NCEA Level Visual Arts exemplars painting

					NCEA Level 3 - Visual Arts 2008

Examples of Candidate Work - Painting




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Achieved




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                 Achieved
Using a constrained colour palette, this submission explores
variations possible from a specific range of graphic motifs derived
from Kowhaiwhai. Evidence of knowledge of the characteristics and
constraints of established procedures is sufficient for achievement
of this standard.
The pictorial idea contained here is manipulated through variation
but lacks clarification and regeneration. A broader approach to
drawing as a means to gather subject matter may have enabled the
candidate to generate and later analyse and clarify an idea. Overall
the submission stands still, with no evidence of a purposeful inquiry
being pursued..




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                  Achieved
This submission shows work by a candidate engaged in a pictorial
idea based on the figure in the landscape. The work is derived from
established practices in new surrealist and narrative painting. The
skills in rendering and representational drawing are naively
expressed but sufficient to achieve the standard.
A vocabulary of devices for testing relationships of integration and
disjuncture are used; divisions of horizon, extended horizontal
format, montage of disparate elements, exaggerations of
foreground/background, flattened stylisations.
This combined with the use of conventional ‘non-real’ icons
provides the candidate with appropriate and fruitful means for
painting.
While the folio is limited in breadth and range of inquiry, the latter
works show greater skill and evidence of the analysis and
regeneration of ideas from that of earlier works.




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Merit




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                        Merit
Panel one contains graphic drawings derived from photographs of
a selected subject.
A variety of compositional arrangements are used and simple
alterations in the tonal range are tested for their influence in
figure/ground interchanges.
The works in panels two and three coherently and systematically
examine how translations into colour and further manipulations of
‘flat’ and ‘deep’ space can be achieved.
A major limitation in this submission results from the candidate
being ‘trapped’ in the source photography. All works in panels two
and three appear to be made over photocopies or digital prints that
have been ‘coloured in’. This severely impairs the student’s use of
conventional material and techniques in painting to test the pictorial
dynamics established. Techniques in brushwork; gesture, blending,
blurring and glazing etc, could have been used to critically evaluate
the pictorial idea and extend its purpose.



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                        Merit
Panel one shows work that quickly reveals the candidates interest
to extract linear and planar information from architectural imagery.
As the work proceeds, moves towards abstraction develop, while
references to perspective and photographic illusion remain. The
candidate demonstrates an understanding of the use of formal and
informal grid structures in their work.
A restricted colour palette enables the candidate to focus on
priorities of opacity and translucency, push and pull of figure and
ground, flat forms and painterly application.
Given a narrow vocabulary, the work purposefully regenerates
options through extracting information from the initial works and
through evaluating ideas as the work develops in panel two. By
these means the candidate shows their understanding of ideas and
methods founded in recent genres of architectonic painting. .




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Excellence




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               Excellence
This folio succeeds in extracting a broad pictorial vocabulary from a
specific and limited range of subject matter derived from
iconography and pattern from Pacific Island cultures.
The works at the bottom of panel one quickly establish a pictorial
idea in which interplays between flat gridded patterns and figurative
imagery are manipulated. In panel two the stability of the grid as an
anchor for the works is systematically challenged through shifts in
scale, gentle illusory devices and vignettes of colour.
Symmetry and the reduction of figurative imagery to linear overlays
bring resolve to the latter works as the grid is subtlety reinforced.
This folio plays off traditions of flat graphic picture-making from
Pacific cultures with traditions of illusory pictorial space originating
from Western European painting.




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               Excellence
Panel one reveals both the derivation of the subject matter (from
Renaissance fresco painting and the candidates own classroom
/gym) and the generation of pictorial ideas related to the figure in
interior space.
Manipulation of portraiture, montage, and perspectival illusion are
tested with witty reference to a selection of artistic precedents. The
works in panels two and three demonstrate increasing clarity of
purpose as the earlier manipulations are synthesized into a suite of
works that exploit variations in size and format. This results in an
ironic reflection on an idealized mythology of life at secondary
school.




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posted:7/11/2011
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