1 NCEA Level 3 - Visual Arts 2008 Examples of Candidate Work – Photography

2 Achieved

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6 This black and white submission is based within a solid and traditional approach to established photographic practice. The subject matter has been generated and analysed through the use of formatting and viewpoint devices, indicating from the outset how the ideas are going to be clarified. The architectural forms have been systematically investigated and lighting and formal structural issues explored as the submission regenerates within its subject matter. The layout of the portfolio reinforces the formal approach and images have been selected, edited and laid out in a manner that totally supports the pictorial ideas. Panel three continues this formality and the idea refines to a discussion of space, shape and graphic contrast. Although it is systematic, there are not sufficient options shown and the candidate has not capitalised on their pictorial successes sufficiently to move this submission to Merit. The relatively limited approach to the subject taken on panel one underlies this.

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10 Achieved In this submission, panel three explores options and recognises some pictorial opportunities at the level of Merit. Its limitation in reaching Merit consistently is evident on panel one. While the candidate has generated ideas, the purpose is limited to quite a repetitive way of looking at the subject matter. Although there are some shifts in viewpoint, the shifts in composition and format are small and many appear to be saying much the same thing. Panel two exploits some more interesting compositional devices with some success and slowly uses the bubbles to regenerate ideas. On panel three these are explored and clarified and there are certainly options for development within several passages of work here – the abstract green bubbles, the body cropped by the water surface, the bubbles as a front layer to the distorted body beneath, the figure cutting the format on the diagonal etc. Removing some of the repetitive work on panel one and pushing some of the successful work from panel three back to panel two, and then further investigating within the most successful sequences, would have strengthened this submission.

11 Merit

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15 Merit The architectural studies on panel one purposefully explore site, perspective interior/exterior and construction to set up options for further investigation. These have been evaluated in the images at the bottom of panel one and a more thorough analysis and clarification of structural overlays has been identified as the main thrust for developing work for panel two. The materiality of these structures with their layering possibilities has been reinforced by the purposeful introduction of coloured sky and exterior elements. The technical characteristics of photography appear to be very well understood. There is evidence of techniques being used with purpose and fluency and in this case, restraint – being typical of a portfolio sitting at a Merit level of achievement. The mirror image transformations form the subject for the images for panel three. In order to extend to Excellence, a greater range of ideas needed to be explored, rather than singling out a device. While these have been explored with some depth, the range is limited and this shows a lack of critical evaluation, as well as the insight, required for Excellence.

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19 Merit This submission reads on several levels and there are considerable options for further study presented on panel one. The narrative of drowning girl is presented in a systematic and tightly edited manner that successfully emphasises visual shifts and pictorial devices, rather than an emotional state. The submission, although founded within a narrative, also operates as a study of a variety of photographic practices. The psychological aspect has been explored through colour and viewpoint, seen particularly in the sequences in the second half of panel one and the centre of panel two. Clarification and evaluation of these aspects is evident through the emphasis on the images at the bottom of panel two, which show a high level of understanding of different types of picture making. Panel three shows the drowning investigated through layering and the immersion of the figure in water. Although this is done skilfully, the idea is rather overplayed and a greater level of critical evaluation, such as that set up at the bottom of panel two, could have helped move this portfolio towards Excellence.

20 Excellence

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24 Excellence As with many submissions in this grade range, there is no simple reading of this portfolio. Is this a study of urban development and the destruction of the old to make room for the new? Is it about building development and the impermanence of the industry during the recession? Is it about global disaster, death and destruction? Order out of chaos? War and rebuilding hope? As with any really successful visual communication, it is open to a range of high level interpretations not bound by a brief, description, list of visual references, artist models or other limitations that may undermine the interpretation of the work. This is a traditional analogue submission with a range of darkroom practices, appropriately used to synthesise ideas and methods in the production pf original work. Panel one begins as a survey, using viewpoint and contrasts between close up and detail shot to establish a sense of the destruction of the site. There are some contact reversals and the use of darkroom overlays, or sandwiching, which move from panel one to two. Panel two introduces tape, both on the surface of the images and as a tool to retard development and fixing. This tape forms the structures that carry and synthesise the ideas through to panel three. Applied spray paint adds to the surface texture so that there is a sense of depth and tone that prevents a pictorial or conceptual flattening out of the surface. Understanding of established practice, reference to and an integration of a range of artist models, combined with a critical evaluation of how to use these to help solve pictorial questions contribute to the success of this intelligent and restrained submission.

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28 Excellence There is a very successful and seamless synthesis of pictorial approaches in this submission. Tight editing and sequencing, change of viewpoints from observer to the observed and formal pictorial explorations – all these devices add up to a rich and sustained visual conversation. The work continues to build on and develop from previous work through to the end, undertaking an entire new direction in the images, through the use of Photoshop at the end of panel three. This ability to take risks, calculate and evaluate the success of these, and continue to move forward, demonstrates the candidate’s ability to critically relate a very wide range of ideas. None of the parts of the exploration are laboured or over done, and there is a high level of understanding of the systematic manner in which individual passages of work contribute to a greater whole in this portfolio.