Scholarship – 2013:
Sculpture (93308)
Examples of Candidate Work
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OUTSTANDING SCHOLARSHIP
This Outstanding Scholarship Sculpture submission operates at a high level from the beginning to the end - it is never satisfied with its resolutions
and thus continuously trials and stages new ideas, methods, strategies in varied ways. Based on architecture, scale and site-specificity the candidate
uses building materials, processes and metaphor to create a series of interventions that refer to or comment upon the site or nature of the functioning
aspect.
This is an ambitious body of work, in part determined by the real-scale engagement with real situations and interventions. These sculptural works in
turn make the propositional works (prolifically documented in the workbook) seem possible and authenticate their conceptual potential. All of the
drawing in the workbook and on the folio expands the thinking of the sculptural work and acts as a parallel body of work that is as resolved as
anything else presented. A key strategy, 'drawing in space' provides the basis for a strong methodology. Simple and quick activities, such as masking
tape literally drawing in space, cleverly inform the more sculpturally challenging technical outcomes.
This is an incredibly self-determined folio and workbook. There is a lot of work that deals with a range of scales, which are both believable and
authentic. The candidate took on a degree of risk, which through careful and well-conceived management achieved amazing results. They also had to
seek permissions from various authorities to conduct this activity (architectural interventions), which in itself was a negotiation and a part of their
method. A number of spaces were accessed, which each added new ideas and content; interior of school, domestic interior, porch space, school dental
nurse space, etc.
Artistic reference is appropriate and supports the use of real world contexts; building materials and processes (Fiona Connor, Gordon Matta-Clark,
Richard Wilson). Materials utilised throughout the enquiry are conceptually relevant to the nature of architecture and building; wood, perspex,
weatherboard, found window frames, paint, tape, tarpaulin - enabling a focused and in-depth investigation of site and sculptural intervention resulting
in simple but confident outcomes.
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SCHOLARSHIP
This Scholarship Sculpture submission presents an inventive series of sculptural works and experiments. From the outset the candidate engaged in a
broad range of hand crafted making and pseudo scientific experimental type activities. Each outcome utilised other but related contexts, ie. they refer to
science, hothouses, gardening, floral display, craft – and communicate a sense of vibrancy and activity, production and play. Materially the objects
reveal themselves through layers of discovery – materials merge to become other objects through well-handled media and material manipulation or an
object is altered through one material (media) impacting on another (as with the dye and the carnation).
Looking at this folio and workbook, you have a real sense that the candidate enjoyed making this work. This informs the idea of productivity and
growth that many of the objects and performative nature of the works refer to in terms of ideas and outcomes. Imagination plays a significant part in
this work as well. Use of materials are inventive as transformative actions that embed curiosity and reinforce the aspect of discovery; intention on the
part of the candidate and detection for the viewer.
Materiality is a key line of enquiry for this sculptural investigation. There is a skillfulness in the rendering of objects from craft-based materials. Also a
sense of trickery; materials stand in for the real object in realistic ways and others are transformed through material manipulation, eg. growing tomatoes
upside down. The carnation appears to be artificial and real at the same time, making use of histories of floral representation and processes of
manipulation used in floral and scientific arts. The candidate keeps on searching for new avenues through making processes. They are ambitious in the
seeking out of new opportunity and use appropriate artistic reference to extend their own ideas. The introduction of the hothouse further extends the
enquiry and locates method and making in an integrated installation context. It also introduces the idea of the event attached to ideas of production,
manipulation and growth.
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