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Holderness News

Fall Student Art Projects

Emily Magnus
This fall Carpenter once again came alive with the creative developments of our students. From ceramics to paints, photography to sculpture, students not only revealed their artistic skills but also their intellectual reflections. Here is just a small selection of some of their work.
Environmental Portraits (39, 40, 42, 44, 48, 50, 53)
Course: Photography

Students were asked to create portraits of people they know well, using the environment surrounding the person to support the story they were trying to tell. Students also paid careful attention to the composition of the photo—where the subject was placed and what importance that person played within the composition.


      


Mars Project (49, 43)
Course: Advanced Photography

Students were told at the beginning of this assignment that they were heading to Mars and wouldn’t be coming back. They were told they could select 10 photos to take with them. After selecting the images, they were then told that they had to cut the number of photos back to five, then two, then one. Each time they were asked to justify their selections and weigh what was important to them that was represented in that photo. Next, students were asked to create a new photograph of the core value that was represented in the final photograph. As another twist on the assignment, the final photograph had to make an appearance in the new image. This project allowed students to explore their personal core values and how photography can be used to understand those reflections.


 


First Memory (41, 47)
Course: Photography

Students were asked to write a short essay on their first significant visual memory and then discuss the emotion they felt at that time. They were then asked to link that emotion to something in the present that produces that same visceral reaction. That emotion was the starting point for a new photo. In addition to teaching the students basic photography skills, art teacher Franz Nicolay also wants students to develop their visual literacy, using their comfort of the written language as a base to bridge the gap to visual creativity. While Mr. Nicolay sees many using the camera simply as a documentary tool, he wants students to understand that it can also be used to explore abstract thoughts and ideas.


 


Typographic sculptures (20, 21, 22, 23)
Course: 3D Design and Sculpture

Students were stretched out of their comfort zone on this assignment by the transformation of two-dimensional text into the three-dimensional landscape. Students were asked to choose a quote, poem, or lyric that is meaningful to them and design a way for the text to become an art piece in the round. Students experimented with many different medias within the assignment and ultimately has to install their work in the student gallery in a well thought out and effective way.
   
 
Watercolor Landscape (27, 28, 29)
Course: Studio Practices

Inspired by the artworks of Helen Nicolay, who was exhibited in the Edward’s Art Gallery this fall, studio art students discovered the joy and fluidity of watercolor painting. They spent time outside doing Plein Air paintings and concluded their studies with a composition of a landscape of their choice.
  
 
Still Life in Charcoal (24, 25, 26)
Course: Studio Practices

Still life drawings are essential in the beginning studies of studio art and observational drawing. Students were asked to set up a unique composition of inanimate objects and to include a specific light source. They first spent time focusing on contour lines, using measurement techniques to acquire accurate proportions. Once accuracy was established, students studied the value scale and carefully placed the observed values where necessary on the composition. Students used a toned paper so that they could use both black and white charcoals.
  
 
Contrast-Cut Paper Storytelling (33, 34, 36)
Course: Studio Practices

Relating to the All School Read—
Walking to Listen by Andrew Forsthoefel—students were asked to visually tell a story of their travels over the summer months. Using the idea of contrast with cut papers, students began this visual journey with one large sheet of black paper. Each drawn and cut object was to be folded out from where it was cut to continue a composition of connected images. There may not be a specific order to the journey, but there is emphasis on the symbolism used to convey things they did and places they explored.


    
 
Gridded Portrait on Map (30, 31, 32)
Course: Studio Practices

Using the gridding technique for proportion measurements, students discovered that the grids on maps could be utilized as a unique surface for drawing. Students chose a specific regional map and block-by-block drew a portrait. Cross-hatching and ink washes were used to give the portrait value.


  
 
Coil-Built Characters (35, 37, 38, 16, 1, 2, 4, 7)
Course: Beginning Ceramics

I wanted to give the Beginning Ceramics students an opportunity to develop a sculpture that they showed investment in and that moved away from the idea of functional pottery. Students chose a favorite cartoon character from their childhood, and using the coil method of construction, they formed the bust of the character. Once the sculpture was bisque fired, students had the opportunity to use multi-media to finish the piece. For example, the minion from Despicable Me was finished with glaze, Acrylic paints, and wire.




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Holderness School
33 Chapel Lane, Holderness NH, 03245
mail P.O Box 1879 Plymouth, NH 03264-1879
phone (603) 536-1257