The visual study should be an exploration of techniques, styles, visual elements and design principles used in the work by:
Students investigate the artists listed above, analyse artworks and complete practical applications in response to artists' work.
The Visual Study must include Part 1 and Part 2
PART 1: FOLDER
Students are required to produce a folder of developmental work (theory and practical) 10 x A3 pages.
1. In depth study of Sculpture Artists (750 words)
N.B. It is vital you understand the severity of plagiarism (if in doubt consult your planner).
2. A minimum of 10 thumbnail sketches responding to the sculptures by the artists studied in your in-depth study. Your thumbnail sketches and any colour roughs must be annotated.
PART 2: PRODUCT
The product should be a small maquette (approx 20cm in size). The maquette should reflect an understanding of the techniques and style employed by one or more of the artists studied. You must consider scale, composition, depth, proportion, colour, site specificity and texture.
Herbert (Bert) Flugelman (1923-2013) was born in Vienna, Austria. He and his Jewish family fled Nazism for Australia in 1938. After working in factories, for a brief time in the bush and serving in the Australian Army (1943-46), Flugelman studied at the National Art School, Sydney (1948-51). He then travelled and worked overseas from 1951 to 1955. While overseas he contracted polio, which left him with some physical impairment. Undeterred, Flugelman continued his art practice, holding exhibitions at the Piccadilly Gallery in London and Bourne Gallery in New York. He also shifted his emphasis to sculpture.
Between 1972 and 1983 Flugelman lectured at the South Australian School of Art, eventually becoming the head of the sculpture component. During this period he produced several famous works, including Tetrahedra (1974), Spheres (1977) and Cones (1982) at the National Gallery of Australia, Canberra. In 1974, with several others, he established the South Australian Experimental Art Foundation. - Adelaide Tourism website
"The geometric forms and discipline within geometry itself taught me that, within those parameters, you can be as inventive and creative as with anything else." - Flugelman
At the core of Hossein Valamanesh’s art lies the relationship between humans and the natural world and a sense of place informed by cultural history and personal memory. Valamanesh was born in Iran in 1949 and trained as an artist in Tehran before immigrating to Australia in 1973. In 1974 he travelled with a group of artists and musicians through the Western Desert, visiting Aboriginal communities including Papunya and Warburton. Valamanesh felt a strong affinity with the cultural and spiritual connections to the land he saw in these communities and through this he began to connect to his new country, an experience which has had a profound impact on his subsequent development as an artist.
Valamanesh draws on Iranian culture, in particular on Iranian poetry and the Sufi poetic tradition. His own memories of Iran, growing up in the remote near the Pakistan border and later living in Tehran, infuse many of his works. - NSW Art Gallery
Longing Belonging 1997
The carpet suggests Iranian cultural traditions. Carpet designs are often of stylised flowers and fields, a landscape of the imagination. The carpet is partially consumed by fire in an arid landscape that has been shaped by fire over many thousands of years. This work embodies a sense of trying to locate cultures and the inherent violence of this process, of substituting one way of living for another and of the need to give up part of oneself in order to adapt to a new life. However, the flame is also cleansing; it suggests new possibilities. In burning through the central medallion of the carpet, it has left a dark and velvety void rather than just desiccated soil, a place of possibilities and imagination. - NSW Art Gallery