Visual arts - external exemplars Level 3 2016 - sculpture

Show: External Exemplars

The resources below contain examples of candidate work submitted in 2016 for assessment for the Visual Arts Achievement Standard 91459 Produce a systematic body of work that integrates conventions and regenerates ideas within sculpture practice. The purpose of this resource is to assist art teachers prepare their teaching programmes and their students for assessment.

It is important to note that this is a 'Moving Image' presentation. Please refer to assessment specifications for AS91459. 

Digital Moving Image Exemplar: Merit

This submission explores a range of performance and kinetic sculptural actions that use movement as a fundamental element of the central proposition. The candidate utilises the notion of repetitive body movements that reference dance and the performative actions of artists like Rebecca Horn and Jana Sterbak.

The submission starts with replication of the candidate’s limbs via casting processes which are developed into copies of the appendages that reference movement through multiple. The candidate then creates a hand augmentation device that allows the wearer to extend the fingers of the hands when worn. These augmented gloves are then activated by the candidate in a series of performances that explore the relationship of the space to the body of the performer. The actions are slow and ritualistic with a clear understanding of the conventions of this kind of performative action.

The submission then makes an important move into kinetic sculpture that extends the idea of the artists replicated limbs as part of a revolving leg machine. The combination of found object and representational plaster cast of the leg are simply combined with the readily available cordless drill as a motor. The pose of this leg references the restraint placed on the body by point work in ballet. The leg pirouettes in a rapid turning motion that is restrained by the fixed point within the stool that it is placed. This idea of the body augmented by a mechanical structure is then developed into a large scale kinetic work that reworks the idea of the machine body hybrid that defines the space through its motion. Again revolving the extended hand machine gently brushes the wall in which it inhabits creating a tension for any audience that intends to enter the space. The candidate finishes the submission with a related performance piece with this hand machine kinetic work.

In order to gain achievement with excellence this candidate would have needed to critically select ideas and methods from a wider range of established kinetic and performative practice. The work of Matthew Barney would have assisted this student in thinking about the ritualistic nature of performance through dance and body restraint through machine and space. Further investigation about how spaces and machines augment body movement would have also assisted this candidate in exploring a depth of ideas required for excellence.


(click icon images to see a large version)
Panel 1 (JPG, 1.3MB) Panel 2 (JPG, 1.4MB) Panel 3 (JPG, 1.5MB)
Entire Folio (JPG, 4.1MB)

This inventive and conceptually driven submission engages in a broad sculptural investigation that starts with research into road rules and the conventions surrounding these rules. Subverting road rules through simple but effective manipulation of road sign design engages the viewer in a clever double take where the familiar becomes unsure. Other interventions in real traffic environments both pedestrian and vehicular seek to question the hierarchy of one mode of transportation over another. Large scale and ambitious projects engage with a humorous attitude that question the nature and function of road markings and signage. The candidate then uses these formal markings of signage to become real connections and restraints to reinvent readymade transportation devices such as the supermarket trolley and bicycle. It is here that the submission fluently extends the initial proposition into a synthesis of modes of sculptural conventions. For example, the graphic barriers become real restraints of tape that hold the trolley from running away down the hill or join two trollies together in an awkward even dysfunctional way. This suggests an observation about how rules might curtail the function of an object if applied arbitrarily or excessively. The candidate is cognisant of the appropriate materials to use in this work to create interesting observations about the social function of the object. For example, the numberplate created for the shopping trolley out of supermarket polystyrene references the generic nature of these trollies and yet makes the trolley user accountable as an individual cart. These absurdist interventions are then developed into kinetic amalgamations of bicycle parts that lampoon the original and logical intent of the objects ergonomics. In this way the candidate makes connections between the subverted systems of bicycles and social structures of the road code. On the final panel these subverted bicycle systems engage with an absurdist attitude to back seat drivers where the bicycle takes over the car in a farcical mutiny. The mechanical action of this kinetic object and performance give rise to the conclusion of the submission with a Duchampian machine that deals with the notion of interconnected parts, all operating within the parameters of kinetic cause and effect. Even this work speaks to the notion of an interconnected social system.


(click icon images to see a large version)
Panel 1 (JPG, 1MB) Panel 2 (JPG, 885KB) Panel 3 (JPG, 952KB)
Entire Folio (JPG, 2.8MB)

This candidate has presented a cohesive approach to figurative sculptural practice. The body of work starts with a thorough exploration of a range of sculptural methods and ideas that are built upon steadily throughout the submission. The candidate demonstrates a thorough methodology that is aware of the appropriate conventions of figurative sculpture. Careful analysis of the methods used on panel one allows the candidate to extend the sculptural ideas in a very logical and decisive manner. Formal qualities are recognised and then utilised in the extension of ideas. For example, the found object doll parts are integrated with both geometric and organic structures that are then employed to construct organic figures on geometric plinths. The way in which colour is selectively used to treat specific surfaces is a device that informs the decision to use photographic and projection elements in the work on panel three. The exclusion of colour to focus on form in panel two leads the candidate to successfully combine plinth as figure and photographic surface at the top of panel three. Geometric form is understood in a variety of modes throughout the submission. For example, geometric forms that create torsos in the works on panel one becomes plinth in the works on panel two and then shifts back into becoming a sculptural form in the final work on panel three. This demonstrates the candidate’s awareness of the interplay between legs as plinths (figure and form). Direct lighting and projection are used to emphasise the negative and positive space of installations and how photographic representation of body is transformed by the planar form it exists on.

In order for this candidate to be awarded Excellence they would have needed to synthesises ideas from a wider range of figurative sculptural established practice to critically inform and refine their own work. Artists like Tim Hawkinson or Matthew Monahan would have assisted this candidate in thinking about how best to approach the use of photographic figure surface to form relationship. Tony Oursler would have also helped the candidate think about how projection as video can animate figurative works in this context.


(click icon images to see a large version)
Panel 1 (JPG, 1.1MB) Panel 2 (JPG, 1.3MB) Panel 3 (JPG, 1.4MB)
Entire Folio (JPG, 3.7MB)

This submission presents a range of sculptural techniques to assert a clear sculptural proposition within the body of work. The candidate demonstrates confident use of materials in a number of contexts throughout the submission. The notion of growth and decay is evident throughout the work described by popular motifs in representations of skulls and plant growth. The candidate has successfully selected and integrated different kinds of materials to support the thematic constraints of the work. For example, the use of found domestic objects such as glass jars commonly used to preserve organic produce from decay have been successfully combined with organic plant elements to create simple and logical sculptural works. The stool work presented on panel two of the submission references both plinth and the suggestion of growth of a root system underneath the domestic object. The use of plaster has been explored in a range of ways to including representation of objects, as a binding agent to join materials and as a casting material where its inherent fragility is explored. The use of dead leaves to create the skull on the first panel also demonstrates the notion of material as metaphor. The candidate presents work clearly through photo documentation of work mainly in a dark interior space. This has however restrained the candidate from exploring a more expansive attitude to site and scale.

In order for this candidate to be awarded Merit they would have needed to integrate and regenerate ideas from more specific sculptural conventions that engage with death and preservation. The work of, Anya Gallaccio, Damien Hurst or the early work of Liz Larner would have helped this candidate understand the appropriate sculptural conventions to investigate.

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