AP 2-D ART AND DESIGN
Height: 8", Width: 12", Depth: 6" | Idea(s): Architectural spaces derived from inner chambers and musculature of the heart featuring capillaries. | Material(s): Museum board, Balsa wood, Model grass, Artificial foliage | Process(es): Organic curves resemble chambers, varying height raised structures create dynamic flow/enclose space | Curatorial Note: Research into contemporary architecture is translated into a synthesis of organic forms that resemble heart chambers and capillaries. This intricately designed maquette reflects advanced conceptual thinking, achieved through the inventive use of simple, accessible materials.
STUDENT STATEMENT
Does your art connect to or take inspiration from any past or present art styles, techniques, or traditions? If yes, how?
My work was heavily inspired by the naturalistic and organic work of Zaha Hadid. Her work was transformative and it showed me how architecture is more than just sharp edges and straight lines—that it could instead be dynamic and free-flowing, just like the human body.
Which elements of art were most important in this artwork, and how did you use them to communicate your ideas?
The most important part of this artwork was the cutout elements that created the shadows. I used this dynamic to represent the capillaries and arterial structures that are present in the human heart. I also implemented a varied level of height in this piece, allowing it to have an open and organic shape.
Material(s): Watercolor paper, Pencil, Sharpie, Acetate | Process(es): A study of the internal structure of the heart, highlighting the artery and capillary form
How did applying design skills (elements and principles) help you strengthen both the look (formal qualities) and the meaning (conceptual direction) of your portfolio?
My portfolio was built upon elements of movement that allowed my pieces to become organic representations of the human body. A crucial element in my collective body of work was the juxtaposition of light and dark, including how these both intertwined to create a variety of textures.
Which drawing and/or design skills do you rely on most often in your work, and how do they support your artistic style or message?
In my general work, I often rely upon my ability to freehand. I am very experienced in drawing and painting, and I have a very loose and organic style in my 2-D work. This style has carried over into my architecture, and I found myself inspired by nature and humanity.
In what ways did your confidence in art making grow during AP Art and Design?
When first starting my portfolio, I had no prior experience in 3-D work. I spent the beginning of my junior year struggling to adapt to the new medium and finding my voice within architecture. After building my body of work, I felt empowered by the fact that I was capable of discovering something new within art, something that I have become so accustomed to throughout my life that it becomes easy to forget that I can still learn new skills.
What advice would you share with future AP Art and Design students about building drawing and/or design skills?
My advice to future artists would be to challenge yourself to explore new topics and continue to push yourself to reach new heights. In my own experience, I chose to research a topic that I was completely unfamiliar with: the human body. In doing so, I learned so much about myself as an artist and art itself. Art was not just a way to create; it was also a means of exploration and education.
Through concept sketching, material manipulation and research into architects such as Zaha Hadid and Santiago Calatrava, I looked to express the fluidity and adaptability of the human body, demonstrating how organic structures can inspire space and the introduction of human experiences in built environments.
TEACHER STATEMENT
Joan Gonzalez
Art and Architecture Teacher
Sanford H Calhoun
How often did your class meet?
Our class met daily for 41 minutes for the entire school year.
Please describe the structure of your AP Art and Design course.
The way I run the AP Art and Design class for 3-D is within my Architectural Design course. It is a mix of juniors and seniors who may choose to pursue the AP portfolio based on architectural design elements and principles. My 2-D and Drawing portfolio students are all seniors who are grouped together with the Advanced Drawing and Painting students.
How did you guide students in developing and refining their inquiry statements and
portfolio direction during their Sustained Investigations?
Some strategies I’ve found really effective for helping students develop both technical skills and conceptual thinking start with encouraging them to ask open-ended, personally meaningful questions. When students explore ideas that genuinely interest them or connect to their own experiences, their engagement and motivation naturally deepen, and their work becomes more authentic. I also emphasize documenting the creative process—through sketchbooks, progress photos, or written reflections. This helps students explain their artistic decisions and see how their ideas and techniques evolve over time. Over the course of a project, this practice builds a thread of self-awareness and intentionality, allowing them to see how concept and craft grow together. Peer and teacher critiques are another key part of the process. I try to make these discussions constructive and thoughtful, where students can share perspectives, identify challenges, and set goals for themselves. These critiques not only help refine technical skills and conceptual clarity but also encourage students to become more reflective, independent learners. I also weave in targeted skill-building exercises that relate directly to their Sustained Investigations. This way, technical practice doesn’t feel separate from creative exploration—it becomes a tool for solving artistic problems. By combining experimentation, reflection, and critique, students strengthen their craftsmanship while also building the confidence, curiosity, and creative voice they need to create cohesive, high-level portfolios.
Material(s): Museum board, Balsa wood, Model grass, Artificial foliage | Process(es): Perforations replicating those found within vascular networks provide enhanced shadows along curve.
How did you help students strengthen technical skills and apply design knowledge
(elements and principles) while also developing creative problem-solving habits?
To help students, I incorporate a blend of structured skill-building and open-ended creative exploration. Early in the year, I provide targeted demonstrations and exercises focused on composition, color theory, spatial organization, and material handling—ensuring students have a strong technical foundation to build upon. To develop creative problem-solving habits, I foster a classroom culture that values experimentation. Students are challenged to brainstorm multiple solutions to visual problems and to test different media or approaches. Regular peer discussions and feedback sessions help them articulate their thought process and recognize new possibilities in their work.
How did you use critiques and peer interaction to support growth in both Sustained Investigations and preparation for Selected Works?
I used critiques and peer interaction as a way to help students grow both in their Sustained Investigations and their Selected Works. I made sure critiques felt like a safe space where students could honestly share ideas, ask questions, and receive constructive feedback. Early on, we focused on exploring concepts and experimenting with approaches, while later critiques helped students refine their composition, craftsmanship, and clarity of intent. Small-group and full-class discussions were especially valuable. I encouraged students to look closely at each other’s work, talk about what was working, ask thoughtful questions, and suggest alternatives—not just offer praise. This helped them see their own work in new ways and think critically about design elements, principles, and creative choices. When it came to Selected Works, peer feedback also focused on presentation—helping students photograph, edit, and display their pieces effectively. I loved seeing how students supported each other, offering fresh ideas and insights that often pushed their work further than they could have done on their own. Through these ongoing conversations, students grew more confident, reflective, and intentional in their art making. They didn’t just improve technically—they also developed a stronger creative voice and a habit of thoughtful problem-solving that carried through their entire portfolio.
In what ways does your school leadership support AP Art and Design students and the
broader art program?
The Bellmore-Merrick Central High School District places a strong and visible emphasis on supporting the arts as an essential part of a well-rounded education. At Calhoun High School, the administration serves as an enthusiastic advocate for the AP Art and Design program, recognizing its value in nurturing creativity, critical thinking, and visual literacy. Our leadership actively promotes student participation in local and national art competitions and exhibitions. The achievements of our student artists are regularly celebrated through school-wide displays, community showcases, and district-wide recognition, reinforcing the importance of the arts within our educational culture. Calhoun offers a dedicated student gallery space that serves as both a professional exhibition venue and a hub for artistic dialogue. Students also benefit from after-school studio sessions, where they can deepen their practice, receive individualized feedback, and collaborate with peers. In addition, the school fosters partnerships with local universities, museums, and community art organizations, providing students with opportunities for advanced, culturally enriching experiences such as workshops, portfolio reviews, and curated exhibitions. Through this comprehensive support, Calhoun High School cultivates a thriving environment where young artists are empowered to take creative risks, develop their personal voice, and prepare for success in both higher education and the broader creative field.
What advice would you offer to other AP Art and Design teachers?
My advice to other teachers would be to encourage students to root their Sustained Investigations in their personal interests, experiences, and questions. When students create from a place of authenticity, their work naturally becomes more compelling and original. Encourage them to take creative risks and view experimentation—even when it doesn’t succeed—as an essential part of the artistic process. It’s also valuable to share examples of high-scoring portfolios and walk students through what makes them effective. This helps clarify expectations and provides concrete models for rigor, innovation, and cohesion. Emphasize strong documentation skills—teaching students how to photograph their work thoughtfully, use consistent lighting, and compose clear images, as presentation plays a major role in digital scoring. Throughout the year, promote a balance between technical skill, conceptual depth, and reflective thinking. Have students write about their processes regularly to help them articulate the “why” behind their choices. Incorporate critiques that focus on growth and inquiry, rather than just outcomes, to cultivate confidence and resilience.
Soraya Primavera
