1. South Australian Certificate of Education VISUAL ARTS – ART Assessment type: Practical

2. TASK EXEMPLAR: SAMPLE 4 Student work

3. In the initial stages of developing my major, I became interested in painting people, and in particular expressions of happiness. I then began to focus on family members, in particular my brother. At the time of evolving my thoughts for my practical, my brother was travelling for University and spending five months in Norway, I decided this was something I wanted to focus on, as it was on my mind. Looking at expressions of happiness, I began looking at Marcus’ expressions throughout his life, this also broadened to his relationships with the people around him and where he was at the time. Marcus had told me that the time when he was away was “the happiest I have ever been”. I wanted to represent this in my artwork, but also wanted to include the separation of him when he was young, the age I currently am, and in Norway, and how all these experiences have formed who he is. Marcus, my brother has always been very important to me, and having him away from home for such a long period was very hard for me, but although he was on the other side of the world, I still felt his support, this was the basis of the fragmented nature of my Major, all however creating a full face. The base face is Marcus at his year 12 graduation dinner, representing Marcus at the time when he didn’t exactly know where he was going, much like myself now. The face in the shape of Australia is Marcus when he was 6 years old at his birthday party. The last section, of Norway ‘completes the puzzle’, showing that it was an experience which shaped his life, and gave his life a direction he wanted it to go. Using Marcus at his graduation as the base of the panting, shows the foundation which is built through your teen years, and also the relationship built between my brother and I throughout these years. However reflection on the aforementioned importance of relationships, I found a strong connection was built between Marcus and I as we were growing up together, however particularly after he graduated high school and even when he was in Norway, our relationships strengthened, not only with me, but a strength within our family. Throughout my folio I experimented with semi abstract use of oil paints, and wanted to implement this into my major piece. The fragmented nature of the piece was inspired by works from Benjamin Garcia and Francis Bacon and their use of fragmenting a face to create different emotions, and even the ability to display more than one emotion in one portrait. The idea for the background for the piece developed as I painted. I feel the textured nature of the background gives depth to the piece without taking away from the details of the facial features. I also implemented this feature to further show the formation of the person Marcus is today and how the experiences at home, and away have shaped who he is to himself, and others around him. Therefore the background is maps of Norway and Australia collaged and, when seen from a distance is not defined. No matter where he is, he is always there. ‘Marcus’

4. ‘What if it was you?’ When deciding what to do for my major piece, I knew I wanted to create a protest piece about children in detention. I began by researching current news stories about people in detention in Australia, and experimenting with painting and drawing them. After talking to my Art teacher, I realised I needed to begin imagining myself in the position. This led to the creation of my major, ‘What if it was you?’ Exploring works featured in ‘the refugee art project’ displayed a range of artworks painted by people in Australian detention centres. One particular artist who inspired me was Alwy Fadhel, who uses coffee as a medium due to not having access to anything else. Knowing this artwork’s meaning was within the artist himself and his medium, I decided the meaning of my artwork needed to reflect what I could do to express my passion, as Fadhel had used coffee to achieve. The medium having meaning led to my choice of canvass having deeper meaning. My major piece is a collection of 7 graphite pencil drawings, each on a page of the Universal Declaration of Human Rights. Each drawing is a member of my family, friends, or myself. The images represent those within detention and those seeking asylum. The intention of this is to say, what if it was your baby? What if it was your sister? Brother? Would you care more? Each individual piece holds its own meaning. Three of the pieces highlight sections of the declaration including that “All human beings are born free and equal in dignity and rights”. This page depicts myself as a baby. One especially powerful piece is the page depicting a mother and a daughter. What if it was your mother, your baby? Especially considering the baby is a newborn, representing innocence, and beauty. The picture depicts my mother and my brother when he was young, and highlights sections saying that ‘the family is the natural and fundamental group unit of society and is entitled to protection by society and the state.’ The one piece which shows an unnatural feature is an image of my friend, Elizabeth, whose lips are replaced with birds on a tree branch. The shape of the birds gives the illusion that lips have been sown together. This act of protest has been reported in Australian detentions centres from those attempting to change the lack of human rights. The birds represent that Australia is seen as a place of freedom, yet this freedom of Australia is the one thing which is oppressing these people. Therefore, the symbol of freedom being used in an oppressive way. I was also inspired by Maya Angelou’s poem; I know why the caged bird sings. The final image, on page seven of the declaration, depicts a friend of mine, Tamsyn. The image represents recent reports in detentions centres of youth suicide and self ‐ harm. Recently, reports have surfaced that youth in detention centres have taken to literally banging their heads against walls in order to take their own lives due to the position they have been put in in our country. ‘What if it was you’ is intended to be a confronting and thought provoking piece of artwork perhaps conflicting with some people’s views on asylum seekers. It is a protest of the current conditions given to those travelling to Australia to better their lives and points out that it is not illegal to seek asylum, but is a basic human right. I feel the Artwork I have created assists in communicating a passion of mine and is a form of free expression in which messages can be extremely effectively portrayed.

5. TASK EXEMPLAR: SAMPLE 4 Performance standards

6. Specific Features Performance Standards PA1 Conceptualisation, development, and resolution of imaginative or personally relevant visual ideas. PA4 Application of technical skill and use of media, materials technologies, and processes to communicate visual ideas in a work or works of art or design. A Initiation of complex or challenging and well‐planned conceptualisation, development, and resolution of innovative, imaginative, or personally relevant visual ideas. Highly effective application of refined technical skills and sensitive use of media, materials, technologies, and processes to communicate visual ideas in a work or works of art or design. B Thoughtful and well‐planned conceptualisation, development, and resolution of imaginative or personally relevant visual ideas. Effective application of some refined technical skills and some sensitive use of media, materials, technologies, and processes to communicate visual ideas in a work or works of art or design. C Considered conceptualisation, development, and resolution of imaginative or personally relevant visual ideas. Competent application of technical skills and elements of sensitivity in the use of media, materials, technologies, and processes to communicate visual ideas in a work or works of art or design. D Elements of conceptualisation and some development and resolution of visual ideas. Partial application of technical skills and some use of media, materials, technologies, or processes in developing a work of art or design. E Emerging skills in the conceptualisation, development, and resolution of visual ideas. Attempted application of technical skills to develop a work of art or design. Practical

7. Specific Features Performance Standards PA1 Conceptualisation, development, and resolution of imaginative or personally relevant visual ideas. PA4 Application of technical skill and use of media, materials technologies, and processes to communicate visual ideas in a work or works of art or design. A Initiation of complex or challenging and well‐planned conceptualisation, development, and resolution of innovative, imaginative, or personally relevant visual ideas. Highly effective application of refined technical skills and sensitive use of media, materials, technologies, and processes to communicate visual ideas in a work or works of art or design. B Thoughtful and well‐planned conceptualisation, development, and resolution of imaginative or personally relevant visual ideas. Effective application of some refined technical skills and some sensitive use of media, materials, technologies, and processes to communicate visual ideas in a work or works of art or design. C Considered conceptualisation, development, and resolution of imaginative or personally relevant visual ideas. Competent application of technical skills and elements of sensitivity in the use of media, materials, technologies, and processes to communicate visual ideas in a work or works of art or design. D Elements of conceptualisation and some development and resolution of visual ideas. Partial application of technical skills and some use of media, materials, technologies, or processes in developing a work of art or design. E Emerging skills in the conceptualisation, development, and resolution of visual ideas. Attempted application of technical skills to develop a work of art or design. Practical

8. A B C D E Specific FeaturesPerformance Standards AS1 Critical analysis and interpretation of works of art or design from different contexts. AS2 Use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and/or questions. AS3 Evaluation of own work and connections or comparisons with other practitioners’ work. AS4 Evaluation of, and conclusions about, visual arts learning. A 1. Highly perceptive critical analysis and interpretation of a variety of works of art or design from different contexts. 2. Extensive and sophisticated use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and/or questions. 3. Discerning evaluation of own work and connections or comparisons with other practitioners’ work. 4. Insightful evaluation of, and conclusions about, visual arts learning. B 1. Well‐informed and well‐considered critical analysis and interpretation of several works of art or design from different contexts. 2. Proficient use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and questions. 3. Thoughtful evaluation of own work, and connections or comparisons with other practitioners’ work. 4. Thoughtful and well‐explained evaluation of, and conclusions about, visual arts learning. C 1. Informed and considered critical analysis and interpretation of two or more works of art or design from different contexts 2. Competent use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and questions. 3. Considered evaluation of own work and connections or comparisons with other practitioners’ work. 4. Competent and appropriate evaluation of, and conclusions about, visual arts learning. D 1. Some basic consideration and interpretation of at least one work of art or design with superficial reference to the context. 2. Restricted use of visual arts language to interpret, respond to, and describe thoughts on visual arts, including issues or questions. 3. Some description of own and others works, with some tenuous connections or comparisons. 4. Some basic summary and description of visual arts learning, with elements of evaluation. E 1. Emerging awareness of connections between at least one work of art or design and the context. 2. Limited use of visual arts language for interpretation or response in the visual arts. 3. Attempted description of own and others’ work. 4. Attempted description of aspects of visual arts learning. Practitioner’s statement

9. A B C D E Specific FeaturesPerformance Standards AS1 Critical analysis and interpretation of works of art or design from different contexts. AS2 Use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and/or questions. AS3 Evaluation of own work and connections or comparisons with other practitioners’ work. AS4 Evaluation of, and conclusions about, visual arts learning. A 1. Highly perceptive critical analysis and interpretation of a variety of works of art or design from different contexts. 2. Extensive and sophisticated use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and/or questions. 3. Discerning evaluation of own work and connections or comparisons with other practitioners’ work. 4. Insightful evaluation of, and conclusions about, visual arts learning. B 1. Well‐informed and well‐considered critical analysis and interpretation of several works of art or design from different contexts. 2. Proficient use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and questions. 3. Thoughtful evaluation of own work, and connections or comparisons with other practitioners’ work. 4. Thoughtful and well‐explained evaluation of, and conclusions about, visual arts learning. C 1. Informed and considered critical analysis and interpretation of two or more works of art or design from different contexts 2. Competent use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and questions. 3. Considered evaluation of own work and connections or comparisons with other practitioners’ work. 4. Competent and appropriate evaluation of, and conclusions about, visual arts learning. D 1. Some basic consideration and interpretation of at least one work of art or design with superficial reference to the context. 2. Restricted use of visual arts language to interpret, respond to, and describe thoughts on visual arts, including issues or questions. 3. Some description of own and others works, with some tenuous connections or comparisons. 4. Some basic summary and description of visual arts learning, with elements of evaluation. E 1. Emerging awareness of connections between at least one work of art or design and the context. 2. Limited use of visual arts language for interpretation or response in the visual arts. 3. Attempted description of own and others’ work. 4. Attempted description of aspects of visual arts learning. Practitioner’s statement

10. A B C D E PA1. Complex and challenging well planned conceptualisation with resolved work both innovative and personally relevant. PA4. Highly effective application of technical skills to communicate ideas. AS1. Highly perceptive analysis of a variety of art works. AS2. Extensive and sophisticated use of visual arts language. AS3. Discerning evaluation of own work and connection with artists works. Comments