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Visual Arts - external exemplars Level 3 2017 - Painting
Show: External Exemplars
The resources below contain examples of candidate work submitted in 2017 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.
Excellence
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| Panel 1 (JPG, 1.3MB) | Panel 2 (JPG, 1.7MB) | Panel 3 (JPG, 1.7MB) |
| Entire Folio (JPG, 4.2MB) | ||
This folio is included as an Excellence board dealing with a Pasifika cultural context. It is often a strength of folios when they are centred on a candidate's own interest and knowledge, allowing them to build on their own prior knowledge in relation to the standard. Across the board, the candidate presents aspects of their culture alongside artists such as Fatu Feu’u or Robin White’s printmaking from her time in Kiribati or even Henri Matisse’s fascination with line and shapes.
Board One presents a very traditional starting point with still life landscape and portrait studies in monochromatic watercolour relating to the Pacific Islands. The figure is then analysed in a shallow interior space, alongside subtle explorations of structure through tapa, colour and linear elements.
Board Two continues a deeper study of images presented within traditional grid structures presenting a range of motifs and also text to support a narrative. Every work links to previous paintings with an ongoing range of options explored. The uses of positive and negative, flat against modelled forms, tivaevae versus tapa against landscape, show how these well-crafted images are a result of intelligent analysis and refinement. Colour throughout these passages is being carefully manipulated and the imagery relating to groups of figures is also expanded. Reference to Gauguin and motherhood lead us into the final board with complex synthesis of use of pattern, colour, text scale and silhouettes of changing relationships between figures (male and female, etc).
Colour and the ways the paintings are constructed keeps being pushed throughout these explorations. The final work presents careful formal consideration of picture making. The figure in the foreground activates a greater sense of space as well as being a canvas to the marine animals that replace a traditional pe’a knee to waist Samoan tattoo. The subtle but complex arrangements in this work show ample evidence of the candidate's level of understanding of a range of options with a fluency that is an Excellence board.
Merit
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| Panel 1 (JPG, 1.2MB) | Panel 2 (JPG, 1.6MB) | Panel 3 (JPG, 1.9MB) |
| Entire Folio (JPG, 4MB) | ||
This folio is chosen as an exemplar of a Merit board with abstract expressionist influences. Abstraction continues to be under-represented at times in examination. This example presents an approach that, although beginning with more realistic work based in an asylum’s cell and corridors, draws on surfaces and textures to help convey the candidate's narrative. We clearly see their attraction to simplified line and forms and a carefully selected colour palette from the beginning.
Board One presents a range of pictorial concerns: the colour palette illustrates the spaces within an asylum; the locks, and long corridors, scarred surfaces and linear barriers, the interior spaces and their stressed walls finish this board.
The second board begins with a focussed exploration of the more abstract elements associated with the linear works on Board One. These lines and crosses reference the work of Antoni Tapies, a Spanish painter sculptor and art theorist, and even John Reynolds, a New Zealand painter. The photo release of Robert Rauschenberg an American painter, is a strength in the later works, especially the change of colour and viewpoints used. They help convey the isolation and sense of being trapped that the candidate’s narrative demands.
The smaller quantity of works on the final panel limits the development of more options but successfully draws together earlier colour options and the interchange between the scale of mark making. The photo release images used here certainly revisit the earlier interests around the depth of the paintings through the use of one-point perspective. The informed use of hessian on the surface of this work in the style of Alberto Burri draws one back to the picture plane itself. The strength of the narrative returns through the archetypal male doctor image within the photo release image.
Throughout the folio we see a purposeful exploration of increasingly assured mark making and colour use, and attention to formal concerns, explored alongside more narrative driven interior studies that show the refinement and integration of ideas necessary to meet Merit.
Achieved
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| Panel 1 (JPG, 1.2MB) | Panel 2 (JPG, 1.4MB) | Panel 3 (JPG, 1.6MB) |
| Entire Folio (JPG, 3.5MB) | ||
This folio displays a systematic investigation of picture-making based around the concept of New Zealand icons. The board quickly establishes a range of motifs such as the ponga frond, fantail, bees, seabirds, landscape and moko kauae, and then continues to combine them using various compositional devices such as the grid and other framing systems. This is expanded by bringing together other conventions such as using Peter James Smith’s black framing device and white overwriting. Painting styles also are explored through appropriation, such as their own interpretation of Michael Smithers rocks in front of Taranaki, or other more traditional New Zealand examples of some quite successful more expressive landscape painting. Text now also weaves its way alongside more curious circular bubble motifs.
Although text is used in a variety of ways with scale changes and some font alteration as an integral aspect of the board the lack of purpose driving this limits its ability to go beyond Achieved.
By Board Three the candidate briefly reintroduces the earlier grid structure, before returning to a stronger, more organic composition which has a greater sense of movement, possibly referencing the uncoiling ponga. This is enhanced by the play between the flat and more fluid painting passages in the works. These works seem to revisit earlier decisions and move them forward. New Zealand now flows throughout the works and the humorous play between a Bill Hammond bird and our fantail seems to be genuine appropriation, fit for their purpose of playing with New Zealand icons.
Throughout the folio the candidate seems to be at the centre of the investigation. The work presents a convincing reforming and extension from their initial work building a body of work that meets an Achieved standard.