Scholarship Printmaking exemplars – 2020

Show: All Scholarship resources


Panel 1 (JPG, 530KB)

Panel 2 (JPG, 515KB)

Panel 3 (JPG, 459KB)
Entire portfolio (JPG, 1.4MB)
Sample workbook pages

Sample page 1 (JPG, 1.5MB)

Sample page 2 (JPG, 1.8MB)

Sample page 3 (JPG, 1.7MB)

Sample page 4 (JPG, 1.8MB)

Sample page 5 (JPG, 2.3MB)

Sample page 6 (JPG, 2.1MB)

Sample page 7 (JPG, 2.1MB)

Sample page 8 (JPG, 1.8MB)

Click links to see larger images

This Scholarship submission presented a sophisticated and engaging body of print work led by a personal enquiry into what the candidate identified as "the dissonance I feel opening up between myself and my roots in the Christian faith". Instigating an authentic proposition, grounded in the candidate's everyday world from a critical standpoint, provided a strength to the enquiry regarding subject matter, imagery, representation, print and media techniques, devices, and approaches. Photographic studies considered light, colour, and form to establish the proposal's overarching theme, and a metaphor for the candidate's faith.

The workbook is incredibly honest, thorough, and analytical, with meaningful and insightful commentary shared. The candidate looked to film (Aranofsky's 2017 film, mother!) for ways to think about visualising the content they wanted to explore. This was a key strategy in formalising how this subject area and personal experience could be taken into printmaking. Watching this film enabled an imagery series to develop. This included ways the candidate could incorporate their own story / stories (reoccurring nightmare) as a basis for photo shoots that explored ideas of home (as a symbol of God's vision); that is, the place of their existence growing up and where they were taught their belief systems and values. McCahon is another critical reference and alignment that the candidate makes to spirituality and symbolism through formal compositional devices, light and dark, shapes and forms, and mark-making.

Imagery is exploratory of the subject with excellent control over print methods and media. The choice to use specific processes at different points in the folio work creates a secondary narrative. For example, the early monoprints on coloured grounds translate well from the candidate's photo shoot, embedding a spiritual aspect. The breakdown of composition into abstract layering, and separation of forms and shapes that appear to ‘let the light through’, refer to the crumbling and shifting of faith. The destruction of materials and image through burning and mark-making, along with the use of translucent papers and found surfaces / printed matter, amplify the feelings of uncertainty and instability.

The candidate produced all of this work in and around the 2020 COVID-19 lockdowns, which contributed to the tone of the work, the sensibilities the candidate sought to achieve, and the subject matter (architecture, spaces, sites) used as a system of-kind to represent the institution, ideas of isolation, and impending change metaphorically. Reading the workbook alongside the portfolio reveals a considered and thoughtful self-reflective exploration; the discussion shows the candidate grappling with who they are in the context of a crucial moment of change and reflection about their faith. In parallel, the portfolio work is a very well-moderated exploratory endeavour to actively engage the print medium in their journey.

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