Scholarship Painting exemplars – 2022

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Outstanding Scholarship

Panel 1 (JPG, 1.1MB)

Panel 2 (JPG, 1.4MB)

Panel 3 (JPG, 1.5MB)
Entire portfolio (JPG, 1.9MB)
Sample workbook pages

Sample page 1 (JPG, 3.7MB)

Sample page 2 (JPG, 3.8MB)

Sample page 3 (JPG, 4.2MB)

Sample page 4 (JPG, 4.3MB)

Sample page 5 (JPG, 4MB)

Sample page 6 (JPG, 3.7MB)

Sample page 7 (JPG, 3.2MB)

Sample page 8 (JPG, 3.8MB)

Click links to see larger images

This Outstanding Scholarship submission is a conceptual investigation into the theme, "Distorted Rabbit exploring the importance of identity with a sub-theme of Dadaism.” The project grounded itself in practice within an abstract paradigm, evidenced in statements such as "… enjoy the distorted rabbit struggling and worrying about the meaning of its existence”, and through the 'with abandon' approach to making. Individuality, as a concept and framework for the practice, is significant to the candidate (coming from Japan), where they experienced an education they felt ignored individuality. In their proposal, they state they're interested in their true self and understand the folio/enquiry as an opportunity to dig deeper, and to explore "my aesthetic sense, thoughts and feelings in the unconscious.” Distortion is the key conceptual and processual tool used to analyse the candidate’s thought processes and logic.

The strength of the submission is the thorough investigation into materiality and process, along with the experimental use of surfaces and a range of media like rice paper, tracing paper, gauze, building papers, thread, ripped canvas, wire, tissue paper, and cardboard. Comprehensive painting approaches are relevant pairings to the choice of materials and media such as impasto, transparency, layering, and spray paint. The candidate also prepares different grounds on a variety of surfaces using transparent colour, thick layers, etc., prior to introducing structural elements.

Risk-taking and finding solutions through discovery is the primary mode employed to develop the body of practice. Each work, each study is considered in terms of the placement of forms within coherent structures. The technical aspects, such as the woven areas, and layering of material and media on the final works, are beautifully crafted. Intuitive, robust media manipulation and conceptual clarity is utilised to construct image. Of note is how the works move beyond study to become artworks. The strength of the portfolio is the application and construction of layering as method; multiple layering devices are used in different ways to explore collage, make and find solutions. Composition is the fundamental building block to the success of the body of work.

The workbook/visual diary is intelligent and insightful; it exemplifies the depth of the investigation through description and discussion, 'live' analysis of the processes involved, and the why/what/how of decisions made. It also includes documentation of works (not on the folio), locating them within the conceptualisation process (e.g. Foam series) and the relevance of experimental phases that have impacted the broader project.

The contextual review includes artistic practice and anime, ranging from modernist painters to contemporary art. They all have a rationale and point of interest. As a critical movement and methodological approach, Dada was important to the candidate's thinking, i.e. they moved fluidly between their observations of artists' practices and their own work, always returning to drawing and experimentation with the knowledge gained.

Looking at the work, there is a real sense that the candidate operates without limitations; they make with an adept hand and a confidence (‘just to see’). They talk about their hands moving unconsciously, letting media and process 'do the work'.


Panel 1 (JPG, 1.4MB)

Panel 2 (JPG, 1.6MB)

Panel 3 (JPG, 1.5MB)
Entire portfolio (JPG, 2.1MB)
Sample workbook pages

Sample page 1 (JPG, 3.6MB)

Sample page 2 (JPG, 3.9MB)

Sample page 3 (JPG, 3.8MB)

Sample page 4 (JPG, 4.2MB)

Sample page 5 (JPG, 4.5MB)

Sample page 6 (JPG, 4.8MB)

Sample page 7 (JPG, 4.1MB)

Sample page 8 (JPG, 4.6MB)


Click links to see larger images

This Scholarship submission is located in personal  subject/experience, and is dedicated to the candidate’s great, great grandfather, who fought in the 28th Māori Battalion in World War I. The proposal is focused, inquiring, thoughtful and embraces the power of painting to honour their tipuna tāne. The candidate pursues an investigative journey of personal historical significance, working with whakapapa, whānau and tūrangawaewae concepts. The proposition exudes authenticity through the personal perspective and use of media to communicate and honour the subject studied in each artwork.

In the workbook, the candidate begins with their pepeha and identifies the desire to explore their culture, identity, and whakapapa; recognising that it is because of their tīpuna the candidate is “interconnected to the sacrifices made by my ancestors for me to exist today.” The analysis of work as it develops is well-grounded, enabling the candidate to find their footing and recognise strengths and weaknesses to build on. They found a style appropriate to the conceptual, contextual subject matter and worked with it through thoughtful layering and integration of text.

The student presence is evident throughout the investigation in the personal source material linked to historical and cultural contexts, and the analysis of composition, meaning, and intent. They examine Te Ao Māori, their tīpuna, and concepts of past/present/future through purposeful use of symbolism and selection of images (photographs). Painting conventions of portrait and compositional devices are used to explore the passage of time, to piece together fragments, stories, records of events, and histories discovered. For example, they use black and white, and pointillism to reference historical photography, and colour for recent photos and interpretations.

The painting practice is underpinned by strong drawing and media skills. Various pictorial strategies support these approaches: grid, layering, overlay, silhouette, text, impasto, glaze, painterly mark-making and colour symbolism. The work weaves personal/social/historical narratives about Māori warriors/soldiers and the Māori Battalion through well-planned technical and compositional arrangements –– symbolically and metaphorically. There is warmth in the research, and joy in making this work. Central to the works are people/family/place/time. As a framework, these elements move the body of work beyond the folio, and embed a sense of power and dynamism.

This submission evidences a close engagement with and honouring of whānau. The care and attention paid to every artwork on the folio, and analysed in the workbook, is a testament to the whanaungatanga, the love and connectivity of the candidate to his tīpuna and whānau.

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