Scholarship – 2008       PaintingExamples of Candidate Work                             1
ScholarshipThis submission engages in a restrained and purposeful manner throughout itsentirety. The candidate has employe...
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Outstanding ScholarshipThis submission is highly astute, in that it knows what it is about, it lays out a strongpropositio...
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Schol08 paint-exemplars

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Schol08 paint-exemplars

  1. 1. Scholarship – 2008 PaintingExamples of Candidate Work 1
  2. 2. ScholarshipThis submission engages in a restrained and purposeful manner throughout itsentirety. The candidate has employed consistent strategies and devices to develop afocused and specific premise via a series of formal explorations. Initial studies set upthe visual interest; composition, motif, space and properties such as horizontal/vertical, pattern/ flatness. Articulation of architectural/ pictorial space and motif is asignificant component of this study. The overall approach is process-driven, utilising adrawing-based method. The milking shed, as the initial subject matter is quicklyunpicked; and discoveries made inform the selection of artistic reference. Thecandidate has utilised various models to inform their own practice, whilst keeping itoriginal to self. In the workbook the candidate describes explicitly models used anddemonstrates lateral extraction of the model and deployment into own decisionmaking. Careful and considered introduction of artistic reference helps to move thework forward at pivotal points. There are strong strategies employed to constructuseful frameworks for developing composition, further ideas and the forming of apictorial vocabulary, ie attaching fairly dominant elements to the frame, analysinghow they affect the depth/ space, shifting the emphasis from the edge of the pictureback into a layered pictorial space. The introduction of the veil unlocks further visualpossibilities and expands the conceptual field. This purposeful tactic is just one ofmany that demonstrates the candidate’s ability to pick upon visual aspects and devicesto shift the work forward. There is a constructive tension between decoration andabstraction that becomes more complex as the work progresses – the painting processhelps build imagery, eg flattening of space – creating the candidate’s own vocabulary,supported inherently by considerable understanding of painting conventions, ie.everything is in action simultaneously, flat pictorial vs. spatial depth. The return tofiguration usefully concludes the investigation. 2
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  9. 9. Outstanding ScholarshipThis submission is highly astute, in that it knows what it is about, it lays out a strongproposition immediately on board one and continues to isolate and draw on a numberof intelligent and interesting solutions throughout. It is fluent, independent andsophisticated in its disposition. The candidate is completely engaged at all times;testing, trialing, making decisions, editing their own practice. There is a high level ofdrawing facility employed; ideas are explored, analysed and problem solved throughthe establishment of a drawn language. The portfolio doesn’t labour at any point;successful and creative artworks are produced and are then built on. The candidateutilises established practices of illustration and painting related to pictorial structure/space, sequencing (time), format of finished work, technique, conventions of fantasyand New Surrealism. These references are intrinsic to the works and are clearlyunderstood by the candidate. There is clear understanding of how to manipulate theillustration factor, through inside/ outside frames, pop-ups, etc. The works moveintelligently between illustration and the structure of the paint. When the candidatemoves out of the frame, they do so meaningfully. Subject matter is constructed bythe candidate, involving both a photo shoot where they directed their own subjectand further innovation through drawing. Narrative is used to drive formal decisionsand to inform the pictorial enquiry, for example, a woman as a character in a world,of trees and animals, and a filmic set of relationships that are subject to influencesthat occur in the world. This allows an interpretative quality to come through, akin tostorytelling through the repetition of a central character, emphasising the sequentialaspect. The workbook enriches the study. Drawing solves its pictorial problems/ itplans for/ and engages in other possibilities. Drawing is used as a process ofinvention and discovery and the paintings are a synthesis of this process (drawing isused at times as a kind of doodle implicating ideas of memory and fantasy). There isa real engagement in the act of drawing, the candidate is actively processing – all ofwhich is evidenced strongly in the workbook. There is a strong sense that theworkbook is simultaneous, that the workbook and portfolio have a symbioticrelationship, that one is problem solving the other. 9
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