Scholarship sculpture exemplars - 2017

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Outstanding Scholarship

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Panel 1 (JPG, 1MB)

Panel 2 (JPG, 1.1MB)

Panel 3 (JPG, 1.5MB)

Entire Folio (JPG, 3.4MB)

Sample Workbook pages

Sample page 1 (JPG, 4.1MB)

Sample page 2 (JPG, 3.9MB)

Sample page 3 (JPG, 4.4MB)

Sample page 4 (JPG, 4.6MB)

Sample page 5 (JPG, 4.6MB)

Sample page 6 (JPG, 4.4MB)

Sample page 7 (JPG, 5.1MB)

Sample page 8 (JPG, 4.1MB)

This Sculpture Outstanding Scholarship submission presents a highly inventive and clever sculptural investigation based on the idea of a “Carrotcature” constructed through humour and a playful attitude. The folio is intellectually funny from the beginning. The candidate clearly has a strong grasp of contemporary art practice, including cartoon, comic and popular culture genres that utilise humour as the basis for communication of a range of social political issues. They are informed about the world at large and how they want to locate themselves and their art practice in context.

Humour as the central framework for an art practice is difficult territory and requires a certain level of intuition and ambition that is usually beyond reach at this level. As consistently demonstrated throughout the candidate’s journey, they were required to maintain an astute and somewhat relentless approach, to keep on testing, refining, making, evaluating whilst being open to new inventions and lateral segues. This submission never falters in its pursuit of new ways to extend and expand on the 'life of the carrot’ – with each new idea acting as an episode "in the life of”. The workbook sets up many more propositions and scenarios than what is presented on the folio, all of them believable in context of the proposition and how they have produced the various artworks.

In the folio and workbook, the candidate successfully navigates multiple approaches from model making, dioramic, small scale, real scale, performance and situation (event-based performative scenarios). The scope of practice is deep and well-informed. They are able to conceptually engage humour and absurdist tropes throughout, which are matched by adept finely-tuned making and technical skills and selection of materials. Of note, is the consistency with which the candidate seeks out ways to genuinely convince us that the carrot is a being in the world.

The clear student ownership of these works is infectious as the candidate expands their absurdist projects to include an ever-widening group of both audience and performance participants. Their awareness of the relationship between the audience and the artwork is carefully evaluated and expanded upon – even to the extent of having other groups of students participate in the manufacture of carrots for the use of the artist in a range of other artworks. The engagement and participation of others in various projects is authentic and appropriate for the secondary school context.

Sculptural conventions of scale and colour are also used to conceptualise and create humour. The carrot is rendered through modelling clay as a caricature, but also as a simple representational carrot form that is believable. When they materially shift to a real carrot versus the clay animation-like form, the carrot becomes funnier and grows in character, as it inhabits or relates to the various dioramic situations. The consistency with how the selected materials are handled is a key success in the believability of the folio and the somewhat fantastical and funny narrative. All of this makes for an incredibly convincing and inventive foray into the life of the carrot, but at the same time tackles real-world scenarios albeit in a subtle and (as claimed by the candidate) non-political manner.

The documentation of practice is critically edited so that each artwork asserts a clarity of intent and purpose. The documentation also creates a space between each iteration that is masterfully left up to the audience to construct. Other sequences of documentation are more didactic and create a superb sequential photographic record of the genuine nature of the performance work.

The level of ownership and investment in this enquiry is outstanding. The candidate clearly enjoys the nature of the projects. And as viewers, we are successfully taken along for the ride too in what is a very engaging, clever and innovative submission.


(click icon images to see a large version in a new window)

Panel 1 (JPG, 1.3MB)

Panel 2 (JPG, 1.3MB)

Panel 3 (JPG, 1.4MB)

Entire Folio (JPG, 4MB)

Sample Workbook pages

Sample page 1 (JPG, 4.6MB)

Sample page 2 (JPG, 5.5MB)

Sample page 3 (JPG, 4.9MB)

Sample page 4 (JPG, 4.4MB)

Sample page 5 (JPG, 5.2MB)

Sample page 6 (JPG, 2.8MB)

Sample page 7 (JPG, 5.5MB)

Sample page 8 (JPG, 4.5MB)

This Sculpture Scholarship submission presents a thorough and highly explorative sculptural investigation about colour and site. Colour is used as a material and as an idea to investigate the architectural space of the school environment that the candidate inhabits every day. It acts as an interventional device into architecture and landscape to explore formal conceptual ideas of the colour spectrum, light, reflection, refraction, shadow, planar, form, movement, space and scale.

The workbook establishes the personal motivation for this sculptural investigation; a response to the school environment, which they see as a grey and oppressive space. There is a colourful architectural feature at the school gate that inspires the candidate to investigate how translucent colour spectrum might disrupt concrete grey space, i.e. how colour can inhabit and transform space.

A range of attitude is explored through how materials can operate in space and disrupt the architecture in different ways. This ranges from linear strips of colour through to planar and self-contained forms, where each work responds through intervention and effects of light and shadow. The selection of materials is extremely sensitive and relatable. The rigid versus the malleable introduced materials experimentally activate ideas, be it through scale, transparency or colour play. Light and shadow, translucency and opacity are key sculptural qualities used to activate and highlight the architectural environment, sometimes in illusory ways.

The work is developed through processes of making rather than an external conceptual framework to drive the decision-making. This is reflected in artworks that capture new ways of seeing and by their experimental nature suggest future possibilities and options. The candidate moves effortlessly between multiple scales and the specificities of each site (vertical and horizontal structures). Each site/location is well understood and exploited for its sculptural opportunities with the work successfully moving between simple 2-dimensional coloured light shapes and 3-dimensional coloured light spatial interventions.

Documentation is incredibly well-photographed with each image on the folio demonstrating the candidate’s seeing. They understand how to make drawings and assert small ideas that are then developed and manifest as larger or more significant installations. The works are all documented in a way that assists the candidate to advance their proposition. For example, the exploration of the different viewpoints of the acrylic right-angle sheets on folio panel 1 is suggestive of the shape and forms of the large-scale light-reflective banner-type works later in the submission.

Different materials are utilised to expand the notion of colour as an interventional form in exterior institutional architecture. The transition to the vibrant yet opaque material of acrylic paint skins allows the candidate to introduce some performative possibilities, where the material forms stick, drape and become alive forms. This is matched by the constant intensity of colour saturation that exists in the materials colour and the light reflection, i.e. taking photographs on high contrast and sunny blue-sky days intensifies the experiential aspect of the artworks and locates the blue of the sky as a colour field in the work. The relocation of the translucent colour acrylic sheets to a sandy beach also creates a different type of contrast and augmentation of site.

Overall, this submission is driven by a formal conceptual sculptural investigation that is not restrained by an ideological message. This allows for an honest investigation that responds to environmental aesthetics, potentialities and limitations.


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