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NCEA Level 3 - Visual Arts 2011

Examples of Candidate Work – 90669 Printmaking

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Excellence

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Excellence

This candidate shows evidence that:

•Panel 1 clearly establishes the intention of the candidate through purposeful drawing and an investigation of motifs from a range of sources. They have worked from both observational and found sources to their benefit. The formal garden setting is site specific with overlaid references to landscape, botany, ancestors, genealogy, the passing of time, and the accumulation of memories and experiences.

•The concepts of the candidate become more specific as they develop from Panel 2 to 3. The convictions of their ideas and the compositional resolutions have enabled them to gain Excellence.

•Formal pictorial devices are used to communicate the symbolic treatment of motifs and concepts. Mortality and human vulnerability are explored through scale, pattern, and the interaction between opaque and transparent surfaces. For example the concentric circles of the tree trunk transform into the clock face in order to record a moment in time with direct reference to the Canterbury earthquakes.

•The candidate develops an original aesthetic throughout the submission. They have recognised their graphic strengths early on in the year. It is one of elegance and delicacy enhanced by their formal pictorial decision making: layers/the interplay between black, white, and colour/dreamlike manipulation of space and scale/varied handling of form and the symbolic use of colour and surface.

•The interactions of a range of traditional and contemporary print processes deepen the submission’s purpose. Where digital images or photocopies are used they become part of an overall compositional complexity and enrich the delicacy of traditional print surfaces.

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Excellence

This candidate shows evidence that: •The proposition is clearly established and owned by the candidate using an expressive approach to drawing and print. The competently observed figurative drawings use a range of media and scale and the focus varies as the central figure is recorded tonally and then translated from gestural charcoal drawings into a series of mono-prints. The candidate understands the nature of print as a vehicle for drawing and the purpose of drawing as a means of thinking visually.

•The first sequence explores tonal contrasts and figure ground relationships and simultaneously establishes an expressive technical vocabulary. Light is a key element as the compositions become more complex.

•There is a consistently intelligent relationship between compositional elements and the process of making a print. The exploration of layering, mark making, shape and line combine with wiping back the ink, thinning and layering, blotting, stippling, and drawing back into the works.

•The exploration of formal pictorial concerns such as juxtaposition, form, texture, shape, and contrast reference the work of a number of printmakers, including Richard Diebenkorn, Kathe Kollwitz, Grahame Sydney and John Drawbridge in combination with the compositional devices and more painterly concerns evident in the work of Arshile Gorky and Kitaj.

•Colour is subtly and systematically introduced as the ideas are clarified and regenerated. Once again the sequences of works reveal a critical editing, ordering and selection process; decisions are made and the ideas shift to explore even more complex pictorial concerns.

•The final works are both painterly and rich with meaning. Ideas are regenerated and combined with a sophisticated and expressive technical vocabulary.

•Through an intelligent application of materials, techniques and processes, this candidate convincingly demonstrates a comprehensive pictorial and technical vocabulary, in depth understanding of the characteristics and constraints of printmaking conventions and knowledge of printmaking practice in the production of an original body of work.

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Merit

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Merit

This candidate shows evidence that:

•A selective approach is employed where print processes are combined with purpose. Intaglio and relief print, mono print and woodcut combinations are used to construct playful figure/field compositions on selected colour grounds •Decisive compositional decision-making in order to carry the narrative. For example the use of format, shifts in tone, use of collage, chine colle and directional cutting to develop the story telling quality of the submission •The informed use of collage is established early on and continues to build throughout the submission, heightening the candidate’s humorous ideas and understanding of formal pictorial concepts •The originality of the work of the candidate’s is enhanced through the study of a range of hybrid artist models •Improved technical fluency is evident through the use of print processes as a means of drawing and in the careful handling of formal print methods

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Merit

This candidate shows evidence that:

•A systematic and focused approach is established early in the submission. A plentiful visual library of motifs are gathered and fully developed as the work evolves. For example patterns from early motifs are fully utilised by panel 3.

•Well understood use of contemporary models in order to develop formal pictorial decision making and devices. For example the handling of shape and colour as central compositional elements. Artist models referenced include Beatriz Milhazes, Sara Hughes, Andy Warhol, James Rosenquist.

•The purpose of thoughtful editing and layout is understood in order to show purposeful decision making and development of ideas. The images are allowed to breathe.

•The development of pattern-making and colour as shape/motif through the exploration of overlapping, background/foreground, juxtaposition, changes in scale, are underpinned by a sensitive and selective handling of colour and line.

•Interrelated formal pictorial devices are regenerated through the exploration of a range of media in order to extend ideas. Selection of medium is appropriate to the pictorial purpose of the work for example photographic or graphic.

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Achieved

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Achieved

This candidate shows evidence that:

•A systematic and focused approach is established early in the submission. A plentiful visual library of motifs are gathered and fully developed as the work evolves. For example patterns from early motifs are fully utilised by panel 3.

•Well understood use of contemporary models in order to develop formal pictorial decision making and devices. For example the handling of shape and colour as central compositional elements. Artist models referenced include Beatriz Milhazes, Sara Hughes, Andy Warhol, James Rosenquist.

•The purpose of thoughtful editing and layout is understood in order to show purposeful decision making and development of ideas. The images are allowed to breathe.

•The development of pattern-making and colour as shape/motif through the exploration of overlapping, background/foreground, juxtaposition, changes in scale, are underpinned by a sensitive and selective handling of colour and line.

•Interrelated formal pictorial devices are regenerated through the exploration of a range of media in order to extend ideas. Selection of medium is appropriate to the pictorial purpose of the work for example photographic or graphic.

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Achieved

This candidate shows evidence that:

•Drawing is used to generate a narrow range of ideas which are clarified through a limited investigation of compositional devices such as silhouette, repetition, colour placement, and framing as a drawing device in order to explore the interaction of positive and negative shape

•Offers some options part way through the submission which would have benefited from evaluation of purpose in the final works

•This folio would have benefited from more in-depth investigation of both traditional and contemporary established practice in order to aid an analysis of the handling of pattern as subject and subsequent editing decisions

•An over reliance on found/photographic processes to build ideas restricted the candidates ability to regenerate potential ideas

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