1. What is the central idea of your concentration? The combination of art and math and science leads me to be fascinated in the geometric and often asymmetrical, yet fractal like patterns found in plants, fungus, microorganisms and marine life. Fractals are particularly interesting in that their basic elements are simple, yet their net emergent forms and patterns can be extremely complex and beautiful. I try to emulate these forms.

2. 6 x 3 x 4.5 paper

3. 9 x 6 x 14 paper

4. 22 x 12 x 12 paper

5. 34 x 8 x 20 paper

6. 16 x 10 x 12 paper, steel wire

7. 20 x 11 x 15 paper

8. 35 x 25 x 19 paper

9. . 14 x 14 x 12 paper

10. 25 x 18 x 40 paper, steel wire

11. 17 x 16 x 16 paper, steel wire

12. 14 x 19 x 19 paper, steel wire

13. 20 x 25 x 7 paper, mat board

14. How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific images as examples. The paper sculpture I make is first a sketch transferred to a [3-D] model on the computer, then unfolded into flat patterns and printed on paper. I then cut out the flat patterns with glue tabs and assemble the sculptures. This process is extremely tedious but allows for a high degree of precision. The first sculptures made using this process were made with plain white paper and were printed on small inkjet printers. As I progressed I started using higher quality paper and making more complex shapes that represented fractals and required more complex cut patterns. The wire sculptures stem from similar ideas as the paper, but are made by hand and thus tend to be more organic and less geometrically precise.

15. Rationale for Score: 6/6 The concentration explores form and space using marine life and fractals for inspiration. The work is innovative, expressive and well crafted. The work is formally excellent using varied mass, voids and rhythm/movement with shifting vantage points to describe form in space. The concentration moves from simple to complex, using the modest material of paper as the primary medium, increasing in scale and ambition. The student manipulates the grid in multiple ways, using geometry to describe organic forms. Color is used thoughtfully to direct attention and emphasize movement. This is an excellent concentration.

16. What is the central idea of your concentration? Evidence of carving dates back to before recorded history. Generations before and even today still study the techniques of carving of wood, stone, ceramics and more. It is a skill that is practiced all through different cultures and civilizations all around the world. This technique takes much time and patience along with the ability to control a steady hand and work with an artistic mind. One sudden movement and you could rupture the piece and ruin it completely

17. 5 x 7.5 x 7.5 clay

18. 5 x 6 x 6 clay

19. 8.5 x 6 x 6 clay

20. 7.5 x 5 x 7 clay

21. 12.5 x 4.5 x 4.5 clay

22. 6.5 x 5.5 x 5.5 clay

23. 9.5 x 6.5 x 4 clay

24. 9 x 6 x 6 clay

25. 10 x 4.5 x 4.5 clay

26. . 7 x 6.5 x 6.5 clay

27. 8 x 5.5 x 5.5 clay

28. 7.5 x 7 x 7 clay

29. How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific images as examples. For my concentration, I have chosen to study carving. …The master of carving had always fascinated me ever since I was a young girl. I would constantly look up new ways to chisel different stones for arrow heads along with research[ing] ceramic carvings of different Native American tribes. Carving also appealed to me because of the importance of a steady hand that was built from painting years before. This allowed me to practice more and apply different types of carving to my ceramics concentration. For example, piece[s] 1, 8, 9 I have carved to make the reader believe that I added a new layer of clay to the sculpture. However, I only carved away from the top layer of the ceramic sphere. Pieces 4-6 were designed more to create an interesting texture on the ceramic piece, also giving the illusion that extra clay was added to make the piece. It was pieces 10-12 where I used carving as a tool to create different images and objects appear to the surface. All throughout my concentration, I had practiced different methods of working with carving and applying it to new forms. These were created over months of hard work along with taking the time to learn latest glazing techniques. I very much enjoyed creating these bodies of art and because of my experience, I will now continue on with it through college.

30. Rationale for Score:4/4 The work in this concentration explores the topic of vessel, form and surface. While the investigation of form is somewhat limited, the student's use of 3-D design principles activates the surfaces in the work. In several of the images (3, 8, 10, 11) there is a good investigation of transitions between interior and exterior space. Throughout the concentration, the work demonstrates a wide variety of approaches to form and surface such as color, value, and various levels of relief. The concentration commentary supports the artistic intent. The work is most successful when the surface treatment is clearly in service of the overall form. Overall the work is of good quality

31. What is the central idea of your concentration? My concentration captures the aesthetic qualities of objects that can be found in my closet and shows that with a discerning eye, beauty can be manifested in even the most mundane objects. Initially, my pieces embodied childhood with the puzzle set turned vase (Picture 1) and the notebook paper containing juvenile doodles drawn when jaded from lectures in class (Picture 2). Then as I matured, so did my concept, beginning with the purse (Pic3), in which there is a transitional focus onto fashion.

32. 4" x 6" x 4" clay

33. 4" x 7" x 3" clay

34. 8" x 6" x 3" clay

35. 5" x 6" x 10" clay

36. 5" x 3" x 17" plaster, colored wire

37. 15" x 21" x 15" tissue paper, wire, cardboard

38. 9" x 12" x 5" clay

39. 9" x 5" x 5" clay

40. 6" x 10" x 4" clay, colored wire

41. How does the work in your concentration demonstrate the exploration of your idea? You may refer to specific images as examples. My work is an exploration of my personal growth from childhood games and school books to a budding young woman whose interest has changed to style and fashion. The definition of fashion is, a prevailing style or custom, as in dress or behavior. Evolving society and culture influences the way we dress as a way of belonging, like a tribe and group affiliation. In Picture 5, I deconstructed a glove from plaster and wove wire to create the concept of dehumanization of adolescents into machines, adhering to the trends mass media has implemented on society. Picture 6, is constructed from humble materials: cardboard, wire, and tissue paper. The material is transformed to an elegant ball gown, akin to Cinderella being transformed into a princess. Pictures 11 and 12 are stacked pockets inspired by Natasha Bedingfield's song "Pocket Full of Sunshine." The orange, yellow, and red represent the vibrancy of the sun. In contrast the unstable stacked forms symbolize the capriciousness of human happiness. My intent was directed on humble materials and transforming them into objects that relate to me and additionally qualities of human behavior and society.

42. Rationale for Score:3/3 The work exhibited in this portfolio contains several loosely related ideas. This is a unique idea for a concentration; however, the topic is broad, and, therefore, the unrelated work exhibited lacks cohesiveness. Images 1, 2, and 9 are simplistic solutions to the application of three-dimensional design principles. Moderate growth is evident in the exploration of materials in images 5 and 6, yet the collaboration and understanding of three- dimensional design principles is not fully demonstrated. The series would benefit from continued investigation of positive, negative, and implied space.