Scholarship – 2012:
Photography (93310)
Examples of Candidate Work
1
OUTSTANDING SCHOLARSHIP
`This Photography submission presents a visually articulate and sophisticated photographic adventure, premised on a simple yet
open-ended idea of “make believe” – fantasy versus reality using the subject matter of a relationship between a horse and a young
girl. Deliberately positioning the investigation between the view of a child and the adult world provides a rich range of conceptual
and visual potential.
While the candidate refers to expected tropes such as Alice in Wonderland, princesses and fairytales, they do so in an inventive
manner: they embed their own motifs, symbolic media, material and aesthetic strategies into the work. Contextual inclusion of
contemporary artists, Robin Rhode, Lian Ng, Rodney Smith also underpin the subsequent direction of the work.
The workbook clearly lays out the intent behind strategy and includes some early works that unpack the territory to create a solid
departure point. There is also analysis and description of the symbolic nature of the motifs employed. The girl is deliberately dressed
in pink to locate her and us in the space of fantasy. There is also specificity in the use of the horse motif, achieved through adherence
to a carefully crafted motif (the cut-out is created by projection). The shadow of a plastic horse, which is in itself a translated version
of the original object, comes from the projected shadow that has been meticulously transferred/ drawn). This provides authenticity to
the subject matter – the candidate is continuously thinking of ways to visually represent the horse accurately, which reinforces the
line between fantasy and reality.
This candidate doesn’t just use devices to create new works; they strategise and embed them in order to extend the conceptual
proposition. For example, motif is purposefully employed in a number of modes (object, silhouette, shadow, cut-out, suggested form,
improvisation, imagined, pattern, shape). Improvisation plays a big part in creating the fantasy — the girl tries to ride her pretend
horse (the fabric cutout, the bench), asserting the relationship between the girl and the horse — the fantasy in action.
The candidate conceptualises photographic conventions to advance abstract aspects, for instance the use of scale to create depth of
field is discussed in the workbook as “dimensional difference”. This is a conceptually rich proposition, which is imaginatively
explored to present a well-executed and innovative body of work.
2
3
4
5
6
7
8
9
10
11
12
13
14
SCHOLARSHIP
This photography submission utilises documentary style narratives to look at perception, self-image and self-portraiture. Narrative
devices, image sequencing and image associations are appropriately applied in context.
The candidate explores a range of photographic approaches, such as documentary versus experiential styles. The narrative is built
through well-planned and appropriately staged picture making. The candidate exploits photographic language (light, blur, depth of
field, colour and composition) inventively to create a sense of the real. We are drawn close to the content (subject) through carefully
managed devices such as scale shifts, close cut composition, overshadowing, detail, perspective, positioning of the lens, angle and
viewpoint. Technical aspects such as intense lighting and the use of the blur locate the moment in time (the point of action) and
provide a sensual emotive quality and a heightened awareness of the subject.
The viewer looking at the image is often put in the position of seeing from the same space/ position as the photographer – we see
what they see. The subject/character in the photograph shows an awareness of the camera through pose, gesture and their own
looking. Each space/site references a state of mind, which is clearly articulated through stylistic changes made for each environment.
What appears to be a linear transitioning through boards 1, 2 and 3 is actually a series of non-linear conceptual shifts and a relocating
of site and space (literal and emotional). The changes of spaces further expand the dialogue and provide another glimpse of activity,
of the character’s state of mind. Again, these are each dealt with appropriately, for example through the use of colour, black and
white for surveillance, blue tones for the interior/private space, brightened tones for the more cinematic and experiential.
The workbook provides an excellent overview of key areas of consideration in the conceptual construction of the work; narrative,
exterior space, interior/private space, public space. There is well-reasoned and articulate analysis in relation to a broad range of art
and film reference. There is an intelligent enquiring mind in evidence that seeks to find suitable photographic solutions that best
conceptualise their ideas.
15
16
17
18
19
20
21
22
23
24
25
26
27