Visual arts - external exemplars level 3 2016 - painting

Show: External Exemplars

The resources below contain examples of candidate work submitted in 2016 for assessment for the Visual Arts Achievement Standard 91456 Produce a systematic body of work that integrates conventions and regenerates ideas within painting practice. The purpose of this resource is to assist art teachers prepare their teaching programmes and their students for assessment.


(click icon images to see a large version)
Panel 1 (JPG, 1.4MB) Panel 2 (JPG, 1.2MB) Panel 3 (JPG, 1.7MB)
Entire Folio (JPG, 4.2MB)

This folio is chosen as an exemplar to present an excellence board dealing with abstraction, a genre which at times feels underrepresented in this examination. The candidate showed they were well-grounded in practice such as Gerhard Richter, Sigmar Polke (as international examples) or, in a New Zealand context, James Cousins or a range of other contemporary New Zealand painters dealing currently with Abstraction.

The painterly vocabulary of this folio is well understood by the candidate. Board one presents a substantial range of options handled with fluency throughout.

Board Two presents a deeper analysis of the relationship between the architectural features and the use of expressive mark making. These relationships show a successful activation of the surfaces allowing an increase in the layering and depth within the work.

Board Three shows a highly intelligent evaluation of earlier ideas. Especially the series of works showing a comprehensive study of the impact of the more linear patterns and associated heightened surface quality through an optical format. Manipulations through colour and tone as well as the types of marks are used consistently to experiment with the figure:ground relationship with depth and insight.

The final works appear to reference or employ Rorschach’s ink blot test to arrange marks on their backgrounds. As the placement alters, so too do the types of more hard-edged marks along with the emptying of the background. Layers of translucent colour interrupt the till now highly optical pattern. This performance shows a confidence in a synthesis of ideas across the whole of board three. A high level of critical thinking is present throughout this folio as the candidate reflects on earlier work and extends this into new areas, with a consistent confidence and fluency in their use of colour and surface manipulation.


(click icon images to see a large version)
Panel 1 (JPG, 1.3MB) Panel 2 (JPG, 1.2MB) Panel 3 (JPG, 1.2MB)
Entire Folio (JPG, 3.5MB)

This folio is included as a very good example of when the painting proposal and the style and modes of representation are based firmly in what is relevant to the candidate’s world. This ownership is a driving factor in many successful boards. Often, although the theme of cars and their associated cultures can be popular, they aren’t as purposeful as this example, becoming caught up with superficial studies of cars at the expense of pictorial concerns.

This folio consistently explores inventive compositions as well as concepts around the Monte Carlo Rally. A range of pictorial concerns are explored: colour, framing devices, advertising and reflection as well as three-dimensional work which is then re-explored through time-based performance.

In relation to the narrative we see time pass from night to day, as well as the terrain changing as the rally progresses. We constantly change our viewpoints within works from the driver to rear vision to in front, above etc. These viewpoint changes suggest an understanding of film devices; they all add to the sense of purpose in the candidate’s exploration of ideas.

Board Three’s focus on the destruction as the end result of this sequence in the Monte Carlo Rally is well-thought through, although the ordering here does seem to limit its potential. The cars represented continue to be purposeful studies, supporting the sense of movement and impact. The burning model provides a time-based element which, when well-documented, becomes an invaluable photographic resource that is then used to cope with the study of painting the interior of the car in flames. The final work successfully draws together the knowledge acquired in earlier compositions. The car tracks across the work embrace the picture plane and heighten our attention to the small details within the work. The helmet, symbolic of the driver and referenced earlier, appears as a scale device in a very well-constructed painting.  The smoke reinforced by sand study in the preceding work and the already mentioned flame analysis show intelligent links through all phases of formal elements. This is pleasing to see and is worth drawing attention to, as the primary concern is picture making, hopefully based on one’s own interests as motivation.


(click icon images to see a large version)
Panel 1 (JPG, 1.4MB) Panel 2 (JPG, 1.2MB) Panel 3 (JPG, 1.4MB)
Entire Folio (JPG, 4MB)

This folio presents a candidate working hard to develop a visual vocabulary around the subject or genre of Street Art or Graffiti, which clearly has meaning for them.

It is pleasing to see an example of a board that develops, clarifies and regenerates ideas around this subject matter rather than a folio that just presents different examples of the types of graffiti in the candidate’s world.

Alongside the drawing of spray cans, surveillance cameras, train tracks and rolling stock which all show sufficient evidence of the skill in media required to satisfy the standard, the candidate is engaged with ideas around perspective, picture plane, scale changes, colour and surface subtleties and the use and placement of text; in this case, graffiti writing.

Following the concept of narrative in relation to their theme, we see the figures on panel one transform into more illustration based cartoon characters on the second board. These are part of a comic book format studies showing these figures the graffiti and police, on soft sprayed surfaces. This then translates to the figures becoming silhouettes and the graffiti bombings dominating and by the bottom of the panel we see photographic documentation of the experience of larger urban canvases.

Panel three manages to continue to show appropriate links between the earlier phases the use of depth through perspective, flattening of the picture plane through the use of tagging script or block writing. The cartoon type characters from earlier continue to appear throughout the works in a considered compositional manner. The last couple of works look at ideas around collage and the found object. Although imaginative, the use of collage in the last work seems less convincing – yet the work has been developed intelligently and ideas reformed and extended, so as to meet an Achieved standard.


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