Transcript presentation format

NCEA Level 3 - Visual Arts 2010
Examples of Candidate Work –
90668 Photography
1
Excellence
2
3
4
5
Excellence
An acute understanding of complex, formal properties underlies this portfolio. There is
clear evidence of a wide range of pictorial understanding within the survey of the
interior space. A formal proposition is, in itself, an idea. This work relies on a complete
examination of photographic seeing, quietly and completely sustaining its intention.
The viewpoint shifts from the exterior to the interior in a few works at the top of panel
one. The exterior has then been referenced through the windows and this way of
looking is analysed. The horizontal structure that is evident in the centre of panel one is
at the core of ongoing picture making, but does not dominate it. There are many more
subtle shifts in light and viewpoint that continue to expand on the ideas.
The depth of the work lies in the understanding of the property of light and tone
throughout this particular space. Works have been cropped and framed to support the
pictorial aspects of the picture making and sized to accentuate this.
6
7
8
9
Excellence
This submission demonstrates an extraordinary understanding of a complex array of art
making approaches. Apparently starting with a documentary at the top of panel one, the
work quickly moves in to a documentation of a performance and the relationship between
figure and space. Multiple options have been explored here, both in the types of
performance and the role of the figure in the performances. At all times the work has been
tightly edited and sequenced.
Panel two clarifies the work from panel one, building in terms of the ideas and also
engaging very fluently with photography. The use of light and shadow engages with
contemporary practice, while the ideas reference a range of art making models.
Panel three not only synthesises these ideas, but continues to extend on them in the
production of new work. The works are intelligent, clever, funny, and commentate on
society without taking themselves too seriously. In this regard, homage is paid to the artist
models at the same time as demonstrating a thorough understanding of established practice.
10
Merit
11
12
13
14
Merit
This submission begins as a narrative description of a day in the life of a surfer.
While many submissions that proceed along this type of journey get stuck or
flounder with the regeneration of ideas, this one is considerably more successful.
Panel one shows a variety of pictorial approaches and makes a transition from the
view of the protagonist, to the protagonist within the view. The work has been
tightly edited and evaluated to move from the interior to the exterior with a
sustained approach to the construction of the pictures. Consideration has been
given to traditions and characteristics within the genre of landscape in the
continuation of the horizon line across the centre images and the position of the
figure leaving the frame at the bottom left.
Panel two continues this close observation but develops into a more formal survey
of the colours, textures and effects created by the subject matter. We are
seamlessly moved back to take the viewpoint of the surfer and this shift in views is
continued on panel three.
There is a sound knowledge of the characteristics of colour and underwater
photography demonstrated in the sequences on panel three. The submission builds
a particular aesthetic across the portfolio that is thoroughly purposeful.
Although the images are well crafted and constructed, they struggle to sustain the
range and depth of ideas through panel three required for Excellence.
15
16
17
18
Merit
This submission shows evidence that photographic drawing has been used with good
purpose to generate ideas. There are a considerable number of options that have been
explored around concepts of space, site, performance, light etc. The sequences
establish and discuss different but related ideas and the work is well composed,
edited, framed and cropped.
The concept of a performance around the attraction of light has further been explored
on panel two. Panel three combines some of the ideas explored and introduces
darkroom manipulations and technical experiments.
This submission depends for much of its development on a study of the work of Mike
and Doug Starn. It does this in a sensitive and restrained manner, however it begs the
question of whether this is an approach that allows a student to show a range and
depth of options. This criticality about how to develop this idea holds the folder at
Merit level. With the number of options developed and analysed on panel one, the
ability to relate and evaluate the ideas about the performance on panel two seems to
have stalled. Panel three then relies on an exploration of techniques used by the Starn
Brothers rather than an extension of ideas within the candidates own work.
19
Achieved
20
21
22
23
Achieved
The dream sequence/fantasy tale is a very popular theme in Photography. With
the ubiquity of Photoshop to enable students to manipulate images, it is
important to maintain a sustained pictorial approach to the concepts being
explored.
There is evidence in this submission of some photographic characteristics
being well considered. At the top of panel one, viewpoint and cropping
introduce the subject and at the top of panel two, depth of field and viewpoint
emphasise scale concerns. The bottom of panel two extends some ideas,
however this has not been capitalised on in panel three where a range of
manipulations have been used to make increasingly frenetic images. The scale
and hyper real possibilities explored on panel two needed to be recognised and
there is a danger in relying on picture-making that uses cut and paste
reiterations as its sole form of regeneration.
The work is clearly systematic, and the limited colour palette and pattern has
been well considered and exploited.
24
25
26
27
Achieved
There is clear evidence within this submission of the candidate’s ability to use
drawing methods to construct pictures. The photographs have been well made and
demonstrate knowledge of an aesthetic around the genre of night photography.
Whilst the candidate has looked at appropriate established practice, the readiness
with which these models can be identified shows that the candidate has not really
understood the use of established practice to help move ideas forward. There is
almost a sense that a new artist model has been used for each passage of work
rather than developing their own work based on learning gained from looking at
artists’ work.
The somewhat iconic and individual signs on panel one have successfully been
incorporated into a broader view at the bottom of panel one, however the top of
panel two uses the same device repeatedly without providing any further options.
Some considered editing would have been an advantage here. A new way of
looking based on a new artist model is visited at the bottom of panel two and then
the two ideas combined. These ideas have been continued through panel three.
However, at the top, the vertical divisions of the image are not obviously
purposeful. The final large work is successful and shows an understanding of
picture making convention.
The lack of consistency in this submission overall keeps it firmly in the Achieved
grade range.
28