Scholarship sculpture exemplars - 2014

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Outstanding Scholarship

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Panel 1 (JPG, 784KB)

Panel 2 (JPG, 786KB)

Panel 3 (JPG, 774KB)

Entire Folio (JPG, 2.2MB)

Sample Workbook pages

Sample page 1 (JPG, 2.8MB)

Sample page 2 (JPG, 2.7MB)

Sample page 3 (JPG, 2.7MB)

Sample page 4 (JPG, 2.7MB)

Sample page 5 (JPG, 2.6MB)

Sample page 6 (JPG, 2.6MB)

Sample page 7 (JPG, 2.5MB)

Sample page 8 (JPG, 2.6MB)
 

This Outstanding Scholarship Sculpture submission presented a highly ambitious proposition that was calculated and strategic in its delivery and realisation. Its beginnings were simply described as the idea of changing one's appearance. What followed was academically rigorous and evocative. To manage a topic of this complexity - body image, identity, gender related to ideas of affect, the abject and performance - requires a mature outlook, as well as exceptional conceptual thinking and making processes.

Evidenced throughout the enquiry is an understanding of conceptual materiality, ie. the candidate clearly understands material as metaphor and successfully applies this understanding in a myriad of ways. The body is used as an object upon which a series of works are executed and as a tool and apparatus.

Driven by a high level of experimentation and continual testing and searching for ways to negotiate the subject, the candidate intelligently and confidently traversed a range of performative and evocative outcomes. The candidate demonstrates their perceptual ability to recognise as part of their process, conceptual links to the proposition, eg. the use of alginate as a casting process, becoming form (relating to interior/exterior body), which was then articulated for the folio in photographic form (operating there as both document and object). 

Documentary devices intensify content. Sequencing, mug shots, close-up details, site or situation shots, cut-ins, different angles are strategically utilised to increase the viewing experience and conceptual intent. Lighting, the use of black and white photography and framing make links to the histories of performance and advocate how the candidate wants the viewer to feel when they look at their work, ie. to have an abject experience or to engage with the fetishistic.

Contemporary practice is consistently referred to but not relied upon. Risk taking is both deliberate and successfully aligned to performative actions, histories of performance and selected subject matter - the candidate never seems to be satisfied, they keep pushing and trialling something new, every step of the way. The workbook proves in every aspect the intelligence of the enquiry and verifies the depth with which the candidate tackled the topic. Discussion and annotations back up and further discuss the psychology and related research around the candidate's understanding of performative aspects.

This is an outstanding performance that takes control via a set of carefully managed processes and inventive methodology to explore complex conceptual terrain.

Scholarship

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

Panel 1 (JPG, 945KB)

Panel 2 (JPG, 865KB)

Panel 3 (JPG, 686KB)

Entire Folio (JPG, 2.4MB)

Sample Workbook pages

Sample page 1 (JPG, 3.1MB)

Sample page 2 (JPG, 3MB)

Sample page 3 (JPG, 3MB)

Sample page 4 (JPG, 3.1MB)

Sample page 5 (JPG, 3.1MB)

Sample page 6 (JPG, 2.9MB)

Sample page 7 (JPG, 2.9MB)

Sample page 8 (JPG, 2.6MB)
 

This Scholarship Sculpture submission presents an investigation into the idea of expansion as it relates to the human condition, considerate of physical, metaphysical and subjective factors. An interest in the potential of scale to activate meaning and spatial relationships underpins much of the logic applied to the development of this work.

The investigation pursues a logical and intelligent pathway and works through a series of sculptural approaches that are located within the conventions of sculptural practice. A range of two-dimensional and three-dimensional drawing methods drive ambitious starting points, such as the bread skull - this 'drawing' introduces a material (bread) that is reinterpreted formally throughout the folio in a number of works.  

There is a conscious exploration of perspective, scale and the grid throughout the enquiry. It is used as a structure that reflects the mass of a body and at the same time is a signifier of a body. Scale and dimensionality are tools that are also exploited to full advantage to test out notions of physical expansion. Print processes are appropriately employed to explore ideas in a propositional sense, eg. The Doppler Effect series. Here print media is treated similarly to the bread, providing convincing and new ways to think through the idea of physical expansion.

Synthesis is an ongoing and active process. Constant reflection of previous works feeds the next iteration. The removal of the human figure in board 3 effectively demonstrates the candidate's intent, clarity of purpose and willingness to re-work ideas. The transformation of the figure into a rectilinear structure and then into a field of objects in an exterior site demonstrates the lateral nature of this enquiry. It all makes sense, in that one solution leads to the next, but in actual fact these works comes out of a curiosity and desire for delving further and for seeking understanding.

Documentation is consistently treated and intelligently handled throughout the investigation - good composition in terms of settings and site and framing of viewpoints extend the proposition and add depth and purpose to concepts.

The workbook thoroughly documents and lays out the progression of thinking and visual development undertaken by the candidate. This is an honest enquiry that shows strong ownership and successfully explores its proposal with integrity and an questioning mind.

 
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