NCEA Level 3 - Visual Arts 2009. Examples of Candidate Work – 90667 Painting. Achieved. Achieved.
Examples of Candidate Work – 90667 Painting
This submission successfully generates, develops and explores a series of pictorial options based on Pop art and Surrealism. A pictorial vocabulary has been established and built upon, exploring figure / background relationships. Spatial issues and the depiction of negative and positive imagery have also been considered and explored in compositional ideas, which has resulted in works that sufficiently clarify and regenerate pictorial ideas.
The skills demonstrated in rendering and painting technique are at times limited but sufficient to meet the standard.
The breath of the enquiry develops systematic options and ideas that lead to a conclusive larger work at the end of the portfolio.
This submission undertakes a formal investigation of still life subject matter. An exploration of varied compositional ideas has been integrated with figurative, linear elements based on a modernist, formalist approach.
The portfolio demonstrates a systematic approach towards developing and testing ideas. Issues of scale, viewpoint and juxtaposition evolve into considered works that regenerate ideas previously explored within the enquiry.
Evidence of the knowledge of the characteristics and constraints of established procedures relevant to the central ideas is sufficient to meet the requirements of the standard.
This submission successfully generates and develops approaches to media that match the subject matter of the investigation.
Figure/ ground ideas have been carried out and the use of close up views, expressive colour and paint handling match the thematic message underlying the work.
The incorporation of camouflage reinforces and provides further options for development when dealing with figure/ ground relationships.
Ideas have been systematically applied with a limited but sufficient understanding of characteristics and constraints of media.
This submission shows work by a candidate that has been engaged in developing an idea based on the portrait and pop/ text imagery.
The work relates to lowbrow and graffiti painting genres. Although the submission represents a confined range of imagery, there is clear evidence in each of the later, larger works, that text is being used systematically as a visual device. Image placement, overlapping, scale shifts have been translated and regenerated in subtle shifts throughout the portfolio.
The submission demonstrates a consistent use of media, processes, practices and techniques to meet the standard. Had the candidate reduced the size of later works, this may have allowed opportunities for analysis and evaluation to occur, presenting further options for the strengths of the work to be reinvestigated and tested in a new series of works.
This submission presents an enquiry about cityscapes and architecture. A range of purposeful arrangements and curvilinear ideas have been investigated and translated into colour/field relationships.
The works in panels two and three coherently and systematically examine how translations into colour and planned manipulations can reinforce movement and be edited into formal compositions. Later works reinforce and evaluate earlier pictorial devices and techniques into works that reinvestigate paint work and colour placement.
The submission shows understanding of modernist and contemporary approaches relating to subject matter.
The submission presents a narrative enquiry alongside a visual investigation. Figure/ ground relationships, changes in viewpoints, compositional relationships based on a theme relating to music have been used to build the enquiry. These central ideas have been analysed and re-valuated in panel two and three.
Panel two shows a purposeful range of different compositional arrangements that refine the investigation. Panel three purposefully regenerates options through extracting information from previous works, showing understanding of methods founded in contemporary painting.
This portfolio succeeds in establishing and critically relating a fluent pictorial vocabulary in a focused range of subject matter derived from portraiture practice.
The works through panel one, quickly establish a depth and range of pictorial ideas that interplay the spatial depiction of subject within an environment.
Focused, subtle transitions, fluent use of colour and expressive paint qualities have been used to build, expand and synthesise ideas. Understanding of portraiture devices, gesture, gazes and cultural iconography have been economically used, to critically relate earlier pictorial concerns.
This submission reflects understanding of established practice and interests of the candidate.
The submission demonstrates an acute understanding of a complex pictorial narrative. There is clear evidence of understanding and use of a wide range of historical, pictorial devices and approaches throughout the portfolio. This portfolio combines illusionary pictorial space from western European painting with illustrative, graphic approaches founded in contemporary practice.
Imagery has been used purposefully and intelligently to develop and expand a range of compositional ideas that has been referenced by Surrealist and established modes of working.
In panel one, a broad range of subject matter, compositional and spatial options have been developed. In panel two, fluency and facility with media has been used to expand, articulate, juxtapose, and interlock images. Also evident are compositional shifts in scale; an expanding and repositioning through the use of illusory devices and colour.
The synthesis of compositional, atmospheric concerns in the latter works on panel three brings resolve and establishes further possibilities that could have been explored further.