Scholarship Printmaking exemplars – 2022

Show: All Scholarship resources


Panel 1 (JPG, 1.3MB)

Panel 2 (JPG, 1.2MB)

Panel 3 (JPG, 1.7MB)
Entire portfolio (JPG, 2MB)
Sample workbook pages
Sample page 1 (JPG, 3.8MB) Sample page 2 (JPG, 3.8MB) Sample page 3 (JPG, 4.1MB)
Sample page 4 (JPG, 3.7MB) Sample page 5 (JPG, 4.7MB) Sample page 6 (JPG, 4.8MB)
Sample page 7 (JPG, 4MB) Sample page 8 (JPG, 3.8MB)  

Click links to see larger images

This Scholarship submission is about personal identity, cultural collision, and the candidate’s relationship to artmaking. For them, identity “represents the experiences and values one individual has obtained throughout their life” with their family and across generations. They are from the Philippines and explore the subject of their cultural background, living conditions, past life/early childhood, and traditions. They use memories and the dichotomy of differences between their life back in the Philippines and here in New Zealand as the central subject matter (poverty versus wealth).

Photographs are translated into prints through digital processes and a wide range of print processes: drawing, mixed media, woodcuts, etching, pronto printing, screen printing, and cyanotype to extend and expand ways of mark-making. Individual layers in works each refer to a specific moment in time/image in time; layers, literally and metaphorically, refer to the layering of memories. This sensibility is achieved through transparency and veiling, layering of tracing paper and sensitivity of mark-making, including using mixed media such as tape. Different surfaces are used for print to communicate tone and meaning; including collagic application of the candidate’s own ripped-up prints to refer to the idea that “memories are [layered], non-linear and sometimes misleading.” Technical factors such as blurring, obscuring, wiping, fading, and torn edges all contribute a sense of time (past/present) to the image, effectively locating the fragility of memories ‘across and over time’.

The enquiry is a profoundly personal exercise for the candidate; they indicate in the workbook that the undertaking has been an insightful learning experience of personal growth. Subheadings in the workbook outline the depth of searching and line of enquiry undertaken: Personal growth, Memories/Identity, Cultural Collison/Transition, Existentialism/Mortality, Exploration of space & time/Abstract. These contexts both support and document the candidate’s progression through their own process of self-reflection, discovery, and journey of life.

Artistic references are appropriate, chosen for techniques and conceptual underpinning, and help to deepen the proposition. In the workbook, the candidate engages in a highly reflective process of analysis, moving between questioning, description of thought, and drawing and printmaking media/processes. They are interested in the potential of the image, of drawing and printmaking to communicate the complexity of living and the “invisible aspects of emotion, the unconscious and memory.” Every image on the portfolio captures a different moment, realisation, or episode in the candidate’s life; this submission represents their story, their journey of discovery and growth from their origins in the Philippines to life now in Aotearoa New Zealand.

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