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NCEA Level 2 – 91321 Painting 2013

Examples of Candidate Work

This portfolios in this document offer evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media, Ministry of education, 2007. Criteria relate to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

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Excellence

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

‘Parrot’

A range of media studies on a variety of surfaces that include anatomical investigations and close ups of feathers appropriately and confidently introduce the parrot. Investigations into the concept of flight and movement are then introduced. These ideas combined with the use of pattern, line and natural motifs are then used as a basis for the successful series of paintings on plywood on panel two.

The two works at the bottom of panel one integrate the stylised parrot with pattern on a white ground to develop a sense of flight, movement and space. Bold flat colour and collaged elements combine effectively in these works and provide a meaningful launching pad for the more complex images on panel two.

Delicate stencils and collaged wallpaper, previously used as a ground on panel one, have been sensitively used in the works at the top of the panel two. Transparent layering, bold primary colour, soft washes and pattern are then combined in the final works. The candidate fluently and critically selects and edits elements within each work as space plays a more important role in these final two compositions.

To move more securely into the Excellence grade range the candidate could have regenerated more ideas based on the series at the top of panel two rather than relying on the two large works to complete the submission.

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Merit

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

‘Mask’

The submission explores aspects of performing arts from an Eastern influence. The figure and mask are introduced on panel one and these are then explored in a variety of painterly contexts. The candidate explores a range of pictorial devices throughout both panels.

The painterly treatments in the compositions on panel two are informed by the paintings on panel one that include overlays, silhouette, and repetition. Paint and colour are used expressively throughout the submission with a wash technique dominating. The candidate’s decision to employ a more monochromatic palette in the final three works is entirely appropriate. These three paintings successfully and purposefully extend a variety of pictorial ideas that are introduced earlier. The middle work on this panel begins to critically select and build on the idea of theatrics with the mask sequence portraying characterisation and possible loss of identity with the employment of a whiteout image.

The candidate has organised the submission with appropriate sizing resulting in a coherent body of work. The three paint studies at the top of panel two generate a sense of movement that is extended in the close up works at the bottom of this panel. There is an element of purposeful risk taking in the candidate’s decision making.

To move into the Excellence grade the candidate could have explored further the compositional idea developed in the middle work on panel two. Further studies into figure ground relationships could also have enabled the candidate to show the level of fluency and regeneration required for the Excellence level.

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

‘Frames’

The student introduces aspects of contemporary pop culture and then integrates these with traditional Whakairo motifs and imagery. Historical references are made by the candidate with the use of the decorative oval frames early on panel one. This device is then developed and extended culminating in the large scale installation work on panel two.

The study of traditional Maori art forms along with pop art references from artists like Roy Lichtenstein in the use of the dot motif have been referenced by the candidate. Acrylic paint, stencils, and ink have been used throughout the submission.

The composition at the top right of board one alludes to aspects of the human form. This idea appears to have been extended with the multi panel work on panel two that references the symmetrical structure of a Wharenui with its symbolic references to the human form. These works can also be read individually where considered compositions that employ linear Whakairo references, overlay and interact with, planes of colour and pattern.

The candidate has engaged in a purposeful painting study and has successfully integrated a variety of painting techniques in the individual works and provided clear links as ideas are extended in the final sequence on panel two. To move further into the Merit grade range the candidate could have explored other picture making and compositional options that would have established a greater range of ideas and enabled further extension.

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Achieved

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

‘Spider web’

The candidate generates and develops a narrative based submission around a spider, its nest and web. The latter two are then developed and abstracted as the submission progresses. From the initial observational studies the candidate systematically develops ideas with a variety of paint studies where the abstracted shapes incrementally become a more dominant feature in the compositions.

The student deliberately employs a limited colour palette that is appropriate. The contrast between the predominant cool colours and the selective warm passages assist in creating dynamism in the works on panel two. These works show clear understanding of painting conventions that could have been informed by a study of Cubist related models that explore how pictorial space can be deconstructed and reinvented.

This submission sits at the high end of the Achieved range because it shows some evidence of a purposeful approach and a limited extension of ideas. To move into the Merit grade the candidate could have purposefully extended the ideas developed at the top of panel two with selected smaller works rather than relying on the large A2 composition to complete the submission.

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

‘Tools’

The submission, based on tools and machines, begins with a series of drawing studies that introduces the subject matter and a series of close up monochromatic paint studies that explore machine shapes. This series, and the following studies that explore the relationship between tools and abstract shapes, establishes the candidate’s intention.

A grid is introduced on panel one and this is explored in the series of works at the top of board two. These works develop and build on ideas previously introduced with transparent and linear overlays adding to the level of understanding. The candidate then completes the submission with a free form composition that introduces gestural mark making with transparent overlays of tools. Throughout both panels there is a technical and compositional consistency.

Painters like Jim Dine and David Salle’s approaches to subject matter, use of the grid, linear overlays and the use of a ‘window’ to emphasise a sense of scale have been employed.

The building of compositions is systematic throughout the submission. The candidate demonstrates that in spite of a limited proposition, achievement of the standard can be attained when ideas are systematically developed with understanding in a related series of works. To have moved further up the grade range, the candidate could have generated a greater range of ideas on panel one and supported the compositional shift in the final composition.

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