AP 2-D ART AND DESIGN
Height: 9", Width: 4", Depth: 14" | Idea(s): literal life in death, life feeds/grows off of death and cannot exist without, interconnectedness
Material(s): ceramic clay, apoxie sculpt for repairs, plant for photos | Process(es): hand built solid with clay, hollowed out, fired, pit fired, repaired where needed | Curatorial Note: This playful sculpture explores the interconnected cycles of life, death, decay, and rebirth. It strikes a thoughtful balance between invention and whimsy, inviting viewers to reflect on renewal through transformation.
STUDENT STATEMENT
What steps did you take to begin this artwork, and how did you develop it as you worked?
This was my first large-scale ceramic piece, so it was fully experimentation and I was honestly winging it. I had a fully developed sketch page of ideas and I knew what my vision was, but not how to execute it—so, I just dove in headfirst to see what I could do. One of the first things I discovered was that the best way for me to sculpt is to start with a completely solid form and only hollow it out as the final step. I started by blocking out the form with rough chunks of clay and later fully defining and smoothing the individual parts. I viewed this sculpting process more like painting, focusing on building it up as a whole instead of separate pieces to be attached later. The charred pit fire effect was also not planned from the start. After the initial bisque fire, I felt the piece was lacking visually. However, I didn’t want to add glaze in fear that it would take away from the color and liveliness of the plant element. The choice to pit fire was somewhat of an impulsive decision, but I’m extremely happy with the result. The final and most impactful touch, in my opinion, was the plant. While the plant was the core of this piece, I never fully decided what particular species or type of plant to use. By the time my sculpture was finished, I still hadn’t. I kept thinking about symbolism of flowers and native species. But, in the end, I chose the simplest and most effective option—a small weed growing in the sidewalk of our school. Not only was it the perfect size and shape, it was also a beautifully healthy plant that really resonated with me. It had somehow grown in one of the hardest and most trampled areas, and I thought that was a wonderful representation of the soul of my piece and overall theme.
What kinds of practice or experimentation helped you explore materials, techniques, or approaches in your work?
I like to approach art from the most bare-bones starting point. Usually I do not research the material beyond basic functions and the advice given to me by a teacher. I find that this approach is what allows me to create pieces that are truest to myself and the nature of art. While not researching or finding common techniques/methods can be extremely risky, it opens the door to not only learning it firsthand, but also allowing you to think and create art in a way that’s completely unique to you instead of following a structure or routine. The more you risk and the less you know, the more you get to learn and discover about yourself and your art. The mistakes you make along the way are proof of that, and I feel like this piece (especially being my first step into the world of ceramic sculptures) really encapsulates this idea and my overall approach to the subject.
…Within life, there is the looming fact that everything must die eventually. I wanted to show not only the brutality of this concept, but also the unconventional beauty of it.
Idea(s): literal life in death, life feeds/grows off of death and cannot exist without, interconnectedness | Material(s): ceramic clay
Process(es): sketched(life living off of/in death) hand built solid basic shape, hollowed out, smoothed, detailed | Digital Tool(s) used: canva
In what ways did your materials and processes guide the development of this artwork?
Using clay really guided how I developed this piece—normally I prefer to fully develop and detail each section of my art pieces individually. However, clay is very time-sensitive and tends to have a mind of its own. I had to adjust my usual process to fit with the medium. This also meant the artwork ended up more cohesive, as each step was done across the whole piece in one session. Unfortunately, because of the specificity and learning curve of ceramic clay, I made a few mistakes, which led to breakage in my piece. Luckily it was easily repaired using air-dry clay and glue, which I was able to make almost invisible after texturing with chalk pastels. The medium of ceramic clay was extremely new to me, and it really shaped not only how I worked, but also how my piece ended up structurally, even if it looks similar to my initial vision. This piece was, above all, a learning experience for me and helped define the methods I used to sculpt the rest of my portfolio.
In what ways did your classmates support you during the creative process?
I am extremely grateful to have had several supportive and talented people in my class. They were vital in giving feedback and fresh ideas for my pieces; being able to ask about the shape or paint job of my sculptures really helped. It was especially useful when creating stylized animals and making sure the species was recognizable. There were also several other people with experience in ceramics who occasionally provided advice to make sure my process was smooth and my sculptures had less risk of breaking. I was able to make a lot of changes, which not only improved my artwork on a technical level, but also expanded its meaning and allowed it to be better understood and viewed by others.
What advice would you share with future AP Art and Design students about practicing, experimenting, and revising?
Some advice I would give is to never hold yourself back. Art is about experimenting and learning from it. Don’t be afraid to try something new out of fear you may “ruin” your piece. The best way to make art authentic to you is to find your own way to create it. Mistakes are meant to happen; nothing will ever be perfect on the first try either. Never be afraid to try something new, never be afraid of redoing something to make it better, and don’t ever stop creating.
TEACHER STATEMENT
Chris Nostrant
Art Teacher
AC Flora High School
How often did your class meet?
We use an A/B schedule that meets every other day for 1.5 hours.
Please describe the structure of your AP Art and Design course.
In the 2024-25 school year, 3D AP art and design ran as it's own course with a class of 18 students in grades 11 and 12 over the course of 1 semester on a condensed traditional quarter system. (1 semester in the quarter system = the same number of minutes as 1 year in a traditional 2 semester system)
How did you guide students in developing and refining their inquiry statements and
portfolio direction during their Sustained Investigations?
We try and begin writing the inquiry statements early in the process, with the understanding that it will be a living document that will be revised or sometimes completely rewritten. I encourage the students to keep their statements broad in the beginning and become more focused as time goes on. The statement should help guide their practice, but it should not constrain them from trying something new.
How did you help students strengthen technical skills and apply design knowledge
(elements and principles) while also developing creative problem-solving habits?
In our program, we try to develop a lot of the technical skills and design knowledge in earlier classes. With that said, students still need to hone their skills through practice and research. The students are encouraged to look at the work of other artists, watch tutorials on their computers, and flip through old-school magazines and books. Of course, this is all good, but practice is key: Practice, reflect, and repeat. Do it again.
In what ways did you structure opportunities for practice, experimentation, and revision
into your curriculum?
So many students want step one to be starting the final artwork. We structure the planning and practice into the beginning. Artistic research, thumbnail sketches, and practice with the media need to come before the media touches the final picture plane. The students often do not believe me that doing this will save them time and headaches. Also, the resolved work will be better because of this artistic practice.
How did you scaffold writing into students’ art making and thinking processes?
Writing is a cognitive process, and it takes on many forms in this curriculum. Students are encouraged to write profusely in their sketchbooks. The writing does not need to be precious; just pour your ideas onto the page. Treating it almost like automatic writing can help the creative ideas flow. Also, they need to revisit that writing from last week or month to remind them and generate new ideas.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
Critiques are held when the students are a little over halfway done working on their final pieces. I prefer in-process critiques over summative critiques. I want students to have the chance to revise their works with the peer input fresh in their minds. Summative critiques are valuable as well, but I find that “work-in-process” critiques have a bigger impact on the students creating strong resolved works.
How did you manage classroom resources and materials to support art making?
I want the classroom to feel like a working studio for my students. I allow them to go into the supply closet and explore the tools and supplies they can work with. They just need to let me know what they are utilizing and demonstrate they are using the tools and materials responsibly. Teaching students to take ownership over their creative process saves time for me as well. If they know where everything is and how to access it, I do not address dozens of questions each day.
In what ways did you integrate digital tools or technology into students’ creative processes?
We primarily utilize PowerPoint and Pixlr.com in the AP class. I teach them how to use PowerPoint to build their planning and process images that accompany their resolved works. I also teach them how to use Pixlr.com to edit source images. This web-based image editing site resembles Photoshop and is surprisingly powerful. It is great for basic image editing, creating original digital works, and planning and creating digital collages that can be used as source images for final artworks.
What did you learn from working with your students, and how did you connect their
learning to real-world opportunities or creative careers?
I learn a great deal from working with my students. I have to admit that most of my artistic output has been influenced by working with students and designing lessons for my classes. Whenever I find an interesting new artist, I incorporate that into my lessons. Showing students new artists and artworks helps them realize that they can pursue creative careers and the path to these careers are very diverse. They also realize that these kinds of careers have their challenges, but, like teaching, the experience is rewarding.
In what ways does your school leadership support AP Art and Design students and the
broader art program?
Our school leadership has helped every step of the way to build a strong visual arts program. Making strong artwork does not come for free, and they provide for us financially. They also help us with recruiting interested students and accommodating students’ needs through scheduling. I like to try and take care of as much as I can myself, but, when I need help, I know whom to reach out to.
What advice would you offer to other AP Art and Design teachers?
If you are trying to build an AP program from the ground up, make a five-year plan and communicate with your school leadership about your plan. You will need help from administration and the guidance department to get the class on the books. You may start small with a few students, but that is fine. Make sure to hang their work around the school. This will get students interested. Every school has creative students. When you find them, bug them to take your classes. Make relationships, and do your best to get them in your studio classroom each year. Have fun with it. If you are not having fun, what is the point? Making good art is hard, but you and the students should be having a good time.
PRINCIPAL STATEMENT
Susan G. Childs
Principal
A.C. Flora
What makes you most proud of your school’s AP Art and Design program and its impact on your students and teacher(s)?
First, I am so proud of Madeleine Hamilton and her teacher, Chris Nostrant. Also, the growth in the number of students taking our high-level visual arts classes is a testament to our teaching staff, and I am very proud that we are able to provide these opportunities to our students.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
At A.C. Flora, we place a high value on providing our students with a broad range of opportunities. The foundation of this endeavor lies with the selection of passionate and high-quality teachers. We have expanded course offerings and have been creative with class scheduling to allow as much opportunity as possible. Finally, we have made the commitment to strengthen the visual arts by providing the resources and materials needed.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
Recognize, support, and embrace the value of AP Art and Design programs! Celebrate the accomplishments of these students and teachers. The lessons learned through a quality visual arts program extend well beyond the production of art, and students deserve the chance to participate in these programs.
Madeleine Hamilton
