1 scholarship – 2008 sculpture examples of candidate work

Download 1 Scholarship – 2008 Sculpture Examples of Candidate Work

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  • 1 Scholarship 2008 Sculpture Examples of Candidate Work
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  • 2 This submission contains a playful attitude; there is an exploratory and inventive use of media, material and objects. The candidate is resourceful in their use of found objects; these contribute positively to the conceptual conversation. Ideas presented in the workbook are equally as ambitious as what is on the portfolio, if not more so, they are inventive and convincing. The establishment of a potential body of work parallel to the pieces on the portfolio is strong, with a strength being the synchronous relationship of the workbook to the portfolio. There is a deliberate strategy employed between the political and the sculptural, and an incisiveness in the raw quality and selection of found forms and objects, which speak to the seriousness of the environmental politic. Work on the portfolio is clearly edited and makes interesting shifts forward through drawing (object propositions) and performative interventions. The candidate is not afraid of scale; there is a mix of maquette vs. sculptural output. This enables the dialogue to be multi-faceted in its discussion. There is understanding of sculpture in the expanded field with a number of works that are essentially temporal in essence. Board two presents a range of differing works; including effective presentation of a time-based work, where the sequencing successfully records the time-based aspect of the work. Useful to these types of work is basic titling or information, such as duration, action key factors that contribute to the actuality of the work. It is good to see a candidate looking outside the art world for appropriate contexts as well as a range of relevant artistic reference. This is reinforced by the inherent nature of the research question and the integration of appropriate found objects to reinforce the conceptual terrain. This is a consistent performance that utilises formal elements and sculptural conventions usefully to underpin key conceptual ideas. The amount of work produced enables a breadth of inquiry to occur. This is good to see in a sculpture submission; in order to reach this level of performance there needs to be a significant body of work undertaken.
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  • 9 Outstanding Scholarship This submission presents an honest and consistent body of research. It considers and employs a range of sculptural conventions to transport the proposition. There is consistent reflection in the trialing of new ideas; the candidate hones and clarifies through a variety of sculptural possibilities. The investigation starts with a conceptual approach to drawing, which then underpins the entire inquiry. The portfolio hits the ground running, with the candidate not afraid to revert to simple notions, such as tape on arms, a wandering line or integration of found lines. The formal is extended by the conceptual and vice versa. Both exist in relation to each other. Formal concerns drive concepts and enable inventive solutions to be explored. End points are often intuitive and at times poetic in their resolution. They appear open-ended and offer different meanings/ readings. The candidate is purposeful in their selection of different sites and locations that support the nature of the practice. The works activate the environment (various sites) through the use of sculptural lines or form; they move between architecture/ figure/ landscape tackling a range of modalities. The workbook provides evidence of other works that expand the dialogue on the portfolio. This is a self-reliant investigation, not conditioned by models. Artistic reference is wide-ranging and is utilised intelligently to underpin the candidates own direction.
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