1

NCEA Level 2 – 90479 Painting 2009

Examples of Candidate Work

2

Achieved

3

4

This sample is placed at the lower end of the Achievement grade range.

The initial drawing starts with collected imagery from urban structures, local landscape and objects of personal interest. Ideas have been generated using the grid as a compositional device, overlaying simplified patterns and motif to enhance the compositions with references to the established practice of Robert Ellis.

A systematic approach in the development of ideas is evident but is compromised somewhat, due to the insufficient space between works and the ‘wallpaper’ effect on both boards. The reading of individual images becomes confused, therefore limiting evidence of systematic decision-making. This submission would have been enhanced by presenting smaller works on panel two and allowing space for each piece.

The use of composite images and the juxtaposition of these, using an overlapping effect has been handled with appropriate control, although further exploration is limited which keeps this submission at the lower end of Achievement.

Further reference to other artist models may have enabled this submission to achieve at a higher level. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

5

6

7

8

This sample is placed at the higher end of the Achievement grade range.

Imagery from land, seascapes and boats has been introduced in the initial drawing studies. Ideas have been generated early on panel one, using the grid as a formal compositional device with references to artist models such as Shane Cotton and Nicky Foreman. Text and other motif have been introduced to enhance the compositions. Positive and negative contrasts and some overlaying have been dealt with, somewhat successfully, in the sequence on panel one which demonstrates appropriate control of processes, procedures, materials and techniques.

A systematic approach to the development of ideas is evident on the four smaller abstract studies at the top of panel two. They begin to extend ideas showing some understanding of picture making conventions. However the final three works on panel two, while revisiting earlier imagery, do not extend ideas, which keeps this submission at the high end of the Achieved grade. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

9

10

11

Merit

12

13

This sample is placed at the lower end of the Merit grade range.

Initial ideas have been generated though simple still life drawing of flowers and floral arrangements from various viewpoints. These utilise framing and cropping as a compositional device.

Although the journey is limited, ideas have been systematically developed and extended from the starting point through the use of media approaches including the textural application of paint and colour selection with references to the established practice of still-life artists, such as Jim Dine.

The large final work on panel two appears to rearrange the same pictorial devices, which holds this submission back from reaching a comfortable Merit grade.

Processes, procedures, materials and techniques demonstrates clear understanding, with a degree of subtlety demonstrated in colour selection, confident brushwork, use of positive and negative space, and warm and cool colour complimentaries, both in individual works and in the development across the submission. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

14

15

16

17

This sample is placed comfortably within the Merit grade range.

Initial ideas have been generated though drawings of a single fast food diner interior from various viewpoints, with particular attention paid to the patterns evident on the surfaces and floor tiles.

Ideas have been systematically developed and extended from the starting point, through the layering of linear and flat spatial areas. These pictorial arrangements have been handled well across the entire submission. Artist models have been used with understanding and as a means to develop strategies for making new works. References to the established practice of Wayne Thiebaud, Hammond, Comic book framing, Cubism and Pop Art – Lichtenstein, Sigmar Polke and Merlin Carpenter.

There is evidence of understanding and appropriate use of processes, procedures, materials and techniques, as the candidate engages with media in a painterly and expressive manner. This candidate has been rewarded for extending compositional ideas through a willingness to trial painterly approaches to picture making and extending compositional ideas. If the candidate had explored beyond the repetitious use of the setting as a single context, it may have contributed to this submission being awarded Achievement with Excellence. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

18

19

20

Excellence

21

22

This sample is placed at the lower end of the Excellence grade range.

Ideas have been clearly set out from the beginning with a collection of isolated drawings of Elvis, a flag and a butterfly. These contrasting images provide a narrow bank, which are frequently revisited throughout the entire submission. From there, the candidate has set up promising compositional studies on panel one, confidently bringing elements together using the X grid as a compositional device, layering selected motifs under and over each other.

Ideas have been systematically extended and analysed with purpose. This has occured in the development of shallow space and the interplay of complex layering and overlapping of shapes within vertical and horizontal bands. Critical decisions have been made through the use of line in contrast with organic shapes, manipulation of scale, repetition and transparency.

Regeneration of ideas occurs through the re-integration of images into other images reworked in a variety of ways, seen throughout the submission.

Facility in processes, procedures, materials and techniques is shown through proficiency in handling paint and the deliberate limiting of the colour palette.

The two large unfinished works on panel two are not as assured, which therefore keeps this submission at the lower end of Excellence.

The candidate makes references to the established practice of Pop Culture artists, such as Sigma Polke. This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

23

24

25

26

This sample is placed comfortably within the Excellence grade range.

Ideas have been competently generated though drawings of highly rendered portraits and cropping techniques, used to establish the sophisticated visual proposition around a photographers view on his model.

Ideas have been systematically developed and extended with purpose, from the starting point through an exploration of a depth of ideas. Clarification is evident in the intelligent selection of linear and modelled imagery, used in a complimentary way. Regeneration of ideas occurs on the bottom of panel two where the candidate has revisited earlier ideas on framing and re-worked them into a resolution, which clearly identifies a personal response to the initial proposition. A clear integration of contrasting stylistic conventions has been demonstrated successfully.

Facility in processes, procedures, materials and techniques is evident through the juxtaposition of expressionist mark-making versus tight control of imagery and the clarity in decision making around colour palette early in the submission.

The candidate makes references to a diverse selection of established practice, including artists David Salle, Jeffery Harris, Tracy Moffat & Magritte.

This submission presents sufficient evidence to fulfil the expectations of The Arts in the New Zealand Curriculum, Learning Media, Ministry of Education, 2000, Level 7.

27

28