Transcript 2008 presentation format (PPT, 1.2MB)

Scholarship – 2008
Sculpture
Examples of Candidate Work
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This submission contains a playful attitude; there is an exploratory and inventive
use of media, material and objects. The candidate is resourceful in their use of
found objects; these contribute positively to the conceptual conversation. Ideas
presented in the workbook are equally as ambitious as what is on the portfolio, if
not more so, they are inventive and convincing. The establishment of a potential
body of work parallel to the pieces on the portfolio is strong, with a strength being
the synchronous relationship of the workbook to the portfolio. There is a deliberate
strategy employed between the political and the sculptural, and an incisiveness in
the raw quality and selection of found forms and objects, which speak to the
seriousness of the environmental politic. Work on the portfolio is clearly edited and
makes interesting shifts forward through drawing (object propositions) and
performative interventions. The candidate is not afraid of scale; there is a mix of
maquette vs. sculptural output. This enables the dialogue to be multi-faceted in its
discussion. There is understanding of sculpture in the expanded field with a
number of works that are essentially temporal in essence. Board two presents a
range of differing works; including effective presentation of a time-based work,
where the sequencing successfully records the time-based aspect of the work.
Useful to these types of work is basic titling or information, such as duration,
action – key factors that contribute to the actuality of the work. It is good to see a
candidate looking outside the art world for appropriate contexts as well as a range
of relevant artistic reference. This is reinforced by the inherent nature of the
research question and the integration of appropriate found objects to reinforce the
conceptual terrain. This is a consistent performance that utilises formal elements
and sculptural conventions usefully to underpin key conceptual ideas. The amount
of work produced enables a breadth of inquiry to occur. This is good to see in a
sculpture submission; in order to reach this level of performance there needs to be
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a significant body of work undertaken.
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Outstanding Scholarship
This submission presents an honest and consistent body of research. It considers
and employs a range of sculptural conventions to transport the proposition. There
is consistent reflection in the trialing of new ideas; the candidate hones and
clarifies through a variety of sculptural possibilities. The investigation starts with a
conceptual approach to drawing, which then underpins the entire inquiry. The
portfolio ‘hits the ground running’, with the candidate not afraid to revert to simple
notions, such as tape on arms, a wandering line or integration of found lines. The
formal is extended by the conceptual and vice versa. Both exist in relation to each
other. Formal concerns drive concepts and enable inventive solutions to be
explored. End points are often intuitive and at times poetic in their resolution. They
appear open-ended and offer different meanings/ readings. The candidate is
purposeful in their selection of different sites and locations that support the nature
of the practice. The works activate the environment (various sites) through the use
of sculptural lines or form; they move between architecture/ figure/ landscape
tackling a range of modalities. The workbook provides evidence of other works
that expand the dialogue on the portfolio. This is a self-reliant investigation, not
conditioned by models. Artistic reference is wide-ranging and is utilised
intelligently to underpin the candidate’s own direction.
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