Statement of intention
This digital portfolio establishes a foundation of resources and structures through which teachers may deliver Units 3 and 4 of the VCE Art Creative Practice Study Design. As an emerging teacher, navigating the study design in relation to planning was a process of adapting exemplars from the cloud unit site and tweaking content that I’ve seen in my work in schools or on placement. The planner outlines each Area of Study and Outcome that is required to successfully complete the course and designates clear tasks, including folio check-ins, analytical response SACs and independent studio inquiry time. Tailoring content to the unique projects of students requires more time than possible; aim for prompted questions with targeted examples to cover the various disciplines being developed by students. Example; demonstrate annotating for painting and printmaking in journal form. Provide short and extended response examples for ceramics and sculpture. Develop key language around photography, video art, digital animation through combined language/making workshops. This document will develop greater specificity and relevance when planning for teaching VCE Art CP in the future.
In relation to professional development, I feel at home with the expectations of what it means to teach the course. I can identify that my areas of investment in professional development relate to revisiting my Art History knowledge (I am an avid contemporary), extending my knowledge of digital animation methodologies and applications, including Blender and Adobe Animate and learning some essential textiles/sewing techniques – I use fabric in my practice, but am not a garment designer by any means. I would also look to consult with a member of the English faculty in my school to ask about text analysis resources and vocabulary building activities or games that engage students in more expressive discussion between themselves, and in their SAT and SAC assessment tasks.
The structure of the plan includes an on-going worked example that is developed by the teacher to sustain a connection to the creative practice. Through documentation of work that occurs in conjunction with students, independently, or from previous oeuvre I believe teachers should remain in the flow of the creative practice as co-creators in the studio environment; making them more proficient at teaching creative process, reflective thinking, and critical aesthetic and conceptual language. Being adaptable to the way students work will change as the body of work develops is important in knowing when to help steer their development, or indeed catapult from ground up.
The viewing of art, reading about and discussing of art, in informal and formal capacities, as in group crits can be pivotal to nurturing the social dynamic of the learning environment. Building a welcoming space, that fosters inclusivity and values commitment to stimulating art practice has holistic effects that can supplement the success of students in the course. Creative Practice should excite, frustrate, stump, motivate, irritate and above all engage students. This can be an opportunity to support students on a wellbeing level, as the Journal can often reveal very personal truths, perceptions and stories. Understanding sensitivities to diverse identities and experiences in the course can mean the difference between good and great artwork.