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Exams: 2006 Studio Art 3-D Design: Concentration -- Jason S. Kurth
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| | The Fox Lane High School
Bedford, NY
Student Work
Click an image to view a larger version.
Student Commentary:
What was your initial idea?
My initial idea for my concentration was to create sculptures which would manipulate space through the use of simple forms. My intention was to use the forms to create balanced sculptures which alter the environment around them, as well as the internal spaces formed by the components of the piece. I primarily executed my concentration in steel and other metals due their structural and surface qualities.
How did your idea grow and develop as you worked? You may refer to specific slides as examples.
I began my concentration by making large indoor and outdoor installation type sculptures and focusing on the overall impact of the piece in its environment. I focused on arranging the metal geometric forms in a rigid and mathematical manner. As I delved further onward, I experimented with mixed media and looser arrangements. At this time I created several pieces using steel mixed with canvas panels which emphasized the relationship between the structure and surface quality of the two mediums.
As I moved into the next phase of my concentration I began to focus more on detail and quality in smaller scale works. I switched from using mild steel to stainless steel in favor of its aesthetic properties. My concentration developed as I transitioned from creating rigid compositions to more dynamic arrangements incorporating diagonals and repeating related forms. I concentrated on craftsmanship and specifically welding and finishing techniques in order to create fluid transitions within the sculptures. I then experimented with different surface qualities of the steel and its reflective properties. In the final stages of my concentration I worked to improve upon the techniques I had developed and the elements of individual pieces.
Rationale for Score:
- The student appears to have drawn on significant and impressive knowledge that informs his decision-making regarding the potential of surface quality as the aesthetic core for the ideas in this concentration.
- The deliberate transformation of the assembly-line, factory-finished stainless steel surface into a transcendental, ethereal, rhythmic repository for environmental light suggests infinite possibilities.
- The interaction between the natural environment and the unoccupied space in some of these sculptures, the attempt at working on a large scale, and the confluence of natural light and shadow are at the core of what makes this concentration successful.
* Important Note:
The numbers of the slides run from top left to bottom right.
1. 60” x 40” x 24” painted steel
2. 120” x 48” x 48” steel
3. 18” x 6” x 4” bronze
4. 40” x 36” x 18” steel and canvas
5. 70” x 48” x 48” steel and canvas
6. 12” x 12” x 10” steel
6.* [view 2] 12” x 12” x 10” steel
8. 12” x 5” x 5” stainless steel
9. 16” x 19” x 5” stainless steel
10. 14” x 5” x 5” stainless steel
11. 14” x 8” x 4” stainless steel
11.* [view 2] 14” x 8” x 4” stainless steel
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