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
1
2
3
4
-
Annotations
-
1
Annotation 1
Identifies the artist and her themes -
2
Annotation 2
Identifies and analyses the artist’s research methods -
3
Annotation 3
Identifies processes used by the artist -
4
Annotation 4
Identifies and analyses the artist’s intention
1
2
3
-
Annotations
-
1
Annotation 1
Identifies materials and practices in the artworks -
2
Annotation 2
Analyses the artmaking practices and process that the artist used -
3
Annotation 3
Identifies elements of the artmaking process, materials and viewpoints
1
2
-
Annotations
-
1
Annotation 1
Discusses the artist’s context and analyses her cultural and social viewpoints -
2
Annotation 2
Analyses the use of the visual conventions to communicate an environmental message
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
1
-
Annotations
-
1
Annotation 1
Explores linear and aerial perspectives by manipulating photographs on a tablet
1
2
-
Annotations
-
1
Annotation 1
Explores aerial and linear perspectives in drawings of three different settings -
2
Annotation 2
Evaluates the environmental concerns of the artist
1
2
3
4
5
6
7
-
Annotations
-
1
Annotation 1
Combines photographic images with watercolour to create depth and zero-point perspective -
2
Annotation 2
Arranges the fish and the diver to create a sense of movement -
3
Annotation 3
Enhances the viewer’s perspectives of being above and below the water -
4
Annotation 4
Uses layers of watercolour to create the illusion of deep water -
5
Annotation 5
Juxtaposes contemporary imagery with a historical reference -
6
Annotation 6
Juxtaposes aerial and linear perspectives of a landscape -
7
Annotation 7
Draws a historical map and uses digital manipulation to layer it on to the artwork
1
2
3
4
5
6
7
-
Annotations
-
1
Annotation 1
Identifies the influence of Judy Watson’s use of aerial perspective on their own artwork -
2
Annotation 2
Describes the use of linear perspective to create the illusion of depth -
3
Annotation 3
Describes the process involved in completing the artwork -
4
Annotation 4
Compares their artwork to Judy Watson’s -
5
Annotation 5
Describes the use of layering to communicate historical dimension -
6
Annotation 6
Analyses their artwork’s intention -
7
Annotation 7
Reflects on possible ways to enhance the meaning of the artwork
