1 scholarship – 2008 printmaking examples of candidate work
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Scholarship 2008PrintmakingExamples of Candidate Work
This is a robust, exploratory and investigative submission. A major strength is the authority of drawing in finished works, which also appears in the workbook as research/ preparatory/ figurings/ thought process. The confidence with which the candidate handles their subject matter provides a dynamic that consolidates and expands the conceptual focus. The ability to talk visually in order to communicate ideas is a pivotal element in the success of this submission. A variety of drawing media is utilised to set up various propositions capturing an expressive, visually active, raw energy relational to the topic. Evidence of the candidates investment and take on the topic is accessible through the images (works on portfolio), but is also present in investigations in the workbook, eg the sausage dog is characterised pertaining to the research question/ premise, and is then recontextualised as a signifier for animal cruelty. The candidate clearly owns their practice; there is a productive level of risk taking demonstrated in the management of such a personally politic topic, ie it is a student-led enquiry. Artistic references are drawn in strategically and with insight. The shift in scale of images is successful in moving the viewers attention through various conceptual shifts across the three boards. Ideas are linked quite simply through sequences of images. There is a strong reference to traditional print practice, however this is consistently challenged through the treatment of and incorporation of drawing and appropriate mark making. The employment of a graphic quality and aesthetic is purposefully handled, supporting the nature of the topic; this also includes use of text, formatting and treatment of subject matter (animals, meat, bones).
OUTSTANDING SCHOLARSHIP This is a focused and consistent submission. The candidate has a sophisticated understanding of picture making, employing a range of print methods and strategies to extrapolate a depth of concept. This submission is about picture making figure/ ground/ environment relationships conversation and interaction. Imagery is cognisant of traditional notions of picture making, with clear understanding of colour/ palette, figure/ field relationships and compositional conventions, eg utilisation of solid space/ planes to form edges or outlines. Source material is intelligent, with clear decisions made in relation to visual development, including appropriate selection of artistic reference. In-depth visual research is well collated in the workbook. A sense of time and history is created by the introduction of collage and through the layering of line, tone and colour, which demonstrates an advanced, mature understanding of the candidates own practice. The employment of assemblage within the print structure/ compositional framework reveals another dynamic in terms of negative vs. positive pictorial devices. Layers of colour are utilised to reveal or isolate, and at various points are edited out and then reintroduced to add complexity. The level of observance employed by the candidate empowers the imagery; this is an honest, purposeful and confident investigation. Within the workbook the candidate evidences his or her own thoughts and decision making with clarity. Other experimental works are also presented in the workbook, which further expand the scope of research.