Scholarship photography exemplars - 2014

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Outstanding Scholarship

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Panel 1 (JPG, 816KB)

Panel 2 (JPG, 804KB)

Panel 3 (JPG, 758KB)

Entire Folio (JPG, 2.3MB)

Sample Workbook pages

Sample page 1 (JPG, 3.4MB)

Sample page 2 (JPG, 2.7MB)

Sample page 3 (JPG, 2.7MB)

Sample page 4 (JPG, 2.8MB)

Sample page 5 (JPG, 3MB)

Sample page 6 (JPG, 3.1MB)

Sample page 7 (JPG, 2.9MB)

Sample page 8 (JPG, 2.6MB)
 

This Outstanding Scholarship Photography submission presented an innovative and original approach to the discipline whilst maintaining control over pictorial concerns and image making. From the outset, the candidate takes strong ownership of the enquiry exploring social and political ideas related to notions of place, identity and history. The proposition is focused on the candidate's own Maori descendance (Ngai Tuhoe) and is both a personal and articulate response to her experience of what it means to be Tuhoe. This is explored in context of iwi land, Te Urewera and contemporary relationships and understanding between the people and the land.

The folio is positioned as a revealing of story through documentary modes of practice. The enquiry acknowledges a collaborative philosophy through the integration of photographic media and material processes reinforcing the intent to describe the different relations between the land and the people and how it is that they are co-evolving. The work is executed in three phases across the 3 folio boards, which are interlinked and traverse various approaches of picture making, documentary, constructed and sculptural. These approaches evidence an astute understanding of how to communicate a sense of the experiential and to make images that open up dialogue and offer ways in for the viewer to understand context and the significance of these relationships.

The experimental use of various photographic genre and conventions underpins the conceptual and lateral tactics taken throughout the enquiry. Many devices have been employed to amplify aspects in interesting and unexpected ways, eg. the use of colour as a signifier, the choice of lighting situations (interior forest vs. documentary of the event), application of scale (close-up, distance, viewpoint), the use of cutouts, blocking and silhouette. Material aspects mimic the subject, the occasion or the driving concept, eg. thought-provoking links are made between the smoke on board 1, documentary photographs of the Powhiri for the Tuhoe Headquarters opening event, followed on board 2 by the use of the whakatauki, As man disappears from sight, the land remains, which is represented by the otherworldly light saturated hazy forest scenes. The colour manipulation and use of coloured pigment in the generation of imagery is intelligently managed and effectively communicates the significance of these abstract concepts.

This is a sophisticated and honest endeavour. The treatment of media as a means to construct image for photographic outputs is inventive and lateral and supports the conceptual. As a Scholarship entry, the folio and workbook together present a truly profound expose and story.

 

Scholarship

(click icon images to see a large version in a new window)

Panel 1 (JPG, 710KB)

Panel 2 (JPG, 728KB)

Panel 3 (JPG, 844KB)

Entire Folio (JPG, 2.2MB)

Sample Workbook pages

Sample page 1 (JPG, 2.9MB)

Sample page 2 (JPG, 3.6MB)

Sample page 3 (JPG, 2.7MB)

Sample page 4 (JPG, 2.7MB)

Sample page 5 (JPG, 2.7MB)

Sample page 6 (JPG, 2.4MB)

Sample page 7 (JPG, 2.4MB)

Sample page 8 (JPG, 2.7MB)
 

This Scholarship Photography submission takes a simple premise as its primary focus, the relationship between natural and manmade elements. The candidate chose to represent the natural and the manmade through two key signifying elements; clouds as a soft amorphous natural form and architecture as a hard-edged manmade form. The subject matter selected to engage this dialogue was a semi-derelict carpark, which presented a real site that offered the potential for these two elements to co-exist naturally and with artistic intervention.

From this point on, the candidate complicates their enquiry in interesting and visually compelling ways by introducing a range of photographic strategies and conventions—and by being open to the possibilities of external influences and occurrences (weather and erosion) in relation to their chosen site and subject matter. A formal conceptual exploration of the site was instigated that operated through a series of spatial photographic investigations.

The workbook methodically documents the visual research the candidate undertook. The approach is thorough and systematically traverses a range of relevant and lateral artistic reference. Natural phenomena such as lightness and darkness, shadow and sunlight alongside architectural notions of positive and negative space effectively contribute to the conversation about the formal. Devices such as illusion, perspective, reflection and mirroring are introduced as ways to increase the dynamic nature of the site and image—and to perhaps raise questions in the mind of the viewer as to what they are actually seeing.

The pictorial potential of the site was fully engaged with through constant renegotiations of the picture plane and compositional play. The use of trompe de l'oeil as both device and concept productively drove this investigation and kept offering new options and ways forward. The inclusion of the mirror and the sky image into the site presented good openings for some inventive experimental phases leading into the more ambitious final photographic site installation works on board 3.

Another successful aspect of the work was the consistent approach taken throughout the enquiry. Technically, the candidate applied excellent management of photographic conventions with installation processes to make a series of photographs that effectively operated in the space between the real and the constructed.

 

 
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