Photo Example [Score: 3/3]
Student Written Evidence:
The central idea of my Sustained Investigation surrounds the question: "What does it mean to be black?" To answer this question, I asked my subjects to write me a paragraph about what it means specifically to them to be black. I also asked them each to give me three words describing how they wish to be portrayed in this project.
The work in my Sustained Investigation explores the idea of ‘what it means to be black’ by providing direct answers to the question while still leaving a substantial amount to interpretation. In images 1, 3, 5, 7, 10, and 13, I provide direct accounts of what it means to them to be black. On the other hand, images 2, 4, 6, 9, 12 and 15 are created to specifically portray the three words that they provided me. For example, Jamaika told me she wanted to be portrayed as strong. In image 9, she is facing directly towards the camera in a regal way that displays power and strength.
Student Written Evidence:
The central idea of my Sustained Investigation surrounds the question: "What does it mean to be black?" To answer this question, I asked my subjects to write me a paragraph about what it means specifically to them to be black. I also asked them each to give me three words describing how they wish to be portrayed in this project.
The work in my Sustained Investigation explores the idea of ‘what it means to be black’ by providing direct answers to the question while still leaving a substantial amount to interpretation. In images 1, 3, 5, 7, 10, and 13, I provide direct accounts of what it means to them to be black. On the other hand, images 2, 4, 6, 9, 12 and 15 are created to specifically portray the three words that they provided me. For example, Jamaika told me she wanted to be portrayed as strong. In image 9, she is facing directly towards the camera in a regal way that displays power and strength.
Photo Example [Score: 3/3]
Student Written Evidence:
There are always two sides to a window, one that looks inside and the other outside. Unpredictable things happen when both sides are occupied at the same time. An encounter is inevitable. Two sets of eyes, a set of realms or a familiar face. It is true that windows can act as a border, and yet they can still be a ground for the two sides to merge.
The works I’ve produced change over time to include one side of the windows, then the other. At one point it is the reflection that comes into the view, and the photographer is exposed.
I, as the photographer, show what I see through the window I carry with me, my camera. I pick what to frame, what to filter, and what to bring to attention, what to erase. My camera is the border between my interior world, my mind, and the exterior where I exist. The art I produce is like the reflections on the windows, where the border between the two worlds disappears and only the world defined by my photograph is real. The final work in the installation is a culmination of this idea. A double and maybe triple layered view of the outside merging with the inside only to be seen from the outside again. It is up to the onlooker to place where their own borders are.
Student Written Evidence:
There are always two sides to a window, one that looks inside and the other outside. Unpredictable things happen when both sides are occupied at the same time. An encounter is inevitable. Two sets of eyes, a set of realms or a familiar face. It is true that windows can act as a border, and yet they can still be a ground for the two sides to merge.
The works I’ve produced change over time to include one side of the windows, then the other. At one point it is the reflection that comes into the view, and the photographer is exposed.
I, as the photographer, show what I see through the window I carry with me, my camera. I pick what to frame, what to filter, and what to bring to attention, what to erase. My camera is the border between my interior world, my mind, and the exterior where I exist. The art I produce is like the reflections on the windows, where the border between the two worlds disappears and only the world defined by my photograph is real. The final work in the installation is a culmination of this idea. A double and maybe triple layered view of the outside merging with the inside only to be seen from the outside again. It is up to the onlooker to place where their own borders are.
Photo Example [Score: 3/3]
Student Written Evidence:
My concentration revolves around the idea of the physical and emotional manipulation of the face and how human nature can manifest itself through expression. Human nature is, at times, a force of darkness. The face is the platform of human nature in its purest form.
My concentration mainly focuses on pain and anger, incorporating elements of physical hardware and texture to enforce the emotions. I included elements like nails, like in image 2 and image 11. I tried to create a sense of brokenness by shredding my paper, as seen in images 5, 6, 8, and 10. I also added texture and detail by overlaying macro texture shots like in image 4, 5, and 6. These elements come together to create a theme of fierce chaos and intensity.
Student Written Evidence:
My concentration revolves around the idea of the physical and emotional manipulation of the face and how human nature can manifest itself through expression. Human nature is, at times, a force of darkness. The face is the platform of human nature in its purest form.
My concentration mainly focuses on pain and anger, incorporating elements of physical hardware and texture to enforce the emotions. I included elements like nails, like in image 2 and image 11. I tried to create a sense of brokenness by shredding my paper, as seen in images 5, 6, 8, and 10. I also added texture and detail by overlaying macro texture shots like in image 4, 5, and 6. These elements come together to create a theme of fierce chaos and intensity.
Photo Example [Score: 2/3]
Student written evidence:
My model acts as a time traveler in space and my photos display a person in the act of time traveling; they have not yet reached a destination. In this case, the traveler has no goal or desired destination. They have decided to step into the unknown solely due to their curiosity. In the end, the traveler continues to move through space, but time becomes so fragmented that they start to become lost and the viewer is left wondering what their fate will be.
The first three photos of my concentration (images 1, 2, and 3) involved duplicating and rotating layers to create a radial design. These three photos represent the beginning of the traveler's journey, so they include more simple designs, as the traveler has not yet traveled far and been affected by the time. I also used the difference and screen blending modes when creating these photos. However, I decided to design my photos a little differently, as seen in images 4 and 5. In these two photos, the layers were duplicated and rotated, but not in a radial design. Image 4 was designed to be more vertical and reminiscent of a totem pole and image 5 was designed to be more horizontal. Images 6, 7, 8, and 9 again display the radial design, however I included a radial blur to these photos to display the motion of the time traveler's journey and add to my surrealistic design. I also lightened these photos so that the blur is more visible. For the final three photos (images 10, 11, and 12), I chose to display the traveler's image becoming more and more fragmented as they continue to travel through the void of space. Image 11 again incorporates the vertical design.
Student written evidence:
My model acts as a time traveler in space and my photos display a person in the act of time traveling; they have not yet reached a destination. In this case, the traveler has no goal or desired destination. They have decided to step into the unknown solely due to their curiosity. In the end, the traveler continues to move through space, but time becomes so fragmented that they start to become lost and the viewer is left wondering what their fate will be.
The first three photos of my concentration (images 1, 2, and 3) involved duplicating and rotating layers to create a radial design. These three photos represent the beginning of the traveler's journey, so they include more simple designs, as the traveler has not yet traveled far and been affected by the time. I also used the difference and screen blending modes when creating these photos. However, I decided to design my photos a little differently, as seen in images 4 and 5. In these two photos, the layers were duplicated and rotated, but not in a radial design. Image 4 was designed to be more vertical and reminiscent of a totem pole and image 5 was designed to be more horizontal. Images 6, 7, 8, and 9 again display the radial design, however I included a radial blur to these photos to display the motion of the time traveler's journey and add to my surrealistic design. I also lightened these photos so that the blur is more visible. For the final three photos (images 10, 11, and 12), I chose to display the traveler's image becoming more and more fragmented as they continue to travel through the void of space. Image 11 again incorporates the vertical design.
3D Art Example [Score: 3/3]
Student written evidence:
In my body of work, I am investigating the overwhelming qualities that accompany issues in the household between family members. Through the use of collecting, staging, and documenting large quantities of objects that are associated with and often cause complications while pushing them to be hyper-organized and separated to serve as a stark contrast to the organization and structure that I often seek in my home life.
My investigation started as a dissection into familial arguments that directly relate to me and the rest of my family. Initially, my work was collections of photographs of the objects that were in my house and were the direct cause of conflict (images 1 and 2). As my investigation continued, I asked myself what would help portray these objects more coherently? So I decided to incorporate the actual objects as opposed to taking photos of them, which is where the shift occurs (image 3) and the image of the beads are framed, but the beads themselves are hung from the bottom in correspondence to the jars they are in. This evolves into using the objects and incorporating other medias, such as the projected videos (images 5, 6, and 7). These videos were used to create a form to content relationship between the objects and the creation of the object (image 5) or what the objects were used for at one point (images 6 and 7). The objects later turned into the only thing being used (image 3, 9). The purpose of images 10-15 was to take parts of a whole and display them that way to show components to a larger part, which helped me give myself more control of the objects, as well as to grasp at more control of the situation as a whole.
Student written evidence:
In my body of work, I am investigating the overwhelming qualities that accompany issues in the household between family members. Through the use of collecting, staging, and documenting large quantities of objects that are associated with and often cause complications while pushing them to be hyper-organized and separated to serve as a stark contrast to the organization and structure that I often seek in my home life.
My investigation started as a dissection into familial arguments that directly relate to me and the rest of my family. Initially, my work was collections of photographs of the objects that were in my house and were the direct cause of conflict (images 1 and 2). As my investigation continued, I asked myself what would help portray these objects more coherently? So I decided to incorporate the actual objects as opposed to taking photos of them, which is where the shift occurs (image 3) and the image of the beads are framed, but the beads themselves are hung from the bottom in correspondence to the jars they are in. This evolves into using the objects and incorporating other medias, such as the projected videos (images 5, 6, and 7). These videos were used to create a form to content relationship between the objects and the creation of the object (image 5) or what the objects were used for at one point (images 6 and 7). The objects later turned into the only thing being used (image 3, 9). The purpose of images 10-15 was to take parts of a whole and display them that way to show components to a larger part, which helped me give myself more control of the objects, as well as to grasp at more control of the situation as a whole.
Digital Drawing Example [Score: 2/3]
Student written evidence:
In my body of work, I am investigating the overwhelming qualities that accompany issues in the household between family members. Through the use of collecting, staging, and documenting large quantities of objects that are associated with and often cause complications while pushing them to be hyper-organized and separated to serve as a stark contrast to the organization and structure that I often seek in my home life.
My investigation started as a dissection into familial arguments that directly relate to me and the rest of my family. Initially, my work was collections of photographs of the objects that were in my house and were the direct cause of conflict (images 1 and 2). As my investigation continued, I asked myself what would help portray these objects more coherently? So I decided to incorporate the actual objects as opposed to taking photos of them, which is where the shift occurs (image 3) and the image of the beads are framed, but the beads themselves are hung from the bottom in correspondence to the jars they are in. This evolves into using the objects and incorporating other medias, such as the projected videos (images 5, 6, and 7). These videos were used to create a form to content relationship between the objects and the creation of the object (image 5) or what the objects were used for at one point (images 6 and 7). The objects later turned into the only thing being used (image 3, 9). The purpose of images 10-15 was to take parts of a whole and display them that way to show components to a larger part, which helped me give myself more control of the objects, as well as to grasp at more control of the situation as a whole.
Student written evidence:
In my body of work, I am investigating the overwhelming qualities that accompany issues in the household between family members. Through the use of collecting, staging, and documenting large quantities of objects that are associated with and often cause complications while pushing them to be hyper-organized and separated to serve as a stark contrast to the organization and structure that I often seek in my home life.
My investigation started as a dissection into familial arguments that directly relate to me and the rest of my family. Initially, my work was collections of photographs of the objects that were in my house and were the direct cause of conflict (images 1 and 2). As my investigation continued, I asked myself what would help portray these objects more coherently? So I decided to incorporate the actual objects as opposed to taking photos of them, which is where the shift occurs (image 3) and the image of the beads are framed, but the beads themselves are hung from the bottom in correspondence to the jars they are in. This evolves into using the objects and incorporating other medias, such as the projected videos (images 5, 6, and 7). These videos were used to create a form to content relationship between the objects and the creation of the object (image 5) or what the objects were used for at one point (images 6 and 7). The objects later turned into the only thing being used (image 3, 9). The purpose of images 10-15 was to take parts of a whole and display them that way to show components to a larger part, which helped me give myself more control of the objects, as well as to grasp at more control of the situation as a whole.
Painting Example [Score: 2/3]
Student written evidence:
My concentration is based on my interest in the visual appeal of desserts. In my depictions, I begin by emphasizing the basic shapes of the desserts and then use intense colors, strong value contrast and various implied textures to accentuate the visual qualities of the different desserts. The visual appeal of the desserts is further heightened by the use of close-up viewpoints and by the arrangement of the individual desserts into balanced, rhythmic group presentations. Although the primary appeal of the desserts is their taste, I chose to emphasize their visual appeal. I presented the desserts from a close viewpoint to strengthen their visual impact. The desserts reflect rich, saturated colors, as is evident in images 1, 10, and 11. In image 10, I extended the rich color to the background to create an intense vibe. The white sheen marks add a slick texture in the cherries in images 10 and 11 and to the strawberries in image 1. Texture is also prevalent in Image 6 through the contours created by the value contrast in the chocolate-coated ice cream and the cones.
Student written evidence:
My concentration is based on my interest in the visual appeal of desserts. In my depictions, I begin by emphasizing the basic shapes of the desserts and then use intense colors, strong value contrast and various implied textures to accentuate the visual qualities of the different desserts. The visual appeal of the desserts is further heightened by the use of close-up viewpoints and by the arrangement of the individual desserts into balanced, rhythmic group presentations. Although the primary appeal of the desserts is their taste, I chose to emphasize their visual appeal. I presented the desserts from a close viewpoint to strengthen their visual impact. The desserts reflect rich, saturated colors, as is evident in images 1, 10, and 11. In image 10, I extended the rich color to the background to create an intense vibe. The white sheen marks add a slick texture in the cherries in images 10 and 11 and to the strawberries in image 1. Texture is also prevalent in Image 6 through the contours created by the value contrast in the chocolate-coated ice cream and the cones.
Mixed Media Example
Student Written Evidence:
Student Written Evidence:
- I explored the different reactions and responses humans experience when in various situations and environments.
- While experimenting with the different styles of deformation, abstraction, and scale to portray the human figure, I associated them with a specific environment or background, consisting of geometric and organic shapes or a specific color scheme. The intent of this was to form a mood that would encompass the piece and give more insight into the figure itself, allowing the audience to formulate their own take on the piece. In my second piece (image 3), the bold colors and almost nonchalant posture of my figure were meant to convey the feeling of confidence and composure, set in a plain room with a kinetic figure in a picture frame to create interest and an underlying meaning, also open to interpretation. Later in my investigation, I started making my interpretations less literal and more figurative. In image 7, I illustrated how people look differently in photographs by putting a figure in four different picture frames and connecting them in a way that slightly deforms the figure and appears somewhat awkward. All of these pieces were created with this central idea because I find how people react, change, or morph to their specific situation or surroundings a reflection of who we are as humans and connect us all in a very authentic way.
- Throughout the investigation of the topic, the work shows discovery in the abstraction of the figures (see images 1, 2, 3, 4,and 6). This exploration and discovery are evident in the use of principles such as proportion,especially in the hands and feet. Furthermore, informed decision making is evident in the way the figures engage the backgrounds and in the use of thoughtfully considered color schemes.
- The sustained investigation clearly demonstrates an original vision, with an innovative focus on dynamic figures in various frames. Experimentation with different media and risk-taking are seen in the interactive, kinetic components in images 1, 2, and 4.
- An evocative, engaging theme—exploring “the different reactions and responses humans experience when in various situations and environments”—is sustained through most of the work.
- The work shows a thorough understanding and effective application of 2-D design principles. Image 6, for example, shows a sophisticated use of movement and rhythm. The carefully distorted proportions of the human figure fill the compositional space, incorporating asymmetrical balance among the layers of both figurative and nonobjective forms. The work is unified through the repetition of similar shapes and colors. Careful thought has been given to the choices of color, shapes, and values that create effective use of contrast/variety.
- The work conveys a sense of successful transformation and growth. For instance, image 7 presents a figure that has been broken up into various perspectives, making it unlike the other figures depicted in the portfolio. Each piece in the portfolio shows an attempt to build upon the discoveries made during the process of investigation.
- In general, the work is technically excellent; materials and media are used effectively to express ideas. Appropriated imagery, cut paper, paint, and stitched marks are used carefully to create distorted and fragmented images. The complex, well-composed collages visually suggest how people react to their specific situation or surroundings. Images 1 through 4 include moving parts that allow the figures to morph from constricted postures within frames to more open and active stances.