NCEA Level 3 - Visual Arts 2013
Examples of Candidate Work – 91457
Photography
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Excellence
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Excellence
This candidate shows evidence that:
•The drawing on panel one introduces the topic of museology and establishes the
concept of the experience one might have when viewing exhibits at the museum, while
seeking connections with the behind the scenes and public exhibits. The entry point
conveys the contemporary museum experience showing interactive devices, screens
and a theatre. The integrated use of subject matter such as the collection of archives
and the classification of objects provide the candidate with options for extension
through specific pictorial devices of light, viewpoint, texture and depth of field to
convey the various interior spaces.
•Light is used to isolate the figure in the corridor. This informs the shift into individual
spaces, corridors, and containment allows ideas to be continually revisited and refined
in order to re-form and provide options for extension. Colonial animals – ferrets,
possums and rabbits offer a contrast to more indigenous elements – native fauna, Maori
portraits and artefacts.
•There is a comprehensive engagement of study and ownership with drawing being
varied, purposeful and the many typologies of objects allows the portfolio to move
from the broad (mannequins, colonial furniture, New Zealand portraits) to the specific
(taxidermy animals). Materials, techniques and procedures are handled with fluency
and macro photography is used to isolate specific objects to create confrontation. On
panel three the animals are as aware of you, the viewer, as you are of them. Viewpoints
taken offer the feeling of being watched. Reference to the figurative without actually
using the figure, for example the mannequin, doll, animal and uniform all reference
types of portraiture as the taxidermy animals come to life and take on an animated
quality.
•The work results from a thorough study and careful selection of ideas from a variety
of artistic and historical references such as Neil Pardington, Richard Ross, Louise
Lawler, Fiona Pardington and Michael Parakowhai. Through the appropriate selection
of artistic references, the candidate has been able to demonstrate the regeneration of a
depth of ideas while using a range of pictorial devices. Many works extend beyond
established practice, selecting and using appropriate elements into a synthesis that is
the candidate’s own.
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Excellence
This candidate shows evidence that:
•This submission sets out to compare the old and the new through the figure and selected
materials. The investigation looks at how things grow and change to become more beautiful
as they age. Concepts of change and time are sensitively considered with a genuine
investigation onto the subject matter of the figure and skin surface, bread and cheese. The
candidate activates a sense of engagement and ownership.
•There is clear technical fluency of photographic methods and an in-depth understanding of
viewpoint, texture, and format, depth of field and colour. Beginning with a selective eye,
the parts of the body are examined to draw attention to the surface and texture of the skin
and panel two makes associations of those textures and colour to the surface and colour of
bread and mould. The colour palette from the outset shows sensitivity and selection with the
use of soft greens, pinks, yellow and greyscale which references distinctively the subject
matter.
•As the submission synthesises ideas, the senses – hand, sight, smell, touch are suggested
through photographing the body parts. Food items were placed under a microscope to
investigate their visual properties and comparisons have been made between skin, bread,
freckles and moles. Patina of time; how can time enhance a surface or make something
appear more beautiful are questions that address the candidates proposition.
•Panel three looks at the typology of Petrie dishes, where they are sequenced to form a
biological study of genetic make-up. Overlay of DNA strands informs a scientific
experimentation that results in the format of a diagram found in a biology book. The
candidate continues to analyse and critically re-evaluate, demonstrating an advance, mature
understanding of the proposition offered through the Petrie dish series and larger works that
explore the concepts of change and time.
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Merit
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Merit
This candidate shows evidence that:
•The relationship between a figure and structured space is introduced at the start of
panel one with a consistent viewpoint (frontal, profiles, back) used to establish the
proposition. An exploration of a range of viewpoints and conventions is developed
on the lower section of panel one that includes movement, selective colour and
typologies.
•Many photographic techniques have been used with proficiency and purpose.
There are formal devices that drive the proposition through the use of blur
movement, repetition, combination of two images and grid. Colour is well
considered with a range of subdued tones used in contrast with black and darker
tones.
•This submission develops systematically and ideas have been analysed to enable
the development of new compositions which begin with a typological
investigation of the individual that has been re-contextualised into an internal
space, referencing the box that is further investigated on panel three. The
generosity of options has been taken through the pictorial conventions used as the
candidate decides to leave movement and pick up the framing device of the rephotographed photograph.
•Ideas are continually refined as the portrait is re-formed as a cube, referencing
and re-visiting the box structure that was introduced at the start of panel one. The
final phase deals with the deconstruction and reconstruction of the figure using the
earlier box. The candidate could have demonstrated more criticality in their
thinking by selecting and enlarging particular images to prioritize them within
each phase of work to gain Achievement with Excellence.
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Merit
This candidate shows evidence that:
•The drawing in this submission clearly defines the proposition that deals with a
personal interior space, cultural patterns and iconography, and light. Panel two
purposefully considers these combinations in clear phases of working (initially light
and pattern, followed by pattern and iconography). The inhabitants of the space (the
family) are introduced through the use of formal portraiture, by documenting preexisting family portraits.
•The pattern and light investigation is refined through the exploration of three key
shifts in seeing: a set of close up views to flatten the images; an isolation of pattern
through short depth of field and emptying of the background; and the wrapping of
objects in translucent patterned fabric. Combinations of the earlier pattern and
portraiture images are revisited and refined through the use of cut outs and an
exploration of positive and negative space. These ideas are reformed and extended
through a series of overlays and shadow projections.
•A systematic and critical approach has focused on the development of pictorial ideas
and relationships shared between patterns, family portraits and specific cultural
objects. Purposeful editing has allowed for patterns and light to be used sensitively to
both enhance the family portrait silhouette and create a particular type of aesthetic
and impression.
•The use and understanding of media and photographic conventions such as focus,
exposure, colour balance, in camera framing are proficient throughout the portfolio.
With the pictorial ideas evident, more could have been regenerated from a broader indepth drawing base at the beginning on panel one to gain Achievement with
Excellence.
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Achieved
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Achieved
This submission shows evidence that:
•This linear investigation demonstrates coherent links between drawing and
extending ideas. A variety of compositional arrangements investigating plants,
leaves and trees are presented with variations of viewpoint and focus. The
ideas explored on panel two shows the removal of the leaves from the tree
context to examining it as a singular form, referencing the start of the nature
cycle. Selected and considered combinations of conventions used such as
format, grid, depth of view and viewpoint change to allow for a birds-eye-view
and the scientific process of examination is employed to extend ideas.
•Selected drawing and photographic methods are appropriate to purpose and
are used adequately to integrate the theme of seasonal shifts. Panel three
reforms and extends both the circle motif and the colour palette while
referencing the grid because of the way that the circles are arranged. The
submission visually conveys ideas about the regeneration of elements of
seasonal change. The final images include a blur technique that references the
shifts of nature and the universe.
•All works are related and systematic despite the small movements of
progression. There is evidence that ideas have been regenerated and evaluated
with decisions made about composition, viewpoint and focus to express a
particular conversation about nature.
•Ideas have been developed systematically and through selected forms of
established practice to inform the extension of own work. A greater range of
subject matter and more significant steps in the sequences of work to refine
ideas would be required for Achievement with Merit.
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Achieved
This candidate investigates a proposition about the relationship of text and
language through a series of images of books as well as the use of selected words
that identify and label what we see. The introduction of the figure on panel one is
reading and various viewpoints of subject matter, close ups and consideration to
the proximity of the books have been used to establish specific ideas.
There is a consistent approach to print quality employed and composition has been
explored through the arrangement and re arrangement of text. On panel two, text is
handwritten and integrated as a pictorial device or visual element rather than a
label as seen in panel one. Reforming and extending ideas into new work
continues as another phase brings us closer to the subject and the text is enlarged
and projected onto the skin. We are able to read the text and image simultaneously.
There is the integration of conventions and regeneration of ideas that are evident
on panel three. The focus turns to a single male figure and passages of text have
been cut out and applied to the skin. The figure is only referenced by a text
silhouette. The figure moves from three-dimensions back to two- dimensions
returning to the book as a reformation of the idea.
To have gained Achievement with Merit, this portfolio may have benefited from
drawing from a broader range of subject matter including viewpoints, to be less
heavily reliant on using the same pictorial devices over and over again.
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