To what extent does Folk Arts intrinsic value stem from its individual creation? by Kieran Blakey

Kieran Blakey BA(Hons) Illustration 2017/18 To what extent does Folk Arts intrinsic value stem from its individual creation?

4801 words

Contents

Chapter

Page Number

Chapter 1 – Introduction

Chapter 2 – Context & Themes

Chapter 3 – Case Studies of Practice

Chapter 4 – Reflective Practice

Chapter 5 – Conclusion

Images

Bibliography

Kieran Blakey

Chapter 1 – Introduction

Folk Art in its most basic sense can be considered a far-reaching umbrella, intimately connected with the culture and craft of a community and thereby taking on more than just an aesthetic appeal. Susann Linn-Williams (2006) describes Folk Art as being ‘inextricably linked with the religion, beliefs, rites, rituals, practices and everyday life of the people who create it’. With this in consideration, everything could to some degree be considered Folk Art but with each having its own artistic merit and cultural significance. Who is to say which is more valid?

Folk Art is an object or painting created by people with a direct and immediate response to life. It can be considered a channel for expressing intense belies, hopes, and fears before it’s been masked by surface decoration or technical superiority. Vladimir Arkhipov (2006) suggests that ‘the act of creation has no need of justification’, that is to say it’s self-sufficient and is something echoed by Greenlees who says this creative power ‘highlights how the impulse to make things with our hands in universal.’ That basic action of making and its outcome, ‘connects cultures, communities and generations’ through the thread of its creation. The objects have a story and although people are now using different ways to communicate, ‘the desire to make together in a social context is growing ever stronger’ (Greenlees, 2011).

The ‘value’ of an item usually stems from its rarity and worth as a commodity but does the cultural connection and individual identity so prevalent within Folk Art provide that value? If we de-escalate the scenario to the everyday with Joseph Beuys’s ‘Every man is an artist’ then to what extent can a household object be elevated to fine-art levels? Undoubtedly, an items’ ‘worth’ lies with the individual. In the creator or the procurer. The unquantifiable value we attach to an object is arbitrary but as a society we can sense the resonance that emanates from the handcrafted.

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A Folk painting or object created by an individual conveys its idiosyncrasy through the imperfections not found within the established Fine Art community. Work which might normally be considered ‘flawed’ within that society are able to fascinate the viewer through their subversion to what can be considered ‘art’. Their monetary worth as objects or art pieces fluctuates with the vogue but to what extent can Folk Art’s intrinsic value stem from its individual creation?

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Chapter 2 – Context & Themes

Folk Art’s most captivating quality is perhaps its powerful vitality. Henry Moore described the act of the “primitive” to ‘mean far more than that; it makes a straightforward statement, its primary concern is with the elemental, and its simplicity comes from direct and strong feeling’ (1941). That is to say, the innate desire to create, and the simple outcome reflects our human nature, rather than ‘simplicity-forits-own-sake’ which is shallow and empty. This reasoning could be one of the main arguments for why there is so much significance attached to the created object, especially within Folk Art wherein the artist generally doesn’t consider the final outcome to stand on its own artistic merit, but rather to apply to other situations such as a farmer’s decoy or pub-sign.

Gotschalk’s (1962) comparison between “naïve” and “disciplined” aesthetic experience of art provided a ‘conceptual but non-empirical approach to the role of art background’ (Winston, A.S, 1992). The naïve viewer responds to the artwork ‘as if it were an everyday object elevated momentarily to the purely perceptual level’ (p.159). The artwork’s form, material, and expressive qualities are lost and the piece is only responded to subjectively. This could be used to suggest why Folk Art holds such resonance within its individual creation since the “naïve” creator may not consider the aesthetic qualities with which they are crafting, but indeed that lack of insight forms the basis of their cultural, spiritual, and societal viewpoint. Indeed, by contrast in Gotschalk’s study the ‘disciplined viewer appreciates an artwork as a “creates aesthetic entity”, exploring all of its aspects and their interrelation and thereby constructing a more objective understanding of the work’.

Neperud (1988) expanded this argument, stating that “experienced” viewers more actively process the information contained within artworks and use previously learned knowledge ‘in the form of propositions or prototypes to make sense of them’ (Chupchik, G.C) with trained viewers possessing ‘more elaborate and complex categorizations of art’ (p.293). Whilst Neperud’s viewpoint might suggest that we only assign value “posthumously” to Folk Art through its inherent aesthetic and Kieran Blakey

cultural significance, the rise in popularity of British Folk Art means the term may have ‘greater currency in Britain now than ever before’ (Myrone, 2014).

In 1769 when the Royal Academy was established, there was a keen desire to separate craftwork from the fine arts, so that ‘no needlework, artificial flowers, cut paper, shell work, or any such baubles should be admitted’ (McMillan, 2014). However there has been a noticeable shift away from purely fine art with visual culture today in Britain drawing from the rich history of Folk Art. With Grayson Perry creating pots and tapestries, Tracey Emin producing embroideries and quilts, and Roberta and Bob Smith painting signs, ‘what were once traditional approaches have been updated and embraced by contemporary art’ (Myrone, 2014).

McMillan (2014) whilst collecting artwork for the Tate gallery show on British Folk Art, said, ‘these shows are important because they counter a tendency in the contemporary art world to favour increasingly younger artists who often pursue an obscure and theoretical practice’. Focussing too heavily on the theoretical can result in an underwhelming, seemingly pretentious final product, only feeling individual through its theory instead of aesthetic. Something which is echoed by the art critic Dave Hickey when he said ‘Today, anybody can make a work of art that nobody understands’.

One of the main reasons that an intrinsic “value” can be awarded to Folk Art is through its accessibility and vibrancy. As Kalman (1993) puts it, ‘you do not need to know Art History. The immediacy, the joy, the unpretentiousness of these images gives us the gift and pleasure akin to a new-born child’ (Myrone, 2014, p.134). Kalman himself lamented the relative neglect of Folk Art in Britain and formed his own extensive collection which was later acquired by Peter Moores in 1993 who described it as ‘about as accessible as one can get. It is art by the people for the people’

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This immediate relatability is one of the major driving forces for why Folk Art continues to inspire within a contemporary art environment. A generalisation about Folk Art might be that it has its origin based around tradition. ‘Something that has been passed down and is therefore representative of a community or collective’ (Kenny 2014). However, outsider art, although sometimes falling within the same umbrella as Folk Art, is described by McMillan (2014) as ‘outsider art involves a selftaught artist working in a particularly idiosyncratic, highly individual manner, often driven by compulsion, desire or religious fervour’. Although this could be considered the antithesis of what Folk Art stand for, the two art forms share many similarities which can be shown within the artwork created by the Ashington Group. A collective of miners situated outside the mainstream art community but who drew on societal and communal experiences and within their paintings.

Alfred Wallis is another painter who can be considered crucial to the rise in popularity of Folk Art within Britain. At the time of the major Tate Gallery display of Wallis’s work in 1968, the curator, Alan Bowness noted that Wallis ‘is as essential to English painting, and particularly to the circle of Ben Nicholson and the artists who’ve gone to work in Cornwall, as Rousseau was to Picasso and his friends’ (1968:798). There is an immediacy, vibrancy, and naïve perspective about Wallis’s work that allows it to capture an essence and emotion about a scene. One of the reasons it attracts is that it holds no pretence, pomp or unnecessary embellishment, instead speaking directly to the viewer in a visual language that is both striking and unique. Marion Whybrow (1999) also mentions is his significance as ‘the story of how Wallis was “discovered” is now part of the folklore of the modernist art movement in St Ives’, once again standing as parallel to Rousseau in France.

The value of the handcrafted is an enduring quality which as a society we are taught to recognise. The time, labour, and perseverance needed to craft an object such as a quilt or pot is immediately apparent to those who know the medium to only a slight extent. ‘At a time when 3-D printing can manufacture guns or replicate machine with moving parts, the reminder of the hand-made object, with its brilliant imperfections and anomalies, is a thing to celebrate’ (McMillan, 2014). A great example of this is

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the ‘clicker’ quilt from Norwich (fig 4.), made by shoe factory workers using shoe lining scraps in the 1920’s. In many works of Folk Art, their best quality can be found in their creative use of excess or waste material. ‘Traditional media of the Academy such as marble, stone and bronze are replaced with bone, wood, straw, broken crockery or woollen uniforms.’ (Myrone, 2014) It is work made for, and by, the working class. More modest materials are also therefore used which are no longer needed or are provisional in nature, which McMillan goes on to state are ‘perhaps a bi product of local industry’, once again retaining their cultural heritage within the (folk) art they have produced by necessity, not profit.

Writing about the tradition of Folk Art in the early 1980s, the author Jane Kallir spoke of it as ‘a catchall category for misfit – wallflowers at the dance of Western civilisation’ (1982, p.32). The metaphor she used is interesting as it shows just how far the idea of Folk Art has expanded in recent decades to ‘include a bewildering array of artistic activity, embracing domestic art, so-called naïve painters, ‘primitive’ and self-taught artists’ (Kenny, 2014). As Kallir goes on to elaborate, ‘folk art is, in fact, everything that everybody always thought was not art before the modernist revolution at the turn of the century.’ This broad view allows the works of children, prisoners, and miners to be considered Folk Art which only deepens the societal value we assign this form of art. The value is almost always invariably tied to the individual, especially in that of children, but the time and care taken to craft the individual artwork shines out to the viewer, marking it as valuable, if only to its creator.

In terms of an average viewer seeing Folk Art arranged within a contemporary space such as a gallery or museum it’s easy to understand how such work can evoke the romantic myth of the ‘noble savage’. Such creations are seen to be sincerer than their sophisticated fine-art counterparts since their immediacy encourages and invites, rather than subverts and excludes those without an art background. Folk art writer James Ayres (1977) describes the difference being that ‘they seem to share an ‘innocent eye’, sustained through lack of training and education, distance from metropolitan artistic centres or social isolation of one sort or another. He goes on to

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say that this work is ‘the products of ‘a Garden of Eden before the Fall’, framing the art as purer or more innocent using biblical sentiment.

The appeal of these arts is generally situated in a defiantly anti-intellectual viewpoint. Framed in those terms it is seen to demand an emotional rather than academic response, ‘they apparently promise a form of direct communication that fine art, with its assembled experts and complex theoretical frameworks, does not.’ (Kenny, 2014). They can be argued to not only be on the periphery of high, fine-art culture, but actively pitched as its parallel. This viewpoint is echoed through Kenny’s writing, which goes on to say that narratives such as this are ‘central to the value of these objects and their status as a ‘real thing’, created not for economic or strategic benefit but for other, less worldly motives’ (Kenny, 2014). From this there is the argument between the advertising and production of Folk Art, and whether if repetition made as a commercial gambit, speaks of a different imperative than when it is found within other kinds of Folk Art.

Folk Art’s commercial value fluctuates although the integral worth we apply to a painting or object through its design, process and character stays much the same. There are many ways to quantify this “value” but with the rise of technology and quick reproduction there has been a renewed interest in the handmade and an appreciation of the time and effort taken by an individual to ‘create’. The distinctive idiosyncrasy of the artist lends itself uniquely to the artwork and crafts something who’s value stems from the story and creation of said artwork, rather than the final product and its commodity.

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Chapter 3 – Case Studies of Practice

Folk Artists work across a variety of mediums due to the wide spectrum the term encapsulates and therefore a mixture of different media will be explored within the case studies. Including the grave of Alfred Wallis (fig 1.) which was created by the potter Bernard Leach in 1942 since it speaks volumes about the impact Folk Art had on other contemporary practitioners during the British “renaissance” of folk appreciation, and the weight it continues to hold in contemporary society. The Pitmen Painters similarly reignited interest in British Folk Art, although waning after the second world war. Something which has roots in today’s culture with Laura Carlin’s ceramic pots and sculptures being by far the most contemporary out of the three, with the illustrator drawing on a naïve aesthetic reminiscent of work by Wallis.

Alfred Wallis was a retired fisherman who managed to bring his life at sea and in port into the realm of art; crossing social divides and managing to exceed all previous expectations of his profession. This was mainly acknowledged (at the time) by a small band of avant-garde artists such as Ben Nicholson who, notes Gale, ‘perceived in his work a raw directness, associated with his lack of training as an artist, which earned him the ambiguous epithet of ‘primitive painter’ (1998).

The inscription on the gravestone (fig 1.) makes reference to Coleridge’s ‘Ancient Mariner’, placing Wallis within a tradition of the British Romantic. This is also exemplified with the figure itself entering the lighthouse which evokes William Blake’s ‘Death’s Door’, an illustration to Blair’s “The Grave” (1805). This allegorical sentiment took on special significance ‘in the climate of self-reliance and artistic neoRomanticism of the Second World War’ (Gale, 1998). In an extended metaphor, it could be argued that Wallis himself can be seen as a symbol of naïve resilience through his sustained creativity, entering the lighthouse with the possibility of using his example to ‘light the way for others’. The natural and earth-toned tiles also show a respect for the artist’s modesty and use of medium, reminiscent of Wallis’s ‘Voyage to Labrador’ (c.1935-6) (fig 5.).

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Every one of Wallis’s paintings was by, and mostly for, himself and those around him. The work he produced retains this vital integrity and adds a deep-rooted value to the paintings, with each being unique in its own way. He continues to be treated as a cipher ‘a tabula rasa – onto which the ideas and perceptions of others have been cast.’ (Gale, 1998). His nostalgia for ships, docks, and the seaside bred a nostalgia in others. Connecting with his audience through its authenticity as naïve, Folk Art, resonating with others outside the recognised art establishment. In the 1930s those who knew him saw struggle on the land and on the sea in his art, with Gale going on to state, ‘he came to represent an untainted survival of a lost prehistory implicit in the term ‘primitive’’.

Through Wallis’s own letters he preferred to remain ambiguous about his methods and approaches, rarely even providing a description of the work which accompanied them. ‘He evidently felt such matters were best left unexplained or were, perhaps inexplicable’ (Ingleby, 1999). This is exemplified by how Gale (1998) states that, ‘the fact that the inscribed date of birth is incorrect is symptomatic of the myth already obscuring the biography’. The combined influence of the artist culminated with the very tomb he was buried in; acting as an artefact with not only the combined value of its maker, but also that which it represents. It is a singular creation, serving as a signpost for a person’s life, and acting as a public marker for the influence its user had whilst alive. The intrinsic worth is implied through the care of its creation and authenticity, not through the visual prowess which is demonstrated.

Oliver Kilbourn’s, The Off Shift (1937) (fig 2.) moves away from ceramics and focussed instead on painting. Kilbourn was a member of the Ashington group and a ‘Pitmen Painter’, drawing on his own experiences from working in the mines. The group came together to learn about different disciplines but eventually came to art and painting, effectively operating as outsider artists within standard conventions and using their collective cultural experiences to create work inspired by their traditions and surrounding area. Jan Gordon, a ‘how-to-paint’ book author of the time describes the work created by Kilbourn as ‘experiences drawn from the heart’ and

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‘expressive to a remarkable degree of understanding, candour and sincerity’ (Feaver, 2011).

The three main figures are pictured exiting the frame to the right, seemingly desperate with the set purpose to get away, washed, changed and fed. Such an image could only truly be appreciated by one having spent many years on the scene with no amount of information or collection of notes being able to convey the atmosphere Kilbourn incorporates. The art he creates is one that comes from a society previously isolated from the artistic scene, similar to Wallis and the other seamen he worked amongst, and therefore can be seen ‘to demand an emotional rather than an academic response’ (Kenny, 2014)

This view can be seen within ‘The Off Shift’, which is seen through the eyes of a member of these working groups, accounting for a more personal quality to the painting with sombre dark earth-tones as the men finish their shift. William Feaver whilst writing about the Ashington group describes the image there being ‘an almost complete lack of feeling about this design’, something which is confirmed by Kilbourn himself who admits that ‘it [had] never occurred to him that there is anything more in the subject than an everyday job’. He has illustrated the scene from information which is readily available to him, but which leaves him indifferent, for ‘he does not see the subject as a spectator’ (Feaver, 2011). What is created leaves him unmoved since he has painted from a position of knowledge, the value of which is more pertinent to a viewer looking in from outside the Ashington groups communal sphere. The creation, is this case, is wholly separate from the compositional aesthetic of the piece.

This disconnect isn’t uncommon within Folk Art with Gordon, whilst later expanding his view on visual communication, describes how ‘the art student is always thinking about what he has been taught; drawing, rules of composition and so on. Often he forgets that he has to express something’ (Feaver, 2011). Implying that a trained source, focusses too heavily on the final outcome without giving enough credence to the visceral or mystical quality of the piece. This is also stated to be the inverse

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relationship that Kilbourn and the miners share with art, ‘they have learned that what matter is the inner feeling of the thing, and they have learned to paint by this feeling.’

The importance of understanding the visceral, emotional response that a viewer can experience when observing a piece of art is crucial to understanding why contemporary illustration can embrace the naïve. Illustrators such as Laura Carlin avoid traditional perspectives and technical superiority to pursue a ‘style’ which focusses more on an immediate and emotive language. This can usually be considered as evoking a more ‘childlike’ sense of wonder and creation but can often lead it to be dismissed as ‘unaccomplished’.

The small collection of Carlin’s work shown in fig.3 all possess individual merits from their design, colour, form, and subject matter. However due to their individual creation cannot be mass produced without losing the idiosyncrasy of their maker (Carlin), therefore making their value as commodities hold a greater currency.

Although Carlin herself can’t be considered a folk artist, having graduated with an MA from The Royal College of Art, her visual aesthetic is reminiscent of past folk artists such as ‘Grandma Moses’, often incorporating a large field of view with many characters and motifs interacting with each other on a ‘flat’ (Egyptian) perspective. This can be especially seen in fig. 3 through her ceramic pots which are bustling with activity and which feature characters who aren’t properly scaled in relationship to one another. Something which Carlin herself addressed in a 2016 interview where she describes her approach to communicating ideas as ‘mainly getting rid of years of thinking that a good drawing was one which looked like a photograph’, going on to say that ‘I really loved learning to edit my own images to put in the least amount of information. What was left was what was important to me’ (Carlin, Hassell, 2016, InkyGoodness).

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Chapter 4 – Reflective Practice Through the extended practice, there was an aim to create an antithesis to the 1769 doctrine from the Royal Academy who had the desire to distinguish the fine art from crafts, so that ‘no needlework, artificial flowers, cut paper, shell work, or any such baubles should be admitted’. I have aimed to separate myself almost completely from fine art and whilst not completely managing (ceramics playing heavily towards a more traditional approach), I have indeed created a series of pieces celebrating the craft that’s evident within Folk Art.

Wayne Higby, a ceramic artist and educator in his juror’s statement for the 1992 Clay Nation exhibit wrote, ‘Aspiring ceramic artists seem to often mistake a reliance on skill or an elaborate demonstration of skill and labour-intensive manipulation for the ultimate solution to the complex dilemma of making art’ (Sessions, 1999). The sentiment being that art can’t always be defined using pre-existing models of taught representation and the ability to look inwardly for a desire to ‘make’ can allow the individual the ability to exert control and an individual sense of freedom in the world. Something repeated by Martina Margetts (2011), who stated, ‘Making is therefore not only a fulfilment of needs, but of desires – a process whereby mind, body and imagination are integrated in the practice of thought through action.’

In my individual practice, I have been influenced by this desire myself, thinking through making to create individual drawings and ceramics unique to my person. Their value as decorative objects are a currency which is personally significant, being crafted and sculpted to a finished state and carrying the essence of their maker. ‘Tools and equipment are prosthetic extensions of the body that carry the thought of the maker, wholly different from the autonomous production of machines’ (Margetts, 2011). The commodity of ceramics or Folk Art to a larger extent is generally how their retail price is determined. However, the significance of those object to their maker is completely divorced from this value, to them, the value lies in the experience gained from said creation. The learned ability, the memories, and hand of the creator gives a separate layer of information (sometimes only visible to

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the individual) which tells a story, whether that be societal, cultural, or purely aesthetic.

By making tiles during this extended project I’ve allowed myself the time to appreciate the multiple steps needed to go from base stoneware clay, to finished glazed tile. I had come from a position of little to no experience working within this medium, something which I deliberately chose in order to inform my personal knowledge of folk artists or ‘Sunday painters’. I also chose ceramic tiles as they serve an initial purpose, rather than being purely decorative, which is a common thread linking together Folk Art such as decoy birds, quilts, and painted pub signs.

One of the mains aspects I enjoyed about this project was the timescale required to complete it. Since stoneware clay has to be fired twice; once as a bisque firing and then again later after it’s been glazed, it becomes a very time-consuming activity which properly allowed me to appreciate the intrinsic time and effort needed to create art within this field. The mystery of the craft is also always persistent since tiles can enter the kiln looking entirely different to how they appear afterwards, something which could perhaps be likened to the mystery surrounding Wallis and the crafting of his tomb.

In addition, I have drawn most notably from the work of Carlin through the use of painted ceramics. Although this media is prevalent in her personal projects, I wasn’t initially inspired by this as the basis for the practical aspect to my work, despite both sharing thematic similarities. The translation from pencil to painted ceramics came as a means of interpreting how representation varies across mediums and potentially how the time taken is reflected in the final outcome. Awarding a greater ‘value’ to an object with a higher degree of time and care spent on it.

Working with clay brought me back to a far more ‘primitive’ standpoint by borrowing an art-form which was mastered thousands of years ago (see ‘Moai carvings’ 12501500), stressing a sense of continuity and reiteration. It ‘suggests that the value of

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Folk Art is largely to be found in its reproductive and cyclical nature’ (Kenny, 2014). In this sense, Folk Art is characterised by ‘borrowing and the reiteration of forms that are passed down from generation to generation’ (Kenny, 2014).

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Chapter 5 – Conclusion

Arkhipov (2006) states, ‘the act of creation has no need for justification. It is selfsufficient’. That Folk Art is intrinsically tied to the culture and craft of a people, ‘and for this reason the pieces usually take on more than simply an aesthetic appeal’ (Linn-Williams, 2006). The value which could conceivably be tied to Folk Art is based heavily in its connection to the handmade. Hands have stories, something which is clear to a viewer whether they be educated in art or not. As Peter Moore (1993) describes it, ‘It is art by the people for the people’. This accessibility sets it apart from traditional fine-art and although potentially lowering it to the everyday, allows it to retain its immediate relatability

Artists such as Carlin and Emin have been classically trained but retain the essence of ‘folk’ within their contemporary works by focusing on the craft and traditional materials used. Perhaps what is valued in this art form is the energy, time, and care that we can recognize within it. Inherent worth is subjective and unquantifiable, but the impact Folk Art has had within Britain alone in contemporary artists such as Perry and Carlin show just how far it’s come in influence and its ability to inspire the individual.

As a body of research this project has been approached with as much unbiased opinion as possible, however personal opinions and preconceptions have resulted in an essay with a potentially heavy bias in favour of Folk Art. Previous art education has steered the report away from traditional fine art into something less talked about and which dovetails with a more contemporary illustrative practice. By emphasising the individuality of these contemporary crafts, they harken back to traditional Folk Art such as the Norwich ‘Clicker Quilt’ or the Ashington group paintings. The intrinsic value that can be found is evident through the artists idiosyncratic application and the cultural, social, or historical reference that they draw from. Folk Art is, therefore, ‘inextricably linked with the religion, beliefs, rites, rituals, practices and everyday life of the people who create it’ (Susann Linn-Williams, 2006).

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The intrinsic worth of Folk Art can be measured through the time, care, effort and individuality. That value is a recognition of its history and creation, the idiosyncratic properties the piece has been given by its maker. To this extent, the worth and intrinsic value of a piece of work weighs heavily from its individual creation and is something that must be recognized when evaluating any piece of Folk Art.

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Images

Fig 1: Leach, B (1942) Alfred Wallisâ&#x20AC;&#x2122;s Grave Available at: <http://www.spooky1.com/artyfarty/artyfarty1.htm> (Accessed 11 November 2017)

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Fig 2: Kilbourn, O (1941) The off Shift Available at: <https://www.wikiart.org/en/oliver-kilbourn/end-of-shift-1941> (Accessed 11 November 2017)

Fig 3: Carlin, L (2013) Assorted Ceramics Available at: <http://wow.sportmax.com/en/?p=4254> (Accessed 11 November 2017) Kieran Blakey

Fig 4: Norwich ‘Clicker’ Quilt Available at: <https://i0.wp.com/www.mrxstitch.com/wpcontent/uploads/2014/08/clicker-quilt.jpg?resize=459%2C500> (Accessed 18 December 2017)

Fig 5: Alfred Wallis, (c.1935-6), Voyage to Labrador

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Available at: <http://www.tate.org.uk/art/artworks/wallis-voyage-to-labrador-t00220> (Accessed 20 September 2017)

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Kieran Blakey

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The British Museum (2017), Deathâ&#x20AC;&#x2122;s Door, Available at: <http://www.britishmuseum.org/research/collection_online/collection_object_details.a spx?objectId=3297715&partId=1> (Accessed at 3 January 2018)

Wikipedia (2017), Moai, Available at: <https://en.wikipedia.org/wiki/Moai> (Accessed at 3 January 2018)

Wikipedia (2017), Terracotta Army, Available at: <https://en.wikipedia.org/wiki/Terracotta_Army> (Accessed at 20 December 2017)

Kieran Blakey