1 NCEA Level 3 - Visual Arts 2013 Examples of Candidate Work – 91457 Photography

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<ul><li><p>*NCEA Level 3 - Visual Arts 2013Examples of Candidate Work 91457 Photography</p></li><li><p>*Excellence</p></li><li><p>*ExcellenceThis candidate shows evidence that:The drawing on panel one introduces the topic of museology and establishes the concept of the experience one might have when viewing exhibits at the museum, while seeking connections with the behind the scenes and public exhibits. The entry point conveys the contemporary museum experience showing interactive devices, screens and a theatre. The integrated use of subject matter such as the collection of archives and the classification of objects provide the candidate with options for extension through specific pictorial devices of light, viewpoint, texture and depth of field to convey the various interior spaces.Light is used to isolate the figure in the corridor. This informs the shift into individual spaces, corridors, and containment allows ideas to be continually revisited and refined in order to re-form and provide options for extension. Colonial animals ferrets, possums and rabbits offer a contrast to more indigenous elements native fauna, Maori portraits and artefacts. There is a comprehensive engagement of study and ownership with drawing being varied, purposeful and the many typologies of objects allows the portfolio to move from the broad (mannequins, colonial furniture, New Zealand portraits) to the specific (taxidermy animals). Materials, techniques and procedures are handled with fluency and macro photography is used to isolate specific objects to create confrontation. On panel three the animals are as aware of you, the viewer, as you are of them. Viewpoints taken offer the feeling of being watched. Reference to the figurative without actually using the figure, for example the mannequin, doll, animal and uniform all reference types of portraiture as the taxidermy animals come to life and take on an animated quality.The work results from a thorough study and careful selection of ideas from a variety of artistic and historical references such as Neil Pardington, Richard Ross, Louise Lawler, Fiona Pardington and Michael Parakowhai. Through the appropriate selection of artistic references, the candidate has been able to demonstrate the regeneration of a depth of ideas while using a range of pictorial devices. Many works extend beyond established practice, selecting and using appropriate elements into a synthesis that is the candidates own.</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*ExcellenceThis candidate shows evidence that:This submission sets out to compare the old and the new through the figure and selected materials. The investigation looks at how things grow and change to become more beautiful as they age. Concepts of change and time are sensitively considered with a genuine investigation onto the subject matter of the figure and skin surface, bread and cheese. The candidate activates a sense of engagement and ownership.There is clear technical fluency of photographic methods and an in-depth understanding of viewpoint, texture, and format, depth of field and colour. Beginning with a selective eye, the parts of the body are examined to draw attention to the surface and texture of the skin and panel two makes associations of those textures and colour to the surface and colour of bread and mould. The colour palette from the outset shows sensitivity and selection with the use of soft greens, pinks, yellow and greyscale which references distinctively the subject matter.As the submission synthesises ideas, the senses hand, sight, smell, touch are suggested through photographing the body parts. Food items were placed under a microscope to investigate their visual properties and comparisons have been made between skin, bread, freckles and moles. Patina of time; how can time enhance a surface or make something appear more beautiful are questions that address the candidates proposition.Panel three looks at the typology of Petrie dishes, where they are sequenced to form a biological study of genetic make-up. Overlay of DNA strands informs a scientific experimentation that results in the format of a diagram found in a biology book. The candidate continues to analyse and critically re-evaluate, demonstrating an advance, mature understanding of the proposition offered through the Petrie dish series and larger works that explore the concepts of change and time.</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*Merit</p></li><li><p>*MeritThis candidate shows evidence that:The relationship between a figure and structured space is introduced at the start of panel one with a consistent viewpoint (frontal, profiles, back) used to establish the proposition. An exploration of a range of viewpoints and conventions is developed on the lower section of panel one that includes movement, selective colour and typologies.Many photographic techniques have been used with proficiency and purpose. There are formal devices that drive the proposition through the use of blur movement, repetition, combination of two images and grid. Colour is well considered with a range of subdued tones used in contrast with black and darker tones. This submission develops systematically and ideas have been analysed to enable the development of new compositions which begin with a typological investigation of the individual that has been re-contextualised into an internal space, referencing the box that is further investigated on panel three. The generosity of options has been taken through the pictorial conventions used as the candidate decides to leave movement and pick up the framing device of the re-photographed photograph. Ideas are continually refined as the portrait is re-formed as a cube, referencing and re-visiting the box structure that was introduced at the start of panel one. The final phase deals with the deconstruction and reconstruction of the figure using the earlier box. The candidate could have demonstrated more criticality in their thinking by selecting and enlarging particular images to prioritize them within each phase of work to gain Achievement with Excellence.</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*MeritThis candidate shows evidence that:The drawing in this submission clearly defines the proposition that deals with a personal interior space, cultural patterns and iconography, and light. Panel two purposefully considers these combinations in clear phases of working (initially light and pattern, followed by pattern and iconography). The inhabitants of the space (the family) are introduced through the use of formal portraiture, by documenting pre-existing family portraits. The pattern and light investigation is refined through the exploration of three key shifts in seeing: a set of close up views to flatten the images; an isolation of pattern through short depth of field and emptying of the background; and the wrapping of objects in translucent patterned fabric. Combinations of the earlier pattern and portraiture images are revisited and refined through the use of cut outs and an exploration of positive and negative space. These ideas are reformed and extended through a series of overlays and shadow projections.A systematic and critical approach has focused on the development of pictorial ideas and relationships shared between patterns, family portraits and specific cultural objects. Purposeful editing has allowed for patterns and light to be used sensitively to both enhance the family portrait silhouette and create a particular type of aesthetic and impression.The use and understanding of media and photographic conventions such as focus, exposure, colour balance, in camera framing are proficient throughout the portfolio. With the pictorial ideas evident, more could have been regenerated from a broader in-depth drawing base at the beginning on panel one to gain Achievement with Excellence. </p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*Achieved</p></li><li><p>*AchievedThis submission shows evidence that:This linear investigation demonstrates coherent links between drawing and extending ideas. A variety of compositional arrangements investigating plants, leaves and trees are presented with variations of viewpoint and focus. The ideas explored on panel two shows the removal of the leaves from the tree context to examining it as a singular form, referencing the start of the nature cycle. Selected and considered combinations of conventions used such as format, grid, depth of view and viewpoint change to allow for a birds-eye-view and the scientific process of examination is employed to extend ideas. Selected drawing and photographic methods are appropriate to purpose and are used adequately to integrate the theme of seasonal shifts. Panel three reforms and extends both the circle motif and the colour palette while referencing the grid because of the way that the circles are arranged. The submission visually conveys ideas about the regeneration of elements of seasonal change. The final images include a blur technique that references the shifts of nature and the universe. All works are related and systematic despite the small movements of progression. There is evidence that ideas have been regenerated and evaluated with decisions made about composition, viewpoint and focus to express a particular conversation about nature.Ideas have been developed systematically and through selected forms of established practice to inform the extension of own work. A greater range of subject matter and more significant steps in the sequences of work to refine ideas would be required for Achievement with Merit.</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*AchievedThis candidate investigates a proposition about the relationship of text and language through a series of images of books as well as the use of selected words that identify and label what we see. The introduction of the figure on panel one is reading and various viewpoints of subject matter, close ups and consideration to the proximity of the books have been used to establish specific ideas. There is a consistent approach to print quality employed and composition has been explored through the arrangement and re arrangement of text. On panel two, text is handwritten and integrated as a pictorial device or visual element rather than a label as seen in panel one. Reforming and extending ideas into new work continues as another phase brings us closer to the subject and the text is enlarged and projected onto the skin. We are able to read the text and image simultaneously. There is the integration of conventions and regeneration of ideas that are evident on panel three. The focus turns to a single male figure and passages of text have been cut out and applied to the skin. The figure is only referenced by a text silhouette. The figure moves from three-dimensions back to two- dimensions returning to the book as a reformation of the idea.To have gained Achievement with Merit, this portfolio may have benefited from drawing from a broader range of subject matter including viewpoints, to be less heavily reliant on using the same pictorial devices over and over again.</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li><li><p>*</p></li></ul>