Work samples

The Arts: Visual Arts

Years 7 and 8

Satisfactory

Merged landscapes

Summary of task

Students were engaged in a process of creating an artwork of a landscape with merged perspectives to communicate a viewpoint on sustainability. They explored Aboriginal Waanyi artist Judy Watson’s own viewpoints on sustainability, as well as her use of linear and aerial perspectives in her artworks Heron Island Suite #3 and #16. The students began the task with visual research, taking photographs on tablets and making drawings of the environment from different perspectives. They used their findings to inform their own artworks of a landscape with merged perspectives, and raise awareness of their own ecological viewpoints. They evaluated their completed artwork by considering the effectiveness of their artistic choices to communicate a message of environmental and/or cultural sustainability.

Achievement standard

By the end of Year 8, students identify and analyse how other artists use visual conventions and viewpoints to communicate ideas and apply this knowledge in their art making. They explain how an artwork is displayed to enhance its meaning. They evaluate how they and others are influenced by artworks from different cultures, times and places.

Students plan their art making in response to exploration of techniques and processes used in their own and others’ artworks. They demonstrate use of visual conventions, techniques and processes to communicate meaning in their artworks.

Show all annotations

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Annotations
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Annotation 1
Identifies the artist
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Annotation 2
Identifies and analyses research methods that the artist uses
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Annotation 3
Identifies processes used by the artist
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Annotation 4
Identifies the artist’s intention

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Annotations
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Annotation 1
Identifies materials and practices in the artworks
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Annotation 2
Identifies methods and materials in the artmaking process

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Annotation 1
Describes how the artist responds to coral bleaching by using multiple perspectives in her artwork

Copyright

Judy Watson 1959
Heron island suite #3 (2009/2010)
1-colour etching from zinc plate (24.5 x 195 cm) on Hahnemühle. Plate sanguine; screenprint black
Screenprint mass coral bleaching graph courtesy Professor Ove Hoegh-Guldberg
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications

Judy Watson 1959
Heron island suite #16 (2009/2010)
2-colour etching from 2 zinc plates (24.5 x 19.5 cm) on Hahnemühle. Plate 1 warm yellow ochre; plate 2 black; screenprint 1 black; screenprint 2: white
Screenprint black bleaching relative decrease and net productivity graphs courtesy Professor Ove Hoegh-Guldberg; screenprint white meal size graph courtesy Dr Bradley Congdon
Edition 30
Printer: Basil Hall Editions
Courtesy: Judy Watson and grahame galleries + editions/numero uno publications

Annotations
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Annotation 1
Explores linear and aerial perspectives

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Annotation 1
Describes an environmental issue
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Annotation 2
Explores aerial and linear perspectives in drawings

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Annotation 1
Applies watercolour to create tone
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Annotation 2
Implies movement through the placement of the birds and their wings
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Annotation 3
Represents a tree using a subtle arrangement of colours and shapes
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Annotation 4
Uses a combination of brushwork – from controlled and precise to soft and blended
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Annotation 5
Combines underground and above ground to create a merged perspective
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Annotation 6
Uses digital manipulation to overlay a symbol of carbon footprints to emphasise environmental damage

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Annotations
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Annotation 1
Identifies Judy Watson’s use of layering and its effect on their own artwork
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Annotation 2
Describes the process involved in completing the artwork
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Annotation 3
Compares their artwork to Judy Watson’s
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Annotation 4
Identifies that the artwork has a sustainability message
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Annotation 5
Reflects on a possible method to enhance the meaning of the artwork