Caroline Walker – författare

Oliver loves to RUN and he never sits still or moves slowly ... until an injury forces him to take it easy. Lucky for Oliver, Grandad comes round to help, and he is full of great ideas to have fun during Oliver's slow winter! For Independent Reading at White Band 10, readers aged from 5-7 years.This story is part of Reading Champion, a series carefully linked to book bands to encourage independent reading skills, developed with Dr Sue Bodman and Glen Franklin of UCL Institute of Education (IOE).Reading Champion offers independent reading books for children to practise and reinforce their developing reading skills.Fantastic, original stories are accompanied by engaging artwork and a reading activity. Each book has been carefully graded so that it can be matched to a child's reading ability, encouraging reading for pleasure.

This story is part of Reading Champion, a series carefully linked to book bands to encourage independent reading skills, developed with Dr Sue Bodman and Glen Franklin of UCL Institute of Education (IOE). This book is aimed at Independent Reading 12, for readers aged 7 years old and up, or in the second half of Year 3.Glooscap is an undefeated and prized warrior, until he meets the unbeatable foe: a baby. In this traditional tale from the myths of the Wabanaki people (a Native American group of five nations), we learn about where true power lies.Reading Champion offers independent reading books for children to practise and reinforce their developing reading skills.Fantastic, original stories are accompanied by engaging artwork and a reading activity. Each book has been carefully graded so that it can be matched to a child's reading ability, encouraging reading for pleasure.The Key Stage 2 Reading Champion Books are suggested for use as follows:Independent Reading 11: start of Year 3 or age 7+Independent Reading 12: end of Year 3 or age 7+Independent Reading 13: start of Year 4 or age 8+Independent Reading 14: end of Year 4 or age 8+Independent Reading 15: start of Year 5 or age 9+Independent Reading 16: end of Year 5 or age 9+Independent Reading 17: start of Year 6 or age 10+Independent Reading 18: end of Year 6 or age 10+

This story is part of Reading Champion, a series carefully linked to book bands to encourage independent reading skills, developed with Dr Sue Bodman and Glen Franklin of UCL Institute of Education (IOE). This book is aimed at Independent Reading 12, for readers aged 7 years old and up, or in the second half of Year 3.Mia and her dad have moved from their home in a warm climate, to a very, very cold one. The one thing Mia is looking forward to is seeing snow for the first time. Little does she know there will be snow and much more - including some magic!Reading Champion offers independent reading books for children to practise and reinforce their developing reading skills.Fantastic, original stories are accompanied by engaging artwork and a reading activity. Each book has been carefully graded so that it can be matched to a child's reading ability, encouraging reading for pleasure.The Key Stage 2 Reading Champion Books are suggested for use as follows:Independent Reading 11: start of Year 3 or age 7+Independent Reading 12: end of Year 3 or age 7+Independent Reading 13: start of Year 4 or age 8+Independent Reading 14: end of Year 4 or age 8+Independent Reading 15: start of Year 5 or age 9+Independent Reading 16: end of Year 5 or age 9+Independent Reading 17: start of Year 6 or age 10+Independent Reading 18: end of Year 6 or age 10+

_Uncertain Swimmer_ is the second monograph on the work of British artist Jonathan Wateridge (b. 1972, Lusaka, Zambia), presenting around eighty paintings and works on paper made between 2019 and 2022\. Following on from the bodies of work Enclave and Expatria (2016–18), _Uncertain Swimmer_ develops the artist’s interest in modes of representation and the legacies of twentieth-century modernist painting through a visual and social exploration of the motif of the pool, depicting swimmers and sunbathers, often by night. Far from being an escapist environment of aspiration and privilege, Wateridge imbues the pool with a disquieting atmosphere, creating a cumulative feeling of unease and ennui among those present, now seemingly unsure of their world. The publication charts a marked evolution in the artist’s style from the realism of his earlier paintings with complex multi-figure compositions to more solitary, gestural and expressive works. His masterly application of paint takes new forms in the beautiful, curious and often haunting paintings and works on paper showcased here. Art historian and curator Marco Livingstone’s essay considers the change from Wateridge’s naturalistic paintings to the flattened, reduced shapes, forms and lines of the modernism- and abstraction-infused pieces he is making today. Francis Bacon, Edvard Munch and Paul Cézanne are among numerous art historical influences cited by Livingstone, who ruminates on the identity of the people in Wateridge’s portraits and the mercurial spaces they occupy, examining how Wateridge’s current critical preoccupations have transitioned from the autobiographical to more formal concerns.In the featured conversation between Wateridge and fellow painter Caroline Walker, the two artists discuss their overlapping experiences studying painting at Glasgow, as well as Wateridge’s fourteen-year break from painting until 2005\. He eventually returned to the medium when he realised it excited him more than anything else. Wateridge elaborates on his fascinating painting process, staging shoots in studios with hired actors and using elements from the photographs in the paintings, often over a period of years. On his canvases, he will scrape back the paint and reapply it, frequently taking pictures of the paintings in their various stages; he will then print the photographs and draw over them to continue working out what he will do with the final paintings. For Wateridge, a painting works when it stops failing, and he embraces unforeseen conclusions.Jonathan Wateridge has recently exhibited with the Hayward Gallery, London; Nino Mier Gallery, Los Angeles, New York and Brussels; TJ Boulting, London; Galerie Haas, Zurich; Pace Gallery and HENI, London. Wateridge's art is in the collections of institutions worldwide, including Aïshti Foundation, Lebanon; Pinault Foundation, Venice; the Saatchi Collection, London; the Rennie Collection, Vancouver; and Simmons & Simmons, London. He has been featured in publications such as _The Sunday Times, The Independent, Fad Magazine, Artforum_ and _Artnet_. Wateridge is represented by Nino Mier Gallery.

MacDonald 'Max' Gill (1884-1947) was an architect, letterer, mural painter and graphic artist of the first half of the twentieth century, best known for his pioneering pictorial poster maps including the whimsical Wonderground Map of London Town. His beautiful painted panel maps decorate the Palace of Westminster and Lindisfarne Castle and the alphabet he designed in 1918 is still used on the British military headstone.He enjoyed close links with many leading figures in the arts & crafts world: the architects Sir Charles Nicholson, Sir Edwin Lutyens and Halsey Ricardo, the calligrapher Edward Johnston, Frank Pick of the London Underground, and of course his brother - the sculptor and typographer Eric Gill.Overshadowed in recent times by his controversial sibling, MacDonald Gill was nevertheless a significant artist of his time. With much of his four-decade output touching on the remarkable events and developments of his time - including two world wars, the decline of Empire, the advent of flight, and innovations in communications technology, his work also takes on a unique historical importance.Drawing chiefly from family archives, this biography of MacDonald Gill is the first publication to tell the story of this complex and talented man.