NCEA Level 2 – 91321 Painting
2013
Examples of Candidate Work
This portfolios in this document offer evidence to meet the criteria consistent
with The New Zealand Curriculum, Learning Media, Ministry of education,
2007. Criteria relate to the following strands in Visual Arts, Level 7:
Understanding the Arts in Context; Developing Practical Knowledge;
Developing Ideas; Communicating and Interpreting.
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Excellence
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This portfolio has been verified at the lower end of the Excellence
grade range .
‘Parrot’
A range of media studies on a variety of surfaces that include anatomical investigations and
close ups of feathers appropriately and confidently introduce the parrot. Investigations into the
concept of flight and movement are then introduced. These ideas combined with the use of
pattern, line and natural motifs are then used as a basis for the successful series of paintings on
plywood on panel two.
The two works at the bottom of panel one integrate the stylised parrot with pattern on a white
ground to develop a sense of flight, movement and space. Bold flat colour and collaged
elements combine effectively in these works and provide a meaningful launching pad for the
more complex images on panel two.
Delicate stencils and collaged wallpaper, previously used as a ground on panel one, have been
sensitively used in the works at the top of the panel two. Transparent layering, bold primary
colour, soft washes and pattern are then combined in the final works. The candidate fluently
and critically selects and edits elements within each work as space plays a more important role
in these final two compositions.
To move more securely into the Excellence grade range the candidate could have regenerated
more ideas based on the series at the top of panel two rather than relying on the two large
works to complete the submission.
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Merit
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This portfolio has been verified at the higher end of the Merit
grade range.
‘Mask’
The submission explores aspects of performing arts from an Eastern influence. The figure and
mask are introduced on panel one and these are then explored in a variety of painterly contexts.
The candidate explores a range of pictorial devices throughout both panels.
The painterly treatments in the compositions on panel two are informed by the paintings on
panel one that include overlays, silhouette, and repetition. Paint and colour are used
expressively throughout the submission with a wash technique dominating. The candidate’s
decision to employ a more monochromatic palette in the final three works is entirely
appropriate. These three paintings successfully and purposefully extend a variety of pictorial
ideas that are introduced earlier. The middle work on this panel begins to critically select and
build on the idea of theatrics with the mask sequence portraying characterisation and possible
loss of identity with the employment of a whiteout image.
The candidate has organised the submission with appropriate sizing resulting in a coherent
body of work. The three paint studies at the top of panel two generate a sense of movement that
is extended in the close up works at the bottom of this panel. There is an element of purposeful
risk taking in the candidate’s decision making.
To move into the Excellence grade the candidate could have explored further the compositional
idea developed in the middle work on panel two. Further studies into figure ground
relationships could also have enabled the candidate to show the level of fluency and
regeneration required for the Excellence level.
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This portfolio has been verified at the lower end of the Merit
grade range.
‘Frames’
The student introduces aspects of contemporary pop culture and then integrates these with
traditional Whakairo motifs and imagery. Historical references are made by the candidate with
the use of the decorative oval frames early on panel one. This device is then developed and
extended culminating in the large scale installation work on panel two.
The study of traditional Maori art forms along with pop art references from artists like Roy
Lichtenstein in the use of the dot motif have been referenced by the candidate. Acrylic paint,
stencils, and ink have been used throughout the submission.
The composition at the top right of board one alludes to aspects of the human form. This idea
appears to have been extended with the multi panel work on panel two that references the
symmetrical structure of a Wharenui with its symbolic references to the human form. These
works can also be read individually where considered compositions that employ linear
Whakairo references, overlay and interact with, planes of colour and pattern.
The candidate has engaged in a purposeful painting study and has successfully integrated a
variety of painting techniques in the individual works and provided clear links as ideas are
extended in the final sequence on panel two. To move further into the Merit grade range the
candidate could have explored other picture making and compositional options that would have
established a greater range of ideas and enabled further extension.
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Achieved
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This portfolio has been verified at the higher end of the
Achieved grade range.
‘Spider web’
The candidate generates and develops a narrative based submission around a spider, its nest and
web. The latter two are then developed and abstracted as the submission progresses. From the
initial observational studies the candidate systematically develops ideas with a variety of paint
studies where the abstracted shapes incrementally become a more dominant feature in the
compositions.
The student deliberately employs a limited colour palette that is appropriate. The contrast
between the predominant cool colours and the selective warm passages assist in creating
dynamism in the works on panel two. These works show clear understanding of painting
conventions that could have been informed by a study of Cubist related models that explore
how pictorial space can be deconstructed and reinvented.
This submission sits at the high end of the Achieved range because it shows some evidence of a
purposeful approach and a limited extension of ideas. To move into the Merit grade the
candidate could have purposefully extended the ideas developed at the top of panel two with
selected smaller works rather than relying on the large A2 composition to complete the
submission.
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This portfolio has been verified at the lower end of the
Achieved grade range .
‘Tools’
The submission, based on tools and machines, begins with a series of drawing studies that
introduces the subject matter and a series of close up monochromatic paint studies that explore
machine shapes. This series, and the following studies that explore the relationship between
tools and abstract shapes, establishes the candidate’s intention.
A grid is introduced on panel one and this is explored in the series of works at the top of board
two. These works develop and build on ideas previously introduced with transparent and linear
overlays adding to the level of understanding. The candidate then completes the submission
with a free form composition that introduces gestural mark making with transparent overlays of
tools. Throughout both panels there is a technical and compositional consistency.
Painters like Jim Dine and David Salle’s approaches to subject matter, use of the grid, linear
overlays and the use of a ‘window’ to emphasise a sense of scale have been employed.
The building of compositions is systematic throughout the submission. The candidate
demonstrates that in spite of a limited proposition, achievement of the standard can be attained
when ideas are systematically developed with understanding in a related series of works. To
have moved further up the grade range, the candidate could have generated a greater range of
ideas on panel one and supported the compositional shift in the final composition.
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