NCEA Level 2 – 90479 Painting 2010
Examples of Candidate Work
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Excellence
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This submission was verified at the higher end of the Excellence grade range.
This portfolio presents evidence beyond the requirements of The New Zealand Curriculum, Learning Media, Ministry of
Education, 2007, and relates to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing
Practical Knowledge; Developing Ideas; Communicating and Interpreting.
Initial pencil recordings set the proposition at a very high skill level, which is sustained intelligently throughout this submission.
Ideas have been systematically developed and extended around Surrealism early on panel one and then appropriately placed
within the body of work. Each composition has been carefully analysed to ensure a sustained narrative.
Ideas have been integrated, regenerated, critically edited and presented seamlessly, hence demonstrating an outstanding level of
maturity. Subtle picture-making processes with a complexity of pictorial problems demonstrate a proficiency and confidence in
both attention to pictorial issues as well as processes, procedures, materials and techniques.
This candidate has undertaken an innovative and exciting approach, with high risk-taking involved in choices of application of
media. A synthesis of fluid mark-making, juxtaposed with a static/linear approach demonstrates a level of sophistication and
facility.
Established practice of both traditional methods, synthesised with contemporary illustrative models have clearly been presented
(both explicitly and implicitly) and the candidate has intelligently and successfully regenerated these into original work.
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Merit
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This submission was verified at the higher end of the Merit grade range.
This portfolio presents sound evidence to meet requirements of The New Zealand Curriculum, Learning Media, Ministry of
Education, 2007, and relates to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing
Practical Knowledge; Developing Ideas; Communicating and Interpreting.
This submission develops and extends ideas that can be found in a range of contemporary and traditional practice, from postGothic illustration, Pop Art, Rauschenberg’s juxtaposition of realism with expressive marks and the murky world of Juan
Sanchez Cotan’s vanitas.
The subject matter has been handled with facility. Elements such as the birds appearing out of ink splatters create movement and
extend ideas beyond previously static imagery. However, in these later works the structure of the compositions revert back to the
centralising of subject matter.
For this submission to move into the Excellence grade range the candidate could have reconsidered the use of expressive marks
as decorative elements, thus demonstrating a necessary level of critical decision-making and clarification of ideas.
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This submission was verified at the lower end of the Merit grade range.
This portfolio presents sound evidence to meet requirements of The New Zealand Curriculum, Learning Media, Ministry of
Education, 2007, and relates to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing
Practical Knowledge; Developing Ideas; Communicating and Interpreting.
This submission develops a line of investigation based on artist models associated with expressive paint application and the use
of line (Chagal, Kandinsky, Franz Marc). The candidate has generated and developed ideas around the use of line and painterly
qualities - density, gestural paint application and the use of complimentary colours. The second pieces on panel two illustrate the
successful integration and extension of these artists’ ideas and methods.
For this submission to sit more comfortably within the Merit grade range, the candidate could have considered a more logical
sequencing of work and application of appropriate artist models; e.g. the introduction of text on panel two affects the reading of
the submission and the ability of the candidate to extend ideas with understanding.
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This submission was verified at the lower end of the Merit grade range.
This portfolio presents sound evidence to meet requirements of The New Zealand Curriculum, Learning Media, Ministry of
Education, 2007, and relates to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing
Practical Knowledge; Developing Ideas; Communicating and Interpreting.
This submission begins with a limited proposition dealing with the relationship between musical devices and related symbols
and text.
Ideas have been developed with an understanding of negative space, integration of 3D subject matter with linear forms to
suggest spatial relationships.
Elements of these have been explored in isolation, then in a variety of combinations that investigate how 3D forms inter-relate
with linear and colour aspects (transparent colour block shapes) to indicate depth. Ideas have been extended and reinterpreted to
inform a convincing conclusion. Merit has been achieved through the conscious use of all the above elements including the
establishment of relationships to artist models and contemporary practice. A range of models are implicitly referred to, with
David Salle being the explicit model.
For this submission to sit more comfortably within the Merit grade range, this candidate could have demonstrated more
consistency with the control of processes, procedures, materials and techniques throughout the two panels.
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Achieved
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This submission was verified at the higher end of the Achievement grade range.
This portfolio presents sufficient evidence to meet requirements of The New Zealand Curriculum, Learning Media, Ministry of
Education, 2007, and relates to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing
Practical Knowledge; Developing Ideas; Communicating and Interpreting.
Initial works on this submission set up an early proposition around the idea of images moving to a musical beat.
Ideas have been systematically developed in the use of motif and in the formal properties such as the positive and negative
interplay of linear versus painterly qualities; informal and formal gridding; repetition and use of text; breaking up the image and
block colour.
Inspiration has also been drawn from Surrealism and contemporary street art, with implicit references to a range of design and
painting models such as David Salle, Hans Hoffman, Miro, Mondrian, Robert Kushner and Magritte.
Consistent and competent control of processes, procedures, materials and techniques has been demonstrated in the confident use
of paint and in the depiction of space, line and textual references.
For this submission to sit closer to a Merit grade this candidate could have investigated a wider pool of imagery early on panel
one, increasing the generation of initial ideas and options for development and extension of ideas. Extension of ideas could have
been demonstrated through changing the treatment of the background by including spatial references so that formal elements,
such as perspective and scale, were evident.
The reinterpretation of recognisable symbols of music and technology and the introduction of a new artist model might have
encouraged this student to extend ideas further.
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This submission was verified at the lower end of the Achievement grade range.
This portfolio presents sufficient evidence to meet requirements of The New Zealand Curriculum, Learning Media, Ministry of
Education, 2007, and relates to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing
Practical Knowledge; Developing Ideas; Communicating and Interpreting.
This submission uses a range of images of Lady Gaga to generate ideas. The idea of Lady Gaga as an icon is explored with
Warhol’s use of grid compositions used as a way to develop ideas. Pictorial issues such as repetition, colour and outline have
also been considered.
Appropriate control of processes, procedures, materials and techniques has been demonstrated to support the development of
ideas in the context of the pop art movement. Additional processes such as stencilling/printing may have been an appropriate
decision to enable the candidate to extend ideas further.
For this submission to sit more comfortably within the Achievement grade range, the candidate could have considered utilising
initial drawing strengths (flat colour, silhouette, contrast) and exploring a wider range of options, including layering of drawing
and painting techniques. This could have involved the investigation of a wider range of artists such as Lichtenstein.
The candidate would also benefit from considering editorial decisions about layout relevant to the initial ideas, to avoid
disjointed shifts which have affected the systematic development of the ideas.
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Not Achieved
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This submission was verified at the higher end of the Not Achieved grade range.
This portfolio did not present sufficient evidence to meet requirements of The New Zealand Curriculum, Learning Media,
Ministry of Education, 2007, and relates to the following strands in Visual Arts, Level 7: Understanding the Arts in Context;
Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.
This submission demonstrates sufficient evidence for criteria two and three for Achievement as it demonstrates sufficient control
of processes, procedures, materials and techniques and is generally systematic in its approach.
Low Brow or Pop Surrealism has been the central influence from which this student has generated ideas, with an over-reliance
on Jeff Soto as a model to provide prescribed solutions.
For this submission to gain Achievement, this candidate would need to progress past a generative phase. The limited evidence of
the development of ideas, as indicated in criterion one, prevents this submission from doing so.
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NCEA Level 2 - Painting 2010 Exemplars