beginning of content:

Please note that the Sustained Investigation and the Range of Approaches sections below are from two different students’ portfolios.  

Sustained Investigation (Concentration) Statement

  1. My concentration is three sets of jewelry based on design and architectural elements of major airports I travel through frequently: Beijing, Seoul, and Atlanta. The structures on ceilings, windows as well as the views of runways and terminals from airplanes are what inspired each set of jewelry.
  2. My work in this series of jewelry is about scale. Airports are a place where things are big and small. We feel so small inside the spaces, but from above they look tiny. During my layovers in these airports, I became increasingly aware of the unique patterns tied to each space. With some help from google and my personal travel photos, I explored whether these design elements would translate if they shift from a space I am in, to something I wear. The nine-piece portfolio is divided into three three-piece portions featuring Beijing (PEK), Incheon (ICN), and Atlanta airports (ATL) . #4, #8, and #12 are posters created to illustrate my inspirations and relate each piece of jewelry to a certain structure in its corresponding airport. Concentrating mainly on ceilings, windows, and runways, I made one set of “ceiling earrings” (#1,5,9), “window rings” (#2, 6, 10), and “runway brooches” (#3, 7, 11) for each airport. Since Beijing and Atlanta are always my origin and destination, while Seoul/Incheon is my transition place, I made the series of PEK in gold, ATL in silver, and ICN in both.

Rationale for Score

  • The jewelry in this sustained investigation and the topic, using design and architectural elements of major airports, are unmistakably and coherently integrated. The structures on ceilings and windows, as well as the aerial views of runways and terminals, clearly inspired each set of designs.
  • The investigation of airports as design inspiration provides convincing evidence of informed decision making. The documentation of the process adjacent to photographs of the finished works in images 4, 8, and 12 clearly illustrates an awareness of the unique patterns tied to specific spaces. The rest of the images demonstrate how airport architecture translates in form to a wearable scale. A significant decision is seen in how the sets are organized not only by airport (Beijing, Incheon, and Atlanta,) but also by a combination of function and inspirational feature (ceiling earrings, window rings, and runway brooches).
  • The combination of the theme of airport architecture with adornment shows risk-taking and clearly demonstrates an original vision. The work in images 1 and 2, 5 and 6, 9 and 10 refers to architectural features as a person would experience them on the ground while the work in images 3, 7, and 11 is based on aerial views from the aircraft.
  • The work shows a thorough understanding and effective application of 3-D design principles. Unity, variety, and rhythm are created through repetition of lines, shapes, occupied, and unoccupied space. More complex relationships are created as the jewelry interacts with the body to highlight the scale shifts and to further activate the space.
  • The inclusion of reference photographs (images 4, 8, and 12) creates a clear demonstration of the transformation that has occurred as the jewelry was designed. Two or three different variations of the basic design are included for each “pair” of airport-ceiling earrings.
  • In general, the work is technically excellent. For example, image 6 clearly demonstrates expertise in soldering the various metals. Despite the small scale and confining space, joints are seamlessly assembled in this work. Software (SketchUp) is used to render the 3-D- printed brooches in images 3, 7, and 11. These inventive forms are further articulated with liquid gold and/or silver leaf. The materials and media are used effectively to express ideas.

Rationale for Score

  • The work shows an excellent application of 3-D design principles to a broad range of design problems. Although all of the works are wheel-thrown ceramics, each form is quite different from the others in the way it explores and defines three-dimensional space.
  • The work clearly demonstrates original vision, a variety of innovative ideas, and risk- taking, as well as inventive articulation of a broad range of the elements (line and shapes) and principles (repetition, rhythm, balance, unity, variety, emphasis, and proportion) of 3- D design. The work shows a highly sophisticated degree of control with raku glazing, creating intricate, complex patterns that further activate 3-D space (images 3a-3b, 4a-4b, and 6a-6b).
  • The work clearly demonstrates a broad range of intentions or approaches. While there are three bottle forms (images 4a-4b, 6a-6b, and 8a-8b) and three bottle jar forms (images
  • 1a-1b, 3a-3b, and 5a-5b), each explores three-dimensional space in a radically different way.
  • The work as a whole is confident and evocative; it engages the viewer with visual qualities (for example, expressive verve, and nuanced subtlety). This is seen both in the construction of each form and in the application of finishes that range from glaze to the incorporation of alternative materials, such as wood and yarn.
  • The work is technically excellent; materials and media are used effectively to express ideas. The work includes turned wood (maple and mahogany) and yarn to further explore form and material (images 1a-1b and 6a-6b) in addition to demonstrating excellent command of working with clay and glaze throughout the Range of Approaches section.