Scholarship – 2008
Printmaking
Examples of Candidate Work
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This is a robust, exploratory and investigative submission. A major strength is the
authority of drawing in finished works, which also appears in the workbook as
research/ preparatory/ figurings/ thought process. The confidence with which the
candidate handles their subject matter provides a dynamic that consolidates and
expands the conceptual focus. The ability to talk visually in order to communicate
ideas is a pivotal element in the success of this submission. A variety of drawing
media is utilised to set up various propositions capturing an expressive, visually
active, raw energy relational to the topic. Evidence of the candidate’s investment
and take on the topic is accessible through the images (works on portfolio), but is
also present in investigations in the workbook, eg the sausage dog is characterised
pertaining to the research question/ premise, and is then recontextualised as a
signifier for animal cruelty. The candidate clearly owns their practice; there is a
productive level of risk taking demonstrated in the management of such a
personally politic topic, ie it is a student-led enquiry. Artistic references are drawn
in strategically and with insight. The shift in scale of images is successful in moving
the viewers’ attention through various conceptual shifts across the three boards.
Ideas are linked quite simply through sequences of images. There is a strong
reference to traditional print practice, however this is consistently challenged
through the treatment of and incorporation of drawing and appropriate mark
making. The employment of a graphic quality and aesthetic is purposefully handled,
supporting the nature of the topic; this also includes use of text, formatting and
treatment of subject matter (animals, meat, bones).
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OUTSTANDING SCHOLARSHIP
This is a focused and consistent submission. The candidate has a sophisticated
understanding of picture making, employing a range of print methods and
strategies to extrapolate a depth of concept. This submission is about picture
making – figure/ ground/ environment relationships – conversation and
interaction. Imagery is cognisant of traditional notions of picture making, with
clear understanding of colour/ palette, figure/ field relationships and
compositional conventions, eg utilisation of solid space/ planes to form edges or
outlines. Source material is intelligent, with clear decisions made in relation to
visual development, including appropriate selection of artistic reference. In-depth
visual research is well collated in the workbook. A sense of time and history is
created by the introduction of collage and through the layering of line, tone and
colour, which demonstrates an advanced, mature understanding of the candidate’s
own practice. The employment of assemblage within the print structure/
compositional framework reveals another dynamic in terms of negative vs.
positive pictorial devices. Layers of colour are utilised to reveal or isolate, and at
various points are edited out and then reintroduced to add complexity. The level
of observance employed by the candidate empowers the imagery; this is an
honest, purposeful and confident investigation. Within the workbook the
candidate evidences his or her own thoughts and decision making with clarity.
Other experimental works are also presented in the workbook, which further
expand the scope of research.
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