INTRODUCTION TO ART
ART IN MOTION
ART IN MOTION 2
CERAMICS
PRINTMAKING
AP 2D
AP 3D
AP DRAW

AP Studio Art: 3D Design

2021 PORTFOLIO
BIBYAN
GUAN
AP SCORE

3
SELECTED WORKS
SUSTAINED INVESTIGATION
WRITTEN EVIDENCE
My concentration explores the ideas of surrealism through inanimate objects and human features. Creating the sculptures from ceramics I combined human body parts with everyday objects. Where I created a variety of subcategories of everyday objects: gardening, kitchenware, technology, and foods. I investigated the use of contrasting colors, organic curves, texture, and emphasis on human qualities. 

The concentration emphasizes the different human features with inanimate objects imbued to create a surrealist fantasy. While I started out using muted skin-like colors (1-6), I experimented more with the object colors instead of the human features in 11-14. I contrasted the matte finish with glossier or metallic finishes in 11-15. In composition 4, the rectangular shape of the tissue box made the piece feel static, which led to incorporating the hand wire to create some negative space and movement. Wire is also used in 5 and 14 to create a more dramatic effect. The lighting helped set an eerie tone to the art. With more attention to detail, the pieces became more successful pieces like 9, 12, 13, and 14 that unified the everyday object and human features.
TIFFANY
​SUI
AP SCORE

4
SELECTED WORKS
SUSTAINED INVESTIGATION
WRITTEN EVIDENCE
My concentration focuses on one or two bipedal figures in an unoccupied setting with each composition controlling eye movement through an emphasis on a central object.

Throughout my investigation into bipedal figures. I flipped between hyper-realistic and more stylized sculptures. My earlier compositions 1-4 are simple sculptures of a singular figure creating intrigue through dynamic scaling that is accentuated with mood lighting. In concentrations 5-7 I sculpted figures that were more detail oriented such as the anatomically correct skeleton, and the piano, in addition to the dinosaurs where I manually sculpted on the skin and scales. Previously I’d use a texture map to communicate the same information, however I found the manual method to be more accurate and fun. Throughout pieces 8-12, I combined methods of modeling and mood lighting to create interesting original character concepts, as seen through my process image 10. In my last pieces 13-15, I envisioned that these would be placed in a setting akin to an art gallery wherein hyper realistic portrayals of the human body, sculpted digitally to mimic traditional mediums such as marble and metal *14-15).
2020 PORTFOLIO
SUBRINA
​KUO
AP SCORE

4
QUALITY PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Through my concentration, I focus on controlling eye movement through the sculptures in a volumetric space. I started out with an interest in architectural realism, using line quality to control eye movement. I investigated abstraction through architectural models. This led to the later compositions that are more sculptural in nature, focusing on abstracted forms, forgoing the architectural pretext.

In composition 1, the organic lines of the stacked landscape move the viewer’s eye through space. In composition 2, the flowing line through the ground controls the movement of the eye. In composition 4, the eye is captured by the pattern formed by the geometric sequences and the flow within. In 5, I became interested in the way abstraction can be paired with solid and empty volumes. Compositions 7, 8, and 10 combine geometric and organic elements to create an effect of drawing lines in dimensional space. My concentration creates dimension and negative space, embracing design through different techniques and materials. The combination of geometric and organic, open and closed space gives the compositions a more dynamic composition while flattening and expanding dimensional space.
2019 PORTFOLIO
ELLISA
​AU
AP SCORE

4
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
The central idea of my concentration is the exploration of organic form, repetition, line, emphasis and negative space through reed basket vessels. Main contemporary influences include: Deborah Smith for organic form, Sopheap Pich for negative space, Tracy Wilkinson for materials, and Japanese basket weavers for line quality.
 
​Q2:
I first practiced using basket weaving reeds and natural materials to understand how to make the material cohesive, as seen in images one through five. For image six and on, I wanted to combine a variety of mediums with reed baskets to complicate the surface quality. Image seven utilizes a coarse undulating form inspired by Asian and Pacific Islander fishing traps. Image eight utilizes movement through the direction of the wax. Image twelve utilizes form manipulated by the found palm material to create exciting negative space and value. Altogether my baskets emphasize my ability to use bulky space and organized free flowing structure to create three dimensional form.
2018  PORTFOLIOS
NISA
​ALAM
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
TRENT 
​HU
AP SCORE

4
QUALITY PORTFOLIO
BREADTH PORTFOLIO
CONCENTRATION PORTFOLIO
CONCENTRATION STATEMENT
Q1:
​My concentration uses sugar as a stand-in for glass, to investigate light, transparency, layering, and form. I was interested in the possibility that using varied lighting to form dynamic shadows would create a series of works that teases out volume in transparent layers.
Q2:
​At the outset, I investigated how varying the lighting of the sculptural forms changes how volumetric the pieces feel.  The shadows and light refractions extended the color of the sculpture beyond its volumetric form, especially noticeable in images 7 and 8. Introducing geometric molds and hexagonal shapes with the formalized control of wood and sharp lines, I contrasted geometric elements with the soft organic qualities of the initial work. Further into my investigation, I was interested in the delicacy of lines created in this medium and the visual noise present within the transparent surface. In image 12, I examine the delicate way light refracts within the surface, while image 11 pairs the hard edge lines of wood with the ornate painterly qualities in the sugar work.