share and exit reflection. Teacher uses the plenary slides to invite two or three students to read a chosen sentence, ensuring students may pass. Students complete the final boxes on the artist statement writing scaffold: “My strongest connection between artwork and awa is…” and “My next drafting step is…”. Collect drafts and reflections to inform the next lesson.

Resources

• the Mauri: Guardians of Awa artist statement deck
• the artist statement writing scaffold
• Students’ developing artworks or photographs of artworks
• Students’ awa research notes and visual development work
• Whiteboard and markers
• Pens, pencils and highlighters
• Timer
• A quiet space or headphones for students who need reduced distraction

Assessment

• During planning and drafting, check that students identify a clear message, refer to specific artwork choices, and make a meaningful connection to research, kaitiakitanga or mauri.
• Confer with students using the prompts “What is your artwork saying?” and “Where can the reader see that idea in your artwork?” Record students needing support with structure, vocabulary or evidence.
• Collect the scaffold and draft as formative evidence. Look for a purposeful choice of genre, an identifiable audience, organised ideas and a clear next step for revision.

Differentiation

• Provide sentence starters such as “My artwork responds to…”, “The use of ___ represents…”, “Research shows…”, and “As kaitiaki, we can…”. Allow students to plan orally before writing.
• Offer a word bank including awa, mauri, kaitiakitanga, whakapapa, whenua, taonga, responsibility, protect, restore and sustain. Clarify that students should use these words accurately and respectfully.
• Students requiring support may dictate to a teacher or trusted peer, use speech-to-text, draft in bullet points first, or complete a shorter but well-developed statement.
• Extend confident writers by asking them to sustain a distinctive narrative voice or develop a counterargument in the editorial, while explaining how audience and purpose influenced their language choices.
• Use mixed-ability partnerships carefully, provide a read-aloud option, and avoid requiring students to share personal, cultural or community knowledge publicly.