- Home
- Qualifications and standards
- NCEA
- Māori and Pasifika
-
Providers and partners
- About education organisations
- NZQA's quality assurance system for tertiary education organisations
- Guidelines and forms
- Consistency of graduate outcomes
- Approval, accreditation and registration
- Monitoring and Assessment
- Self-assessment
- External evaluation and review
- Assessment and moderation of standards
- Submitting results and awarding qualifications and micro-credentials
- Tertiary and International Learners Code of Practice
- Offshore use of qualifications and programmes
- Reform of Vocational Education
- International Education planning
- international
- About us
Scholarship sculpture exemplars - 2019
Show: All Scholarship resources
Scholarship
| (Click icons to see large versions in a new window) | ||
|---|---|---|
 Panel 1 (JPG, 378KB) |
 Panel 2 (JPG, 334KB) |
 Panel 3 (JPG, 407KB) |
| Sample Workbook pages | ||
 Sample page 1 (JPG, 3.6MB) |
 Sample page 2 (JPG, 3.3MB) |
 Sample page 3 (JPG, 3.7MB) |
 Sample page 4 (JPG, 3.5MB) |
 Sample page 5 (JPG, 2.9MB) |
 Sample page 6 (JPG, 3.1MB) |
 Sample page 7 (JPG, 3.7MB) |
||
This Scholarship Sculpture submission presented a savvy and relevant sculptural enquiry. The candidate engaged in a series of projects that navigated many themes and viewpoints that have currency for youth today. The practice itself demonstrated cognisance of a diverse range of contemporary modes of making and visual communication by effectively combining conventions of sculpture, performance, fashion, graphic and product design.
From the outset, the candidate took ownership of their topic – it is their world, the suburb of Ranui. In the workbook, the candidate starts by introducing the audience to local landmarks and meeting places through photographs of people and the various activities and social events that occur in that space. The description and photographs of the Ranui community set the scene for everything that then takes place, that being, the artworks produced and performed. An excellent range of established practice is referenced and well-integrated in the development and delivery of each discreet body of work.
The candidate pinpoints a simple premise that is rich in potential. Through their artworks, they want to introduce us to their environment and the uniqueness of it. Using their observations as the basis for the investigation, the focus is on sharing what goes on in their neighbourhood, what they care about, and what they think about it. The student's pride is evident, along with a sense of optimism, humour, and a sharp intellect. There is a reference in the workbook to giving objects a 'second definition' by making them into something different, but still recognisable as the thing they are. This is a strategically smart way to think about recontextualising tropes or 'things' – objects as they exist in the everyday, and more specifically within the context of the candidate's everyday.
There is a knowing in the way materials and found objects are used as materials for new forms / new objects. The candidate is inventive and lateral in their linking of context to concept. They use intuition to test and trial relations between things, often finding rationale that comes from being experimental and working across mediums – for example, using Cody cans to make jewellery that still refers to the original readymade but makes a claim to new ways of seeing without compromising or disguising the object. They are ‘Cody can earrings’. Sculpturally, this is an exciting and engaged body of work that takes risks, manages a range of tangible outcomes, works to scale, is ambitious, and finds and recognises value in the world.