Download - 1 NCEA Level 2 – 90479 Painting 2012 Examples of Candidate Work

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NCEA Level 2 – 90479 Painting 2012

Examples of Candidate Work

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Excellence

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This portfolio has been verified as clearly within the Excellence grade range .

‘Still life/figure’

The portfolio presents outstanding evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

This submission that begins with a series of very well executed still life compositions, appears to engage in a social anthropological narrative that alludes to poverty, isolation and displacement. The studies and paintings are sensitively executed and grow in confidence as the submission progresses.

From the initial compositions, subject matter is isolated and then reinvented into an atmospheric sequence of paintings that move naturally between both panels. A range of models like David Salle, Jonathan Darby, Kitaj and Seraphine Pick could have been used to inform thecandidate’s own ideas. However, the candidate’s own voice, both in the choice of subject matter and the painterly concerns that are developed, is the strength of this very fluent submission.

Wash techniques, textural dry brushing, finely detailed work and transparent layering are all employed in a confident and very skilful manner throughout the submission. A near monochromatic palette supports and enhances the nature of the investigation.

Smaller studies are critically used as successful works in their own right and to support larger works. The final painting appropriately concludes the narrative developed in the submission. It is painted with sensitivity, freedom and maturity.

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This portfolio has been verified at the lower end of the Excellence grade range.

‘Architectural studies’

The portfolio presents convincing evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

This submission uses architectural studies introduced in pencil and paint to inform a formal investigation that involves the grid, elevation and plan views. Transparency is explored with linear overlays and these are combined with textural paint applications that juxtapose effectively with the softly washed grounds. These ideas are introduced on panel one and regenerated in the more complex compositions on panel two.

Ideas have been developed from studies of artists such as Pat Steir’s investigations into the use of the grid, scale and textural paint application. The candidate has intelligently used these ideas to clarify and regenerate the series of works on panel two. The final work is a considered formal solution to ideas generated earlier. The use of the tree form that becomes framed in the ellipse serves as an effective contrast in scale and form to the geometric shapes of the rest of the composition.

The submission is a fluent body of work that builds momentum incrementally as ideas are clearly and effectively regenerated. To move further into the Excellence grade range the compositional ideas in the final composition could have been extended and regenerated further.

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Merit

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This portfolio has been verified at the higher end of the Excellence grade range.

‘Scarecrow’

The portfolio presents sound evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

The submission starts with pencil drawings that sensitively introduce the theme of objects on the land. Paint studies support this as the relationship between object and ground is developed through panel one. The candidate articulates this spatial relationship with increasing confidence in this panel. In panel two ideas are clearly extended with a purposeful investigation of stylistic conventions learnt from artists like David Salle and Sigmar Polke.

Even though there are some inconsistencies in the articulation of forms in this submission on panel one, there is still a clear sense of purpose and extension of ideas presented. The submission gains momentum and purposefully moves towards its conclusion. The final A2 composition successfully concludes the investigation.

To move into the Excellence grade the candidate could have edited or resized studies on panel one and critically evaluated and regenerated pictorial ideas of overlaid linear forms, flattening of objects and spatial treatments that have been developed.

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This portfolio has been verified in the middle of the Merit grade range.

‘Flag/Flowers’

The portfolio presents sound evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

The proposition for this submission is clearly established in the first half of panel one where the grid is referenced as a compositional device in the studies that include landscape and signage. The submission gathers momentum as natural forms, pattern and flags are layered and structured as the grid is investigated as a compositional device. Ideas are then successfully extended in a purposeful and methodical manner in panel two where the geometric shapes, forms and text are countered with the swirling linear patterns introduced earlier. Shifts in scale and positive and negative contrasts are re-referenced. These play a more important role in the large final composition that successfully concludes the submission.

New Zealand artists like Nicky Foreman, Robert Ellis and Peter James Smith could have been used to influence the direction the candidate has taken. Paint is handled competently throughout the submission as textured, washed grounds that have been sensitively dry brushed are over-laid with flat strong colour. This is particular effective in the final work.

For the candidate to move further up the Merit grade the painting techniques introduced in the final work could have been investigated and extended further, perhaps with another series of smaller works.

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This portfolio has been verified at the low end of the Merit grade range.

‘Owl’

The portfolio presents sufficient evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media, Ministry of Education, 2007, relating to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

The owl and its context is quickly established as subject matter at the beginning of the submission. The candidate has made an early decision to draw with paint. This is entirely appropriate to the painterly exploration that the candidate engages in in the bottom half of panel one and throughout panel two.

A circular motif derived from close up studies of the owl’s eyes is introduced in the bottom half of panel one and used as a framing device. This is then extended into the cut out compositions on panel two where the circles add contrast and develop a sense of scale. Paint is applied in a gestural manner throughout. Artists studied could have included Alexis Hunter, Neo-German Expressionist artists and Anselm Kiefer.

The candidate is operating at the lower end of the Merit grade as the work is sufficiently purposeful but the extension of ideas is limited. The candidate has been rewarded for taking the risk to extend compositions out of the rectangle with the introduction of collaged free-form compositions in the final series of works.

To move further up the Merit grade the candidate could have explored ideas for the final set of works with smaller studies that investigate the relationship between form and colour and included these in the space available on the panel. A more sustained investigation into expressionist painting techniques relevant to the style developed would also have been of benefit to the candidate.

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Achieved

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This portfolio has been verified at the high end of the Merit grade range .

‘Interiors’


The interior settings used as subject matter in this submission are introduced in drawings that articulate space with understanding. Paint studies begin to explore negative space, the elimination of detail and positive and negative contrasts. These works are then developed into a systematic series of paintings that reference Patrick Caulfield’s iconic style.

The works on panel two explore line, space and colour to depict part naturalistic and part illusionary settings. The final work ‘opens’ the setting up with extended white space, overlapping linear work and colour used independently of the drawn structures that show clear understanding of Caulfield’s compositions.

The submission clearly meets the criteria for Achieved and begins to extend ideas in a purposeful manner, bringing it close to Merit. To achieve with Merit the candidate could have extended the ideas developed by looking at other models to integrate with ideas developed from Caulfield. Other possible ideas could include extending compositions beyond the confines of the frame or testing ideas in a circular or elliptical format to provide a contrasting element to the angled architectural lines.

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This portfolio has been verified at the middle of the Achieved grade range.

‘Pop’


Figure, ground and pattern are introduced at the beginning of the submission with a series of drawings and paint studies that begin to explore compositional arrangements. This extends into panel two where the grid is introduced and a more formal relationship between figure and pattern is employed.

Conventions that could have been influenced by David Salle, Sigmar Polke and contemporary ‘grunge’ artists have been referenced. Spray techniques, stencil, dripping and flat paint application have been used throughout the submission and understanding and control of media is demonstrated. A systematic progression of ideas is evident in the ordering of works.

Further investigation into the painting techniques based on the artists referenced would have assisted the candidate to move to a higher level of Achievement. The candidate could also have developed and extended the ideas that are effectively introduced in the series of paintings at the top of panel two.

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This portfolio has been verified at the lower end of the Achieved grade range .

‘Action’


The submission generates ideas based on the figure and use of text and develops compositional ideas sufficient for it to be awarded Achieved. Ideas could have been generated from established artists such as Nigel Brown [figure], Peter Robinson [text], Sigmar Polke [surface, texture and pattern] and David Salle [overlay images]. Framing elements are introduced at the bottom of panel one and this idea is explored in a varied although limited manner in panel two.

The candidate attempts a variety of painting techniques that include stencil, spray paint and watercolour. Work is arranged in a sufficiently systematic manner as ideas are generated throughout both panels.

For the candidate to achieve at a higher level in the Achieved grade range, a more sustained investigation into established painting practice including the use of techniques and processes could have been employed. A greater focus on a more sequential development of ideas by learning from, and linking with previous ideas could have contributed to a more systematic body of work.

Download - 1 NCEA Level 2 – 90479 Painting 2012 Examples of Candidate Work

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