NCEA Level 2 – 91324 Sculpture 2013

1. NCEA Level 2 – 91324 Sculpture 2013 Examples of Candidate Work The portfolios in this document offer evidence to meet the criteria consistent with The New Zealand Curriculum, Learning Media, Ministry of education, 2007. Criteria relate to the following strands in Visual Arts, Level 7: Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; Communicating and Interpreting.

2. Excellence

3. This portfolio has been verified at the high end of the Excellence grade range ‘Spatial Colour’ This outstanding submission begins with a very clear proposition that is presented as an investigation into the relationship between selected small scale household objects. Colour is clearly identified as a focus for the investigation at the outset along with an exploration of planar space, curvilinear and rectilinear elements using everyday objects. A range of accessible materials is used as sculptural and painterly concerns are integrated into a series of installations.  Two dimensional drawings investigate three dimensional tone and form. These help clarify the planar and formal investigations. The candidate uses drawing to critically inform and link the regeneration of two and three dimensional ideas. Small scale studies inform larger works. The original proposition remains constant in each of the sensitively presented sequences although each series does have its own clear purpose. The ideas presented are both refined and elegant with the ‘pared back’ nature of the submission contributing to its strength and impact.   Jessica Stockholder’s found object interaction of colour block and surface, David Renggli’s everyday objects, El Lissitzky’s ‘Proun Room’ and the painterly colour planar concerns of Hans Hofman could have been used by the candidate to inform thinking and making.  The sequencing and introduction of materials offer a deep and comprehensive investigation into space, colour, two and three dimensional interaction, line, form, tension, balance and suspension. Ideas are articulated in a sophisticated manner with meticulous documentation throughout. The cross-field relationship between sculpture and painting in the submission also contribute to its position at the high end of the Excellence grade range.

6. This portfolio has been verified at the lower end of the Excellence grade range. ‘Matches’ The candidate has undertaken an in-depth investigation based on two common household objects in a critical and reflective submission that regenerates initial studies into time-based art experiences. The potential of these simple objects is explored in depth in an almost self-reflective manner. Quiet yet thorough shifts in regeneration are evident as investigations into form, pattern and order are integrated with the material function of the objects. The matchbox becomes a fire-place, pencils are repositioned as matches and the action of the pencil across paper, are all explored in-time based investigations in a critical and highly purposeful manner. The candidate challenges the viewer as the material transformations offer a rethinking of the nature and purpose of the objects themselves.   There is an elegant and refined simplicity in the presentation of work on both panels. Ideas are soundly explored in a highly sequential and logical manner. Documentation is strong throughout. The candidate demonstrates sensitivity in the use of materials as a broad range of ideas are explored in a critically edited manner.  Tom Friedman’s material investigations and Jose Damasceno’s depictions of small everyday objects could have influenced the candidate. Some more complex constructions with the match and pencil compositions on panel one and a further regeneration of ideas on the second panel could have placed the submission more securely in the Excellent grade range.

9. Merit

10. This portfolio has been verified at the lower end of the Merit grade range. ‘Figure’ The candidate investigates the figure through a series of drawing and investigations into planar, linear and spherical sculptural forms. Ideas have been sustained and extended purposefully with the subject matter being an obvious link in all the outcomes. The figure has been introduced in a number of ways; balloons are used to investigate the soft rounded nature of limbs, small scale planar studies are introduced and lineal skeletal ideas explored. This range of approaches and ideas are then integrated and extended in the middle of panel two. Body manipulation using binding, support and padded forms allude to the possible enhancement of the natural qualities of the human form. The candidate has used accessible materials with a sustained sensitivity throughout. Alberto Giacometti’s elongated linear figures, Naum Gabo’s planar figurative sculptures, Alexander Calder’s linear wire studies, Louise Bourgeois’ soft rounded forms and Sarah Lucas’s bodily investigations could have all been used to inform the candidate’s development. To move further up the Merit grade range the candidate could have demonstrated a more sustained control of media. Even though ideas are extended at the end of panel two, a more intensive technical investigation prior to this could have also have progressed ideas further.

13. Achieved

14. This portfolio has been verified in the middle of the Achieved grade range. ‘Tracks’ The candidate investigates juxtaposing domestic space using a constructed pathway as a means of developing and linking ideas. A systematic series of related works with clear evidence that ideas have been ordered, selected and edited using a range of materials has been presented by the candidate. Initial drawings generate ideas through photographic images, collage, card construction and linear wire work.   Two and three dimensional maquettes on panel one and the final sequence on this panel that juxtaposes interior and exterior space, establishes an idea that provides a foundation for the shifts in scale in panel two. Initial works are revisited to push ideas further as bold colour, linear ideas, perspective and architectural space are investigated. The installation on panel two develops ideas and investigations that have been generated at the bottom of panel one.  Vincent Fecteau’s small scale ‘impossible’ architectural models, aspects of De Stijl, and perhaps Donald Judd’s formal colour forms could have informed the candidate’s ideas and decision making.  Further investigation into the nature and purpose of materials and a more considered editing and sizing of photographs of the final work could have enabled the student to show some extension of ideas and move beyond the Achieved grade.