Caulfield Grammar, Art
Reflective annotation and documentation using Analytical frameworks
Glued to the front page of Rudi Williams’ folio is a colour coded Key to alert the assessor to the areas of her annotation that relate to the different analytical frameworks: blue for Formal, green for Cultural, orange for Contemporary and pink for Personal. Using coloured pencils, Williams has underlined the various phrases, sentences, and paragraphs that reflect these frameworks, throughout her three folios. Williams has added another section called Experimentation to this list to draw attention to where she has experimented with materials, techniques and ideas.
Exploration and development of ideas and concepts
The early pages in Williams’ folios are dedicated to images of artworks and the photographers that inspired her. Looking at the initial text and images it is clear that Williams decided early in the year to focus on the subject of portraiture.
The choice of photography as a medium to create her portraits was the result of a book which she bought during the summer holidays on the work of British photographer David Bailey (whose work was extremely popular in the 1960s and 70s). Williams describes her admiration for the way Bailey immortalised and iconicised his sitters (many of whom were models and rock stars). In a whole page of annotation dedicated to David Bailey, Williams analyses and discusses his work using the Cultural and Contemporary Frameworks.
Williams examines other artists that have inspired her work including Bill Henson, Annie Leibovitz and Henri Cartier Bresson. She allocates a page to the work of the 1930s photographer Weegee and his crime scene photographs, discussing the notion that these too, are portraits of people and environments of the time. Williams explores extensively the ‘environment’ as a significant element of a portrait.
Investigation and trialling of materials, techniques and processes (application of elements and principles)
The subjects of Williams’ early trials in photographic portraiture are younger friends and family members. In her annotation Williams has alerted the assessor to how she plays with visual elements, namely light and tone, and discovers how these elements can be useful in creating mood and ambience when they are used to highlight and intensify facial features. Williams also plays with the sitters’ gaze and facial expressions. She continues to investigate and refine composition and the elements of colour, tone and light throughout the folios, marking these areas of annotation as Formal Framework and as Experimentation. As well as annotation she also uses diagrams and drawings of her photographs to alert the assessor to the areas of the photograph she is examining.
Williams experiments with a Yashica 635, a manually operated camera made in the 1960s. To document her choice of materials and techniques, Williams dedicates a page in her folio to explaining the complexities of how this camera works and why she has chosen to work with it. Williams also notes that by using the manually operated camera, and by being forced to use the square format that the camera creates, her artistic intentions had to be more calculated, leading to better composition in her photographs. Williams dedicates another page of annotation to debate the qualities of digital and analogue photography, questioning the medium of digital photography and arguing that analogue photography is far superior for creating art. She has highlighted this page under the Contemporary Framework.
Refinement and resolution of ideas and skills to produce visual responses (application of elements and principles)
The connection Williams has to the sitters in her portraits is a significant personal element in her work – and she underlines the relevant annotation as reflecting the Personal Framework. In what she refers to as her ‘finals’ she has photographed several adults who have been influential or significant in her childhood and her development, in the environments that she personally connects them to, with objects of significance to them and/or her.
The last few pages of Williams’s folios are dedicated to her development of an exhibition of a series of her photographs: images of herself building a scaled model of the exhibition space complete with mini reproductions of the photographs to be exhibited, a map of her school’s gallery space and information concerning the creation of her catalogue in her folio. By doing this Williams alerts the assessor to her knowledge of contemporary exhibition management and design. Williams marks this area of annotation as relating to the Contemporary Framework.
Periodically, pages appear in Williams’ folios titled, ‘What I have learnt’. These pages allow Williams to inform the assessor about the development of her ideas, thoughts and her artistic development within her medium. On the last page of her final folio Williams has included a document titled ‘Reflection’. This document summarizes her year’s work, informing the assessor of her ideas, intentions and progress.