NCEA Level 2 - Visual Arts 2007

1. NCEA Level 2 - Visual Arts 2007 Examples of Candidate Work

2. Achieved

3. This folio has many of the qualities seen in achievement folios seen at verification. There is clear evidence, as seen by the quantity and placement of the work on the folio, that this candidate has systematically gone about a programme of work. This has been based on the initial observational drawing of domestic utensils, then moving onto compositional studies, based on rendered and flat space, and textural investigations. The level of skill demonstrated in this, is at a level that allows the candidate to successfully move onto compositional ideas, but to gain achievement with merit would have needed to show a greater understanding of the techniques selected for use. Compositional ideas are both generated and then subsequently developed. Each step taken by the candidate and shown by the relationship of work-to-work is logical. The decision, by the candidate, to use the grid as a primary compositional tool for the final works is understandable, and has served them well. Establishing a greater range of pictorial possibilities earlier through a range of smaller compositional studies would have helped this candidate develop a greater understanding of both flat and rendered space. Ideas about the grid, text and image could then have been extended or potentially analysed and clarified. An example of the type of step needed would have been if they had shown some consideration of the placement of the utensils in relationship to each other and to the edge of the picture plane.

6. This folio is chosen because it has many of the characteristics of the types of folios at the achieved/not achieved cusp that is seen at verification. In this case the candidate has shown sufficient evidence to meet the requirements of the standard for the grade of achievement. There is some evidence of the use of drawing to explore pictorial ideas that relate to the choice of subject matter of flax and weaving. There are a number of identifiable pictorial modes employed in the construction of this folio, at least at a rudimentary level. As one example we can see how the folio begins with a documentary approach, showing the process of weaving, and this demonstrates an understanding of the use of photographic sequencing. The candidate then develops this into work based on grid construction which is a logical choice, given both the nature of the woven flax, and the initial layout of the first sequence of photographs. A small series at the bottom of board one looks at the idea of relative scale. All these ideas are coalesced into the final works on board two. The logical and coherent layout shows the systematic approach that is required for a candidate to gain achievement as well as clearly visually linking its generation and development of the pictorial ideas being explored. This is despite the relative brevity and predictability of the pictorial journey. In order to have been more solidly at the achievement level, or to have gained achievement with merit or higher, this candidate could have chosen a broader range of pictorial starting points, and to show a greater proficiency in the use of their selected wet film darkroom based techniques. Reviewing previous work to identify pictorial strengths, and creating new options from this process is an important step.

9. This folio is characteristic of many of the types of cusp achievement and achievement with merit folios seen at verification. In this case the folio meets many of the requirements for achievement with merit. Much of the work selected for presentation on the folio show evidence of an understanding of pictorial conventions, and the candidate appears to be technically proficient. It is the lineal nature of the proposition as shown by the lack of options, that makes it remain in achievement rather than moving into achievement with merit. In order to be awarded achievement with merit, candidates need to clearly show an extension of the pictorial ideas they are working with. The nature of this folio indicates that the candidate had a predetermined notion about how their end point might look. These folios tend to follow a very straight route, and although ideas are developed, opportunities for further pictorial possibilities are not considered or shown. Much of the work presented is unnecessarily repetitive, so printing smaller, and showing other pictorial ideas may have enabled them to potentially shift into a higher grade. This would have also enabled them to have more clearly considered why they have shifted into the use of multi-layered imagery.

13. Merit

14. This folio is characteristic of many of the types of achievement with merit folios seen at verification. The key characteristic that separates achievement with merit folios from achievement is the requirement to show understanding and to extend their pictorial ideas. This is clearly obvious in this folio. The candidate draws in visual information about the subject they have chosen. Motorcycle racing is clearly something they enjoy, and this is visible from their work. Selected ranges of pictorial modes are also indicated in their first work. This includes a consideration of text, painterly mark making, and photographic source material. From this initial proposal a range of logo options are created that stay within this pictorial aesthetic. The final solution is a visually strong end point. However its inclusion also indicates the reasons why this folio did not gain achievement with excellence. Many of the works on board two are heavily reliant on the way of working established on board one. The range of images selected for use are limited, as is the way text is utilised as an element in the landscape. Care must be taken that the depth that is a requirement for achievement with excellence does not manifest itself as needless repetition. Candidates who create depth, through a careful analysis and clarification of previous work, rarely make this mistake.

17. This folio is characteristic of many of the types of achievement with Merit and achievement with excellence folios seen at verification. This printmaking folio follows a time-honoured process of shifting from the highly and accurately observed to a reduced abstracted and refined sense of the initial observation. This in itself is a highly useful way of candidates exploring a sequential process of image making, and highly appropriate given the architectural proposition being dealt with. All of this is covered on board one. On board two the candidate attempts to regenerate a depth of ideas but does not show sufficient analysis and clarification to gain an achievement with excellence. Creating a wider range of pictorial options on board two, perhaps an exploration of Diebenkorns colour shifts, or by the introduction of another artist, would have potentially helped this candidate shift into achievement with excellence. Close attention to the technical conventions of established print making practise, such as the cleanliness of the edge, although not holding this particular candidate back, are important when verifiers are looking at the third bullet point.

20. Excellence

21. This folio is characteristic of many of the achievement with excellence folios seen at verification. The conceptually advanced and technically proficient candidate has created a dynamic folio that pictorially challenges, shifts media, clarifies its thinking and then rephrases its proposal at each step of the programme. The initial series of work with the painted blue tyres is intelligent and a high end solution, and clearly references their first Artist models. The subsequent drawing is less sophisticated, but allows the candidate to generate their next group of work. This has allowed them to extend the ideas established early on board one. The decision to retain the circle motif is not unexpected but the use of animals as a sculptural material is. The candidate has clearly drawn on their own cultural milieu and awareness of how to make animals do your bidding in order to make this transitory and ephemeral work. The candidate then having analysed the relative success of the previous work, regenerated another quite different body of work, this time using an explicit reference to a model (Banksie) often regarded as a subversive street artist. The cyclic nature of Art making is clearly evidenced on this board. This continually renewing and cyclic process has allowed this candidate to reach achievement with excellence, and is useful for other candidates and teachers to see how beneficial it is for learners to not stop, and to rephrase their already established ideas. This candidate continues to explore ideas, systematically and critically right up to the end of their folio.