StArt Up: Top Arts 2014

Adrian engaged in a range of learning activities relevant to Criterion 1. He compiled a list of thoughts, ideas and concepts to draw upon throughout the year. He documented possible starting points through a concept map, which made links and connections between aspects of his thinking. He also provided focus and direction to his body of work through a written ‘statement of intentions’. Adrian researched a range of artists relevant to his ideas, including Louise Bourgeois and Andy Goldsworthy. He also investigated a number of philosophical theories and cultural contexts such as Maslow’s theories and Japanese tea ceremonies. Finally, Adrian reflected upon his explorations using the explicit language of the Analytical Frameworks.

Adrian engaged in a range of learning activities relevant to Criterion 1. He compiled a list of thoughts, ideas and concepts to draw upon throughout the year. He documented possible starting points through a concept map, which made links and connections between aspects of his thinking. He also provided focus and direction to his body of work through a written ‘statement of intentions’. Adrian researched a range of artists relevant to his ideas, including Louise Bourgeois and Andy Goldsworthy. He also investigated a number of philosophical theories and cultural contexts such as Maslow’s theories and Japanese tea ceremonies. Finally, Adrian reflected upon his explorations using the explicit language of the Analytical Frameworks.

Adrian engaged in a range of learning activities relevant to Criterion 1. He compiled a list of thoughts, ideas and concepts to draw upon throughout the year. He documented possible starting points through a concept map, which made links and connections between aspects of his thinking. He also provided focus and direction to his body of work through a written ‘statement of intentions’. Adrian researched a range of artists relevant to his ideas, including Louise Bourgeois and Andy Goldsworthy. He also investigated a number of philosophical theories and cultural contexts such as Maslow’s theories and Japanese tea ceremonies. Finally, Adrian reflected upon his explorations using the explicit language of the Analytical Frameworks.

Adrian engaged in a range of learning activities relevant to Criterion 1. He compiled a list of thoughts, ideas and concepts to draw upon throughout the year. He documented possible starting points through a concept map, which made links and connections between aspects of his thinking. He also provided focus and direction to his body of work through a written ‘statement of intentions’. Adrian researched a range of artists relevant to his ideas, including Louise Bourgeois and Andy Goldsworthy. He also investigated a number of philosophical theories and cultural contexts such as Maslow’s theories and Japanese tea ceremonies. Finally, Adrian reflected upon his explorations using the explicit language of the Analytical Frameworks.

Adrian engaged in a range of learning activities relevant to Criterion 1. He compiled a list of thoughts, ideas and concepts to draw upon throughout the year. He documented possible starting points through a concept map, which made links and connections between aspects of his thinking. He also provided focus and direction to his body of work through a written ‘statement of intentions’. Adrian researched a range of artists relevant to his ideas, including Louise Bourgeois and Andy Goldsworthy. He also investigated a number of philosophical theories and cultural contexts such as Maslow’s theories and Japanese tea ceremonies. Finally, Adrian reflected upon his explorations using the explicit language of the Analytical Frameworks.

Adrian engaged in a range of learning activities relevant to Criterion 1. He compiled a list of thoughts, ideas and concepts to draw upon throughout the year. He documented possible starting points through a concept map, which made links and connections between aspects of his thinking. He also provided focus and direction to his body of work through a written ‘statement of intentions’. Adrian researched a range of artists relevant to his ideas, including Louise Bourgeois and Andy Goldsworthy. He also investigated a number of philosophical theories and cultural contexts such as Maslow’s theories and Japanese tea ceremonies. Finally, Adrian reflected upon his explorations using the explicit language of the Analytical Frameworks.

Adrian engaged in a range of learning activities relevant to Criterion 1. He compiled a list of thoughts, ideas and concepts to draw upon throughout the year. He documented possible starting points through a concept map, which made links and connections between aspects of his thinking. He also provided focus and direction to his body of work through a written ‘statement of intentions’. Adrian researched a range of artists relevant to his ideas, including Louise Bourgeois and Andy Goldsworthy. He also investigated a number of philosophical theories and cultural contexts such as Maslow’s theories and Japanese tea ceremonies. Finally, Adrian reflected upon his explorations using the explicit language of the Analytical Frameworks.

Adrian investigated solutions that demonstrated different interpretations of his ideas and concepts. He documented in both visual and written form the progressive development and refinement of his body of work. As he continued to refine his ideas, he demonstrated links to earlier thinking. He planned for the resolution and presentation of his final pieces in both Unit 3 and Unit 4, including documenting the technical processes required to produce the artworks. This involved decisions regarding both the construction and placement of the components of his installation pieces. Adrian also highlighted key phrases throughout his annotations and dated pages in his folio, which provided an ability for a viewer or assessor to ‘navigate’ the body of work.

Adrian investigated solutions that demonstrated different interpretations of his ideas and concepts. He documented in both visual and written form the progressive development and refinement of his body of work. As he continued to refine his ideas, he demonstrated links to earlier thinking. He planned for the resolution and presentation of his final pieces in both Unit 3 and Unit 4, including documenting the technical processes required to produce the artworks. This involved decisions regarding both the construction and placement of the components of his installation pieces. Adrian also highlighted key phrases throughout his annotations and dated pages in his folio, which provided an ability for a viewer or assessor to ‘navigate’ the body of work.

Adrian investigated solutions that demonstrated different interpretations of his ideas and concepts. He documented in both visual and written form the progressive development and refinement of his body of work. As he continued to refine his ideas, he demonstrated links to earlier thinking. He planned for the resolution and presentation of his final pieces in both Unit 3 and Unit 4, including documenting the technical processes required to produce the artworks. This involved decisions regarding both the construction and placement of the components of his installation pieces. Adrian also highlighted key phrases throughout his annotations and dated pages in his folio, which provided an ability for a viewer or assessor to ‘navigate’ the body of work.

Adrian investigated solutions that demonstrated different interpretations of his ideas and concepts. He documented in both visual and written form the progressive development and refinement of his body of work. As he continued to refine his ideas, he demonstrated links to earlier thinking. He planned for the resolution and presentation of his final pieces in both Unit 3 and Unit 4, including documenting the technical processes required to produce the artworks. This involved decisions regarding both the construction and placement of the components of his installation pieces. Adrian also highlighted key phrases throughout his annotations and dated pages in his folio, which provided an ability for a viewer or assessor to ‘navigate’ the body of work.

Adrian experimented with a range of materials and processes early on in his folio, including the use of gouache, watercolour and ink. As he began to focus his directions, he gained skills in manipulating the media and techniques relevant to his intentions. In Unit 3 this involved the placement of found objects, but in Unit 4, he investigated complex paper-folding techniques, related to Japanese origami. Additionally, Adrian investigated spatial relationships of the various folded paper components, in order to successfully create his installation. It is important to note that he provided very thorough written and visual evidence of his working processes. This included technical details, sketches and photographic documentation of the step-by-step production of the finished work.

Adrian experimented with a range of materials and processes early on in his folio, including the use of gouache, watercolour and ink. As he began to focus his directions, he gained skills in manipulating the media and techniques relevant to his intentions. In Unit 3 this involved the placement of found objects, but in Unit 4, he investigated complex paper-folding techniques, related to Japanese origami. Additionally, Adrian investigated spatial relationships of the various folded paper components, in order to successfully create his installation. It is important to note that he provided very thorough written and visual evidence of his working processes. This included technical details, sketches and photographic documentation of the step-by-step production of the finished work.

Adrian experimented with a range of materials and processes early on in his folio, including the use of gouache, watercolour and ink. As he began to focus his directions, he gained skills in manipulating the media and techniques relevant to his intentions. In Unit 3 this involved the placement of found objects, but in Unit 4, he investigated complex paper-folding techniques, related to Japanese origami. Additionally, Adrian investigated spatial relationships of the various folded paper components, in order to successfully create his installation. It is important to note that he provided very thorough written and visual evidence of his working processes. This included technical details, sketches and photographic documentation of the step-by-step production of the finished work.

Adrian experimented with a range of materials and processes early on in his folio, including the use of gouache, watercolour and ink. As he began to focus his directions, he gained skills in manipulating the media and techniques relevant to his intentions. In Unit 3 this involved the placement of found objects, but in Unit 4, he investigated complex paper-folding techniques, related to Japanese origami. Additionally, Adrian investigated spatial relationships of the various folded paper components, in order to successfully create his installation. It is important to note that he provided very thorough written and visual evidence of his working processes. This included technical details, sketches and photographic documentation of the step-by-step production of the finished work.

Adrian experimented with a range of materials and processes early on in his folio, including the use of gouache, watercolour and ink. As he began to focus his directions, he gained skills in manipulating the media and techniques relevant to his intentions. In Unit 3 this involved the placement of found objects, but in Unit 4, he investigated complex paper-folding techniques, related to Japanese origami. Additionally, Adrian investigated spatial relationships of the various folded paper components, in order to successfully create his installation. It is important to note that he provided very thorough written and visual evidence of his working processes. This included technical details, sketches and photographic documentation of the step-by-step production of the finished work.

Adrian experimented with a range of materials and processes early on in his folio, including the use of gouache, watercolour and ink. As he began to focus his directions, he gained skills in manipulating the media and techniques relevant to his intentions. In Unit 3 this involved the placement of found objects, but in Unit 4, he investigated complex paper-folding techniques, related to Japanese origami. Additionally, Adrian investigated spatial relationships of the various folded paper components, in order to successfully create his installation. It is important to note that he provided very thorough written and visual evidence of his working processes. This included technical details, sketches and photographic documentation of the step-by-step production of the finished work.

Adrian selected and experimented with a range of visual responses that were relevant to his intentions. He demonstrated a keen awareness of and ability to manipulate visual language through his use of various elements and principles of art. These included a focus on pattern, repetition, form, movement, and, of course, sculptural space. His use of visual language was insightful, conceptually sophisticated and consistent throughout his body of work. Adrian’s particular interest was in defining ‘real’ space through his installation work. Viewers of his piece interact with it and relate it to their own bodies by walking amongst and through the various sculptural elements.

Adrian selected and experimented with a range of visual responses that were relevant to his intentions. He demonstrated a keen awareness of and ability to manipulate visual language through his use of various elements and principles of art. These included a focus on pattern, repetition, form, movement, and, of course, sculptural space. His use of visual language was insightful, conceptually sophisticated and consistent throughout his body of work. Adrian’s particular interest was in defining ‘real’ space through his installation work. Viewers of his piece interact with it and relate it to their own bodies by walking amongst and through the various sculptural elements.

Adrian selected and experimented with a range of visual responses that were relevant to his intentions. He demonstrated a keen awareness of and ability to manipulate visual language through his use of various elements and principles of art. These included a focus on pattern, repetition, form, movement, and, of course, sculptural space. His use of visual language was insightful, conceptually sophisticated and consistent throughout his body of work. Adrian’s particular interest was in defining ‘real’ space through his installation work. Viewers of his piece interact with it and relate it to their own bodies by walking amongst and through the various sculptural elements.

Adrian selected and experimented with a range of visual responses that were relevant to his intentions. He demonstrated a keen awareness of and ability to manipulate visual language through his use of various elements and principles of art. These included a focus on pattern, repetition, form, movement, and, of course, sculptural space. His use of visual language was insightful, conceptually sophisticated and consistent throughout his body of work. Adrian’s particular interest was in defining ‘real’ space through his installation work. Viewers of his piece interact with it and relate it to their own bodies by walking amongst and through the various sculptural elements.

Adrian’s annotations demonstrated a highly informative documentation and critical evaluation of his thinking and working, with consistent and confident use of the selected Analytical Frameworks from the initial exploration of personal art responses, ideas, concepts and observations through to the finished artworks. He identified and labeled his reference to the Analytical Frameworks through the use of highlighting markers, which gave a clear indication that he understood their structure.

Adrian’s annotations demonstrated a highly informative documentation and critical evaluation of his thinking and working, with consistent and confident use of the selected Analytical Frameworks from the initial exploration of personal art responses, ideas, concepts and observations through to the finished artworks. He identified and labeled his reference to the Analytical Frameworks through the use of highlighting markers, which gave a clear indication that he understood their structure.

Adrian produced a highly innovative and well presented body of work, displaying well articulated reflection on the progressive development and exploration of personal ideas, concepts and directions, from the initial exploratory work through to their refinement. He comprehensively resolved his finished artworks, demonstrating a very high level of technical skills in the realisation of his ideas and directions. His body of work presents a very clear relationship between investigation and finished artworks. Adrian’s Unit 4 piece, installed in the Top Arts exhibition, is elegant and sophisticated, with complex reference to various cultural practices, especially Japanese origami. Adrian reflected upon his body of work, including the finished pieces, through an insightful critical evaluation that used the language of the Analytical Frameworks.

Adrian produced a highly innovative and well presented body of work, displaying well articulated reflection on the progressive development and exploration of personal ideas, concepts and directions, from the initial exploratory work through to their refinement. He comprehensively resolved his finished artworks, demonstrating a very high level of technical skills in the realisation of his ideas and directions. His body of work presents a very clear relationship between investigation and finished artworks. Adrian’s Unit 4 piece, installed in the Top Arts exhibition, is elegant and sophisticated, with complex reference to various cultural practices, especially Japanese origami. Adrian reflected upon his body of work, including the finished pieces, through an insightful critical evaluation that used the language of the Analytical Frameworks.