Cutout Sculpture Achievement Standard 2.2 90234


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Cutout Sculpture Achievement Standard 2.2 90234

  1. 1. CUTOUTS 2.2 Sculpture
  2. 2. VISUAL ART GENERAL COURSE – SCULPTURE Achievement Standard 2.2 (90234) Version 2 Due: Week 8 Term 1 Generate and develop ideas using drawing processes and procedures in sculpture practice. Credits: 6 Assessment: Internal “ Cut-Outs”
  3. 3. Student Instructions <ul><li>There are 4 tasks within this assessment that will help you to generate and develop ideas for a large scale ‘Cut-out’ sculpture. You will use a study of the artworks by various ‘cut-out’ sculptors – Lonnie Hutchinson, Peter Callesen, Yuken Teruya - to clarify your ideas using techniques and conventions appropriate to sculpture. You will need to provide evidence showing how this has been done through drawings, annotations, Marquette making and your final sculpture – submit on A3. </li></ul><ul><li>Task A: Artist Model Research </li></ul><ul><li>Task B: New Zealand Plant Research </li></ul><ul><li>Task C: Development of Ideas – (including Marquette making) </li></ul><ul><li>Task D: Sculpture Construction </li></ul>
  4. 4. Task A: Artist Model Research <ul><li>You will be introduced to a range of Sculptors who use ‘paper’ as the main medium for their sculpture work. The artists you will be introduced to are New Zealand Artist Lonnie Hutchinson, American Artist Peter Callesen and Japanese Artist Yuken Teruya. You will be introduce d to these Sculptors in class using a power-point presentation. You will then be expected to research these Sculptors (online) and collate a range of images from their work which you think will be inspirational for your own ‘cut-out’ sculpture. </li></ul><ul><li>Remember: to label the artwork imagery with the Artist, title and date of the work. </li></ul><ul><li>1 x A3 page </li></ul>
  5. 5. Task B: New Zealand Native Plant Research <ul><li>Situation: You have been asked to create your own ‘cut-out’ sculpture using a New Zealand Native plant as the basis for the design. To begin you will need to decide which Native plant will be suitable to create an interesting ‘cut-out’ sculpture. Using the internet, Native plant books provided and Native plants found at school (or at home), collate at least 1 x A4 page of images of your chosen Native plant. Try to find images which show a range of aspects of your plant e.g. whole views, close ups, leaves, flowers, different seasonal looks etc. If you are using the internet as a source, make sure the images are of good quality (high resolution). Using these images you will be required to complete 4 x pencil drawings of different aspects of your plant (1 x A3 pg) </li></ul><ul><li>1 x A4 page </li></ul><ul><li>1 x A3 page </li></ul>
  6. 6. Task C: Development of Ideas <ul><li>Positive/Negative space studies: </li></ul><ul><li>Now that you have an understanding of ‘cut-out’ sculpture and have chosen your New Zealand Native plant, you will now complete at least 2 x A3 studies looking at how your plant shape works in both positive and negative space. You will complete these using black and white paper. This information will be used to help you to develop ideas about your ‘cut-out’ and will influence your final sculpture. (Refer: exemplar) </li></ul><ul><li>2 x A3 pages </li></ul>
  7. 7. Sculpture Concepts: <ul><li>Using the knowledge you have gained from all of the above tasks, you will now complete </li></ul><ul><li>6 x cut-out sculpture concepts. These will be drawn on 1 x A3 page and you should consider the following: (you may notate around your drawings) </li></ul><ul><li>How will you incorporate both your own and your chosen sculptor models ideas? </li></ul><ul><li>How will your ‘cut-out’ look once completed? </li></ul><ul><li>Portrait/Landscape format? </li></ul><ul><li>Will the positive or negative space be the focus? </li></ul><ul><li>Will colour (paint) be a consideration? </li></ul><ul><li>Black/white paper? (you will be given the choice of A1 sized black or white paper) </li></ul><ul><li>How will the paper fall, stick out, bend, be attached? </li></ul><ul><li>Will your work hang or lay on a flat surface? </li></ul><ul><li>1 x A3 page </li></ul>
  8. 8. Cut-out Marquettes (Developments) <ul><li>Choose two of your sculpture concepts (the ones you think would make the best final sculptures). Using A4 paper – create 2 x marquettes (a small preliminary model of a sculpture) of your sculpture. Include all of the details e.g. painted sections etc that you would include in the final sculpture. This is like a ‘testing’ stage – an opportunity to find problems/solutions with your sculpture before you start the final work. </li></ul><ul><li>If your Marquette is particularly 3 dimensional you will need to take photos of how it would look and include these with your marquettes in your clearfile. </li></ul><ul><li>2 x A3 pages </li></ul>
  9. 9. Task D: Sculpture Construction <ul><li>Using the knowledge you have gained from Task C you will now complete an A1 sized final cut-out sculpture. You will be given the choice between black or white paper – any coloured aspects of your sculpture will need to be painted. </li></ul><ul><li>Your work will either be hung or laid flat on a plain surface. Your work will be photographed at different angles and - due to the fragile nature of this type of sculpture -these photos will be the main record of your work. Include a range of these photos on an A3 page in your clearfile. </li></ul>
  10. 10. <ul><li>Once completed you will complete a short evaluation of your work - this process is important and will help you to understand the purpose of your work, the choices you have made, and why the work looks the way it does. You will be developing your ability to understand your work critically, and this will help you when making decisions in future assignments. </li></ul><ul><li>Answer these questions in detail… </li></ul><ul><li>What worked well with your sculpture? </li></ul><ul><li>What did not work so successfully? </li></ul><ul><li>What artist models are evident in this work? Why did you choose each – concepts? techniques? </li></ul><ul><li>Would you change anything with your final sculpture? </li></ul><ul><li>1 x A3 page </li></ul><ul><li>(minimum) </li></ul><ul><li>Submit all of your work (except the final sculpture) in your A3 Clearfile for marking. </li></ul>
  11. 11. ASSESSMENT CRITERIA VISUAL ARTS LEVEL 2 Achievement Standard 2.2 (90234) Version 2 Generate and develop ideas using drawing processes and procedures in sculpture practice. Credits: 6 Theme: “Cut-outs” <ul><li>Use drawing and sculpture materials, processes and techniques with understanding and clarity of purpose. </li></ul><ul><li>Use drawing and sculpture materials, processes and techniques with understanding. </li></ul><ul><li>Use drawing and sculpture materials, processes and techniques appropriate to purpose. </li></ul><ul><li>Generate, develop, critically analyse and clarify ideas in a related series based on established practice. </li></ul><ul><li>Generate, develop and clarify ideas in a related series based on established practice. </li></ul><ul><li>Generate and develop ideas in a related series based on established practice. </li></ul>Achievement with Excellence Achievement with Merit Achievement Task A – Artist Model Research 1 x A3 Task B – NZ Native Plant Research 1 x A4, 1 x A3 Task C – Development of Ideas 5 x A3 pages Task D – Final Sculpture 1 x A3 page (min) Submitted in an A3 Clearfile Evidence
  12. 12. Lonnie Hutchinson Lonnie Hutchinson (Ngai Tahu / Samoan) is a multi-media, visual, installation and performance artist who exhibits both nationally and internationally. With an artistic practice and visual language of such richness and breadth it is her works made from black builders’ paper that have become the most recognisable strand of her work. Projecting outwards into three dimensional space these ‘cut outs’ manage to embody both a sense of ephemeral delicacy and the strength and stability of a mountain range; Her works speaks to the dualisms of then and now, black and white, ancestors and friends and whanau of today.
  13. 14. Using a symbolic language of shapes, patterns and motifs drawn from both Maori and Samoan cultural forms; the traditional arts of Pacific women such as siapo (tapa), tivaevae (patchwork) and weaving, and contemporary pop cultural forms like hip hop, Hutchinson’s ‘cut outs’ narrate stories and issues of gender and cultural identity. Often her sculptures resemble items of female attire such as capes, skirts or veils, all of which evoke states of protection, concealment and refuge.
  14. 15. Peter Callesen Lonnie Hutchinson
  15. 16. “Lately I have worked almost exclusively with white paper in different objects, paper cuts, installations and performances. A large part of my work is made from A4 sheets of paper. It is probably the most common and consumed media used for carrying information today. This is why we rarely notice the actual materiality of the A4 paper. By taking away all the information and starting from scratch using the blank white A4 paper sheet for my creations, I feel I have found a material that we are all able to relate to, and at the same time the A4 paper sheet is neutral and open to fill with different meaning. The thin white paper gives the paper sculptures a frailty that underlines the tragic and romantic theme of my works. “ Peter Callesen Born 1967 in Denmark
  16. 17. You will be visiting his website for the full experience of his work:
  17. 21. Yuken Teruya
  18. 25. Other artists who work with paper
  19. 26. Designer: Francine Haywood
  20. 27. Designer: Carol Windsor 2002 Orange heart leaf necklace 90 x 5 x 2 cm Sterling silver, mulberry, Japanese & Nepalese papers, oxidized, hand fabricated, laminated
  21. 28. <ul><li>Andrea Shavlik </li></ul><ul><li>Twig Brooch 2006 13 x 8 x 2cm </li></ul><ul><li>Book pages, sterling silver, seed beads, collaged </li></ul>
  22. 29. Angela Zent Untitled 2006 6 x 6 x 0.5cm Shell gum wrapper, wax paper bag, paper towel, copper, tape, masking tape, safety pin, nail lacquer, hand fabricated, burned
  23. 30. Candie Cooper Fabric, sheet music, twig, laminated, hand crafted