Scholarship painting exemplars - 2015

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Outstanding Scholarship

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

Panel 1 (JPG, 1.4MB)

Panel 2 (JPG, 1.2MB)

Panel 3 (JPG, 1.4MB)

Entire Folio (JPG, 3.9MB)

Sample Workbook pages

Sample page 1 (JPG, 3.2MB)

Sample page 2 (JPG, 3.5MB)

Sample page 3 (JPG, 3.5MB)

Sample page 4 (JPG, 3.4MB)

Sample page 5 (JPG, 3MB)

Sample page 6 (JPG, 3.1MB)

Sample page 7 (JPG, 3.4MB)

Sample page 8 (JPG, 3.2MB)
 

This Outstanding Scholarship Painting submission presents a substantial and rigorous enquiry. The candidate demonstrated a mature understanding and strong commitment towards their subject matter (the relationship between creator and creation and mental illness). It is personal territory that is both challenging and candid and requires a mature outlook, if it is to be handled with authenticity and without making broad generalisations. In the workbook, the writing is declarative, analytic and reflective and moves between these various modes with ease. The candidate describes their personal situation in life, in art and proceeds to make sound intelligent and straightforward descriptions of motivation and intent.

The relationship between the folio and workbook is fluid with the folio and workbook multi-tasking between several modes; as autonomous entities, but also with the workbook acting as a genuine supplement to the folio work, i.e. an in-depth understanding of the candidate’s intentions and artistic processes were revealed through authentic workbook practice.

The folio itself is beautifully designed in a manner that is consistent with the subject matter, i.e. pattern making and sewing. There is a sense that the candidate is operating as an artist and seamstress, which has an embedded conceptual resonance that convinces the reader (of the folio and workbook) that the candidate has a remarkable level of intentionality and academic rigor.

The analogies between media and processes and sewing, and media and processes and painting, are synthesised to high degree. There is a fastidious quality to the designing, crafting and the making, which takes on a fetishistic sensibility that suits the stylistic aspects of the investigation and genre (Victorian and Steampunk, mechanical and decorative _ relating to gothic and tattoo). It is entirely consistent with the genre and established practice.

It is noteworthy to mention that the constraints of the submission format (scale and progression across the three panels, specifically) did not at all limit the reading of the work. This submission has traction in the art and design world in terms of its professional contexts, such as, exhibition in a design/object space or a publication. It successfully looks out into the world of contemporary art and design practice.

Scholarship

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

Panel 1 (JPG, 1.1MB)

Panel 2 (JPG, 1.1MB)

Panel 3 (JPG, 1.1MB)

Entire Folio (JPG, 3.2MB)

Sample Workbook pages

Sample page 1 (JPG, 2.2MB)

Sample page 2 (JPG, 2.3MB)

Sample page 3 (JPG, 3MB)

Sample page 4 (JPG, 3MB)

Sample page 5 (JPG, 3.1MB)

Sample page 6 (JPG, 2.7MB)

Sample page 7 (JPG, 2.6MB)

Sample page 8 (JPG, 2.6MB)
 

This Scholarship Painting submission positions an enquiry that pulls together two seemingly unrelated ‘things’ – the “controversy of killing sharks” and their potential conservation along with a technical interest in figurative painting. This is not the topic however. From these two identified areas of interest, an idea and angle were developed that looks at “predator and prey” and “beauty and the beast” through a unique submission that essentially is an exploration of a feminine shark hybrid as a signifier of the impact of human behaviours upon nature (sharks).

The candidate selects productive research contexts to find the means to develop the proposition. Links are made to obvious but relevant established practice, such as Damien Hirst and Jenny Saville, and Robert Longo’s hyper-realistic charcoal drawings of sharks that usefully identify ways in which the subject matter can be handled and extended through a series of compositional and technical conventions. There is a consistent management of media and materials throughout the folio that show skill in drawing, watercolour, and painting. Within the paintings, there is a broad range of approaches utilised to depict the specific nature of subject matter from the ‘rich’ chunks of flesh through to the more delicately painted lace. This is appropriate technical application to the subject matter.

The visual dialogue is expanded through elements of humour, hybrid objects and theatricality. The workbook shows a depth of research and understanding of the economic motivations that cause the over-fishing of sharks. The candidate is able to relate these ideas to other artists who have explored commodification and commercialisation of products. This is clearly related back to feminism and visual references to beauty, suffering and pain (fabric to blood symbolism) – where the lace, high heels and red lipstick become signifiers for the relationship between the shark and the girl, including the use of popular culture icon ‘Carla Delevingne’ the super model in the final work on panel three. This idea is further played out in the proposal in the workbook for the Jean Claude and Christo inspired installation made of red cloth introducing future options utilising sculpture, object making and fashion.

 
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