AP 3-D ART AND DESIGN
Hlumelo Notshulwana
btw i did it afraid and was rewarded
Riverwood International Charter School, Sandy Springs, Georgia, USA
Georgia State University, Atlanta, GA
Idea(s): My growth as I translated my habits in real time |
Material(s): Stoneware, stain, watercolor wash of yellow reps hope and joy | Process(es): Experiment using plaster mold to cast repeated footsteps-show long process getting on straight path | Curatorial Note: Visual relationships establish a narrative in which repeated footsteps represent the long journey toward finding a clear path. The symbolic progression from walking “on earth/clay” and being “tested by fire” in the kiln, to ultimately aligning with the “straight path,” embodies the essence of synthesis.
STUDENT STATEMENT
What inspired you to choose the inquiry (big idea or question) for your Sustained Investigation?
I chose my inquiry as a way to identify a different meaning for why I was always procrastinating and kept myself in a cycle of creating my own anxiety, and then how I slowly began building different habits and became more confident in my own abilities when breaking the cycle.
How did your inquiry change, grow, or shift as you created more artwork?
This piece is a visualization of the path I have taken from a more scattered and chaotic pattern to a calmer, clearer path, portraying my mindset shift as I found what kept me focused and passionate.
Material(s): Sketchbook, stoneware, revision-added casts of footsteps | Process(es): Practiced modeling technique to Hand build happy feet joyfully taking steps towards the future.
My work culminates into pieces that demonstrate my realization of self worth despite flawed characteristics
How did you make your short, written statements about each artwork (ideas, materials, process, citations) clearer so others could understand your intentions?
I wrote and rewrote a lot. I discussed my statements with my art teacher and used previous AP examples as reference. Also, while creating my pieces, I discussed my work with my classmates to ensure I was on track to portray my intended meeting.
In what ways did your art teacher support your growth as an artist?
When going to her for advice about my work, she would always ensure I was being true to my inquiry. She suggested many new surface materials and techniques that elevated—and sometimes saved—my work.
What advice would you share with future AP Art and Design students about developing an inquiry?
The advice that I would give is to take your time over the summer to think about your inquiry, and be certain. It’s a topic that you are truly passionate about. Even if the inquiry is personal to you, make sure it is a topic with enough depth to make work that doesn’t just feel like different versions of the same thing.
TEACHER STATEMENT
Heather Meyer
Art Teacher
Riverwood International Charter School
How often did your class meet?
We are on a block schedule, meeting every other day for 1.5 hours.
Please describe the structure of your AP Art and Design course.
AP is embedded with other advanced art courses (this AP 3-D course was embedded with Sculpture 3&4)
How did you help students strengthen technical skills and apply design knowledge (elements and principles) while also developing creative problem-solving habits?
I helped students strengthen technical skills and apply design knowledge through the areas of practice, experimentation, and revision. Students are tasked with utilizing their existing knowledge of the elements and principles and applying that knowledge in the exploration of familiar and new media. Regularly scheduled critiques with both me and their peers allow students to better understand areas of success and where revisions might be made to improve the technical and visual qualities of the work. Practice, experimentation, and revision also help students develop creative problem-solving habits through trial and error, seek multiple solutions to design problems, and make choices based on practice with materials and processes.
In what ways did you structure opportunities for practice, experimentation, and revision
into your curriculum?
I structure opportunities for practice, experimentation, and revision by initially providing open-ended assignments for work that may or may not become part of the Sustained Investigation and allow students to work more freely with materials and processes that will become part of their skill set. This underscores the value of process as an integral part of art making. I also encourage students to work with unconventional or unfamiliar materials and processes to foster experimentation. Often following critiques, both during and post-process, students revisit work to consider revision based on feedback and epiphany, and as a reaction to results gained through experimentation and practice.
Material(s): Sketchbook, stoneware, revision-added casts of footsteps | Process(es): Practiced modeling technique to Hand build happy feet joyfully taking steps towards the future.
How did you scaffold writing into students’ art making and thinking processes?
I scaffolded writing into the art making and thinking process from the very beginning of the school year. I have found that students benefit most from this practice if initiated early on and throughout the year. Through their writing, students continuously analyze the choices they make regarding materials, process, and ideas, and identify relationships among these choices. This reflection allows them to gain an understanding of how they are connecting the “what” and “how” with the “why.” As students are documenting process both visually and verbally, along the way, they can more clearly express their ideas and how they relate to the inquiry and how it is developing over time.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
I use critiques to support growth in the Sustained Investigation by consistently asking students to analyze the purpose of the choices they are making regarding materials and processes, and how those relate to their inquiry. During these critiques, I encourage their peers to identify how or if they can make visual connections among these areas. The result may sometimes lead to a reexamination and revision of the work. Similarly, both the students and I use critiques to support growth in preparation for Selected Works by providing feedback based on the demonstration of technical skills and application of design qualities, with an additional discussion about the role of ideation as part of the process.
In what ways does your school leadership support AP Art and Design students and the broader art program?
I have extremely supportive school leadership, both locally and at the district level. We are fortunate enough to have a district art coordinator who advocates for our visual arts students and programs by providing professional development directly related to art education, securing resources, ensuring all students have access to the arts, and fostering a community of art educators that mentor and support one another. At the local level, my administration supports our program through emphasis on the arts as part of a whole and necessary educational experience. We are encouraged and trusted to lead our students to success within our AP courses. We are provided funding to participate in AP training and AP-focused workshops. Additionally, our successes and the successes of our students are acknowledged.
PRINCIPAL STATEMENT
Michael Alther
Principal
Hoffman Estates High School
What makes you most proud of your school’s AP Art and Design program and its impact on your students and teacher(s)?
I’m most proud of our AP Art and Design program because it empowers students to discover and express their voice while developing confidence, creativity, and discipline. The work our students produce reflects both their individuality and the diversity of our school community, often engaging deeply with personal and social themes. Under the guidance of a teacher who fosters both rigor and reflection, students learn to take creative risks, embrace feedback, and apply those lessons far beyond the classroom. The result is a program that not only showcases exceptional artistic talent but also cultivates growth, resilience, and pride across our school.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
We’ve made it a priority to strengthen our visual arts programming by ensuring students have access to a full and intentional course sequence that leads to AP Studio Art in Digital Media, 2-D Art, and 3-D Art. In partnership with our district, we’ve invested in renovating and customizing our art spaces to create studios that inspire creativity and support advanced artistic work. We also continue to expand how we showcase our students’ talent and work. These include building wide display areas, digital galleries, and community exhibitions so that their creative voices are celebrated both inside and outside of our school.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
My advice to other school leaders is to invest in teachers as both educators and artists. When teachers reflect on their practice, innovate instruction, and continue to hone their craft, they bring authentic, real-world experiences that deeply enrich student learning. By fostering a culture of creativity, reflection, and professional growth, schools can build AP Art and Design programs that inspire both artistic excellence and personal confidence in students.
Gabriella Hanna
