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1 NCEA Level 3 - Visual Arts 2010 Examples of Candidate Work – 90668 Photography.

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Presentation on theme: "1 NCEA Level 3 - Visual Arts 2010 Examples of Candidate Work – 90668 Photography."— Presentation transcript:

1 1 NCEA Level 3 - Visual Arts 2010 Examples of Candidate Work – 90668 Photography

2 2 Excellence

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6 6 An acute understanding of complex, formal properties underlies this portfolio. There is clear evidence of a wide range of pictorial understanding within the survey of the interior space. A formal proposition is, in itself, an idea. This work relies on a complete examination of photographic seeing, quietly and completely sustaining its intention. The viewpoint shifts from the exterior to the interior in a few works at the top of panel one. The exterior has then been referenced through the windows and this way of looking is analysed. The horizontal structure that is evident in the centre of panel one is at the core of ongoing picture making, but does not dominate it. There are many more subtle shifts in light and viewpoint that continue to expand on the ideas. The depth of the work lies in the understanding of the property of light and tone throughout this particular space. Works have been cropped and framed to support the pictorial aspects of the picture making and sized to accentuate this.

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10 10 Excellence This submission demonstrates an extraordinary understanding of a complex array of art making approaches. Apparently starting with a documentary at the top of panel one, the work quickly moves in to a documentation of a performance and the relationship between figure and space. Multiple options have been explored here, both in the types of performance and the role of the figure in the performances. At all times the work has been tightly edited and sequenced. Panel two clarifies the work from panel one, building in terms of the ideas and also engaging very fluently with photography. The use of light and shadow engages with contemporary practice, while the ideas reference a range of art making models. Panel three not only synthesises these ideas, but continues to extend on them in the production of new work. The works are intelligent, clever, funny, and commentate on society without taking themselves too seriously. In this regard, homage is paid to the artist models at the same time as demonstrating a thorough understanding of established practice.

11 11 Merit

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15 15 Merit This submission begins as a narrative description of a day in the life of a surfer. While many submissions that proceed along this type of journey get stuck or flounder with the regeneration of ideas, this one is considerably more successful. Panel one shows a variety of pictorial approaches and makes a transition from the view of the protagonist, to the protagonist within the view. The work has been tightly edited and evaluated to move from the interior to the exterior with a sustained approach to the construction of the pictures. Consideration has been given to traditions and characteristics within the genre of landscape in the continuation of the horizon line across the centre images and the position of the figure leaving the frame at the bottom left. Panel two continues this close observation but develops into a more formal survey of the colours, textures and effects created by the subject matter. We are seamlessly moved back to take the viewpoint of the surfer and this shift in views is continued on panel three. There is a sound knowledge of the characteristics of colour and underwater photography demonstrated in the sequences on panel three. The submission builds a particular aesthetic across the portfolio that is thoroughly purposeful. Although the images are well crafted and constructed, they struggle to sustain the range and depth of ideas through panel three required for Excellence.

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19 19 Merit This submission shows evidence that photographic drawing has been used with good purpose to generate ideas. There are a considerable number of options that have been explored around concepts of space, site, performance, light etc. The sequences establish and discuss different but related ideas and the work is well composed, edited, framed and cropped. The concept of a performance around the attraction of light has further been explored on panel two. Panel three combines some of the ideas explored and introduces darkroom manipulations and technical experiments. This submission depends for much of its development on a study of the work of Mike and Doug Starn. It does this in a sensitive and restrained manner, however it begs the question of whether this is an approach that allows a student to show a range and depth of options. This criticality about how to develop this idea holds the folder at Merit level. With the number of options developed and analysed on panel one, the ability to relate and evaluate the ideas about the performance on panel two seems to have stalled. Panel three then relies on an exploration of techniques used by the Starn Brothers rather than an extension of ideas within the candidates own work.

20 20 Achieved

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24 24 Achieved The dream sequence/fantasy tale is a very popular theme in Photography. With the ubiquity of Photoshop to enable students to manipulate images, it is important to maintain a sustained pictorial approach to the concepts being explored. There is evidence in this submission of some photographic characteristics being well considered. At the top of panel one, viewpoint and cropping introduce the subject and at the top of panel two, depth of field and viewpoint emphasise scale concerns. The bottom of panel two extends some ideas, however this has not been capitalised on in panel three where a range of manipulations have been used to make increasingly frenetic images. The scale and hyper real possibilities explored on panel two needed to be recognised and there is a danger in relying on picture-making that uses cut and paste reiterations as its sole form of regeneration. The work is clearly systematic, and the limited colour palette and pattern has been well considered and exploited.

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28 28 Achieved There is clear evidence within this submission of the candidate’s ability to use drawing methods to construct pictures. The photographs have been well made and demonstrate knowledge of an aesthetic around the genre of night photography. Whilst the candidate has looked at appropriate established practice, the readiness with which these models can be identified shows that the candidate has not really understood the use of established practice to help move ideas forward. There is almost a sense that a new artist model has been used for each passage of work rather than developing their own work based on learning gained from looking at artists’ work. The somewhat iconic and individual signs on panel one have successfully been incorporated into a broader view at the bottom of panel one, however the top of panel two uses the same device repeatedly without providing any further options. Some considered editing would have been an advantage here. A new way of looking based on a new artist model is visited at the bottom of panel two and then the two ideas combined. These ideas have been continued through panel three. However, at the top, the vertical divisions of the image are not obviously purposeful. The final large work is successful and shows an understanding of picture making convention. The lack of consistency in this submission overall keeps it firmly in the Achieved grade range.

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