Award Winning A Level Art Coursework Project

Last Updated on February 8, 2017

I have seen a lot of amazing A Level artwork over the years (in my role as a teacher, curriculum co-ordinator and, now, author for the Student Fine art Guide), just it has been a long time since I have encountered a project as inspirational equally this.

Dark Thing is a mixed-media installation using charcoal, ink and shredded booze wipes on newspaper. Final A Level Art piece: 2.four 10 6.2m.

Completed by Luca L, equally role of the Singapore-Cambridge GCE College-2 Level (the equivalent of A2 Art & Pattern) at Nanyang Inferior Higher in 2009, this Coursework project has none of the formulaic development, superficial themes or awkward realism that is prevalent in so many A Level Art submissions. With beautiful integration of media: exploration that morphs seamlessly from painting to photography to sculpture and back again (while withal allowing the development of expertise in a chosen field of study), Night Matter reminds united states of america how an A Level Fine art project should be.

Luca'south beautiful Coursework projection comprised of eight preparatory sheets and a last work. This image illustrates a selection of the preparatory work with the final piece.

Initial works explore notions of decay of textile and spiritual rebirth; the element of synchronous double-ness in a more spiritual way than the wittiness of Optical Illusion Art. Symbols of the wheel, for instance, symbolize the cyclical notion of nativity-decease-rebirth.

Luca's project began with an investigation into several interconnected themes: birth-death-rebirth; the illusory nature of sense perception and the material globe (explored through different mediums: acrylic, water-colours, water-coloured pencils, pastels, charcoal, ink, collage), earlier finally culminating in a mixed-media installation that explores the 'inevitable distances between people'. William Blake's illustrations and the expressive, melodramatic, romantic paintings of the French Revolution past Eugene Delacroix were referenced.

Luca describes her Coursework project beneath:

I began my exploration based on the bike of nascency, death and rebirth. At the very first my exploration involved Op-Fine art (Optical Illusion art). The simultaneity of these images felt like a plumbing fixtures vehicle to accost the simultaneity of (re)birth inside decease. Influenced by Shakespeare's King Lear, I briefly pursued the notion of material life as fleeting and illusory, rendered through symbolic drawings of carnival figures – clowns and horses. The end of this illusion would give birth to the True nature of things. To reiterate the frailty of the human body, I experimented with paper clay to create contorted, cleaved figures resembling those of Pompeii.

Although I eventually abandoned this concept (too didactic and religious), through-lines from my exploration emerged in my final concept. These elements were the notion of representational illusiveness and well as motifs of cosmos and destruction. The attenuated aesthetic of the clay figure also emerged in the truncated and distorted figures in the final cartoon. My working style was chaotic, unplanned, but intense. There was a very strong, intuitive undercurrent that guided me.

Resembling the boken figures of Pompeii (which were created by injecting plaster into voids left by the bodies of those who perished in a volcanic eruption) this newspaper-clay sculpture explores the notion of a fabric remnant; a shell.

3D studies of broken, contorted figures.

I wanted my work to be a gesture towards the delusion of certainty nosotros have towards our most intimate relations while tackling notions of representation, realism and portraiture in art – ideologies geared towards representing some stable 'Truth'. What I wanted to emphasise is the indeterminacy in interpersonal relations. In that location is the sense that trying to know someone is like chasing after a ghost, and all I tin exist acquainted with is their after-image, their shadow, which is in itself amorphous, elusive. Figures merge with others and are at points blown-upwardly, distorted, or thinly decipherable.

Connected photographic exploration: subsequently-images and their ghostly aesthetic.

I frequently discover myself thinking of people through pre-acquainted others equally reference points. Hence, people are echoes of other people, echoes of my self (what I witness and see, never the full being in the infinite and time), and what I narrate afterwards the issue.

My piece of work isn't wholly solipsistic however – at that place are moments of illumination. The visual dichotomy of darkness and light are aligned with the dialectic between unknowability and momentary insight.  Pictorially, these are configured within the faces frozen in spotlight. They emerge from an indecipherable tumble of bodies. The moments are what nosotros agree on to, and I wanted that to be felt by the audience looking at the work. Their eyes would shift to 'brand out things', hold fast to certainties, and in many parts be engulfed and confronted past sheer blackness, unknowingness (in part due to the '5' configuration of the walls the artwork was installed upon). I wanted the audience's visual interaction or hermeneutic reading of the work to embody that shifting uncertainty, and clear the moments of security.

In this preparatory board, Luca 'attempts to visualize cocky in-development, figured as a sort of pupal limbo, a liminal state'. Here she undertakes her get-go experiment with alcohol wipes, discovering that, when stretched, they have a cob-webby feel and aesthetic).

Beautiful composition sketches depicting truncated bodies in flux allowed Luca to establish which mediums to use in her final work and how to best communicate ideas of cosmos, dissipation and the spaces in between.

I worked with a mix of reference to photographs and planned layouts, while sometimes rendering as I pleased, with my mind and whims towards a detail figure as the only reference point (a gesture towards surreal automatism). The procedure of creation was akin to chasing an after-image, the pinning downward of images after the thing itself has 'happened'. In that sense the work encapsulates the struggle of representing others in relation with the self.

Preparatory sketch item: you become an idea of the immense writhing beauty of the Luca's work in this photograph. The fine mesh of the alcohol wipes is interwoven with smudges and coarser marks where the charcoal stick has grated across paper surface.

A close upwards detail of Luca's cute mixed media charcoal drawing project: an installation of charcoal, ink and shredded booze wipes.

I named the work 'Dark Thing' because of the symbolic currency the term has in encapsulating the unknown that comprises nearly of the universe. This estrangement of the familiar is exactly what my work is well-nigh. Similar the dense unknowable substance of dark matter, people are elusive ideas that are constantly evolving and evade concrete definition, rendering total intimacy with another human virtually impossible. These are the inevitable distances between u.s.a..

– Luca L

An intelligent and clear young woman (with a vocabulary that will go out most students reeling in awe) Luca was a recipient of the Singapore Ministry of Instruction Art Elective Scholarship for 2008 and 2009. Dark Matter was awarded an 'A' course (the highest result available in Singapore, where per centum marks are non revealed) and went on to place Aureate in the 2010 Singapore Youth Festival Craft Exhibition at Singapore Fine art Museum. Her work provides inspiration for teachers and students akin.

Luca'southward beautiful final piece was installed in the corner of a gallery infinite for assessment. Presenting the work in an exhibition format is common practise for schools who are lucky plenty to accept examiners travel to them and who have a suitable space available. This has obvious advantages, such every bit allowing students the freedom to work in any size or format they see fit. NOTE: If y'all are a CIE teacher or candidate and are wondering how to get the examiners to visit your schoolhouse, you should encourage an uptake of CIE qualifications in your country, as there is a critical number of candidates in a particular surface area that must be reached before travel expenses of the examiners can be justified.

Coursework projection particular: a smudgy mixed media charcoal drawing of people and the spaces betwixt.

The following video showcases Luca's Coursework project:

If you wish to meet more examples of outstanding student artwork, delight view our Featured Art Projects.

Amiria has been an Fine art & Blueprint teacher and a Curriculum Co-ordinator for vii years, responsible for the grade blueprint and cess of student work in two high-achieving Auckland schools. She has a Available of Architectural Studies, Bachelor of Architecture (First Grade Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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Source: https://www.studentartguide.com/featured/dark-matter-coursework-project