ABSTRACT
Africa has been portrayed by many scholars as a culture with an insignificant representation of
flowers; the proof is in the non representation of flowers in the visual art domain. The research
examines the ‘floral gap’ as postulated by Mazrui (2004) and the general assumption that flowers
are western not African. Jowit (2010), reports that ‘more than one out of four of all flowering
species are under threat of extinction’. For this reason, there is a dire need for artists in Nigeria to
respond to the environment and issues that pertain to it through artistic research. Five flowers
have been selected; hibiscus, lily, zinnia, sunflower and rose; they are explored to create
sculptures in relief and round forms to satisfy the canons of representational and abstract art. The
approach of this study is studio-experiment, and culminates in a thesis describing the processes,
materials and techniques applied in producing a body of work found in the catalogue. This study
therefore, provides insight on the use of flowers in artistic inquiry in Nigeria, particularly in the
field of sculpture. The purpose of this research is to promote a flower culture in Nigeria, making
flowers a relevant subject matter in expressing thoughts and ideas in art. This was achieved
through the following objectives: 1) select a group of flowers within ABU, Samaru campus for
exploration in sculpture. 2) create representational flower sculptures composed into identifiable
objects 3) explore parts of the flowers; its petals, sepals, pistils and stamens to create abstraction.
Art is an important aspect of culture it has the power to influence society. Kleiner (2013) asserts
that artists and architects can affect History by reinforcing or challenging cultural values and
practices through the objects they create. By implication since the artist has been able to produce
sculptures from the selected flowers, this research then serves as a platform for the promotion of
a flower culture in Nigeria using art as a vehicle. It suggests to artists, government and other
individuals the right attitude we ought to portray regarding flowers. Secondly a lot has been said
about the non-representation of flowers in African art; however, little has been mentioned about
flowers in contemporary sculpture in Nigeria. Therefore, this thesis will add to knowledge in the
area of literature. Lastly, the researcher developed a chart showing the life cycle of a flower
which is postulated on the basis of the Egyptian mythology of “life after death”. It could be
applicable to other artistic research that have to do with nature elements like insects, animals,
leaves and a host of others.
TABLE OF CONTENTS
Cover Page……………………………………………………………………………………………………………………….i
Fly Leaf………. …………………………………………………………………………………………………………………ii
Title Page……. ………………………………………………………………………………………………………………..iii
Declaration….. ………………………………………………………………………………………………………………..iv
Certification… ………………………………………………………………………………………………………………….v
Dedication…….…………………………….………………………………………………………..v
Acknowledgements…. ……………………………………………………………………………vii
Abstract………. …………………………………………………………………………………….vii
List of Figures………………………………………………………………………………………………………………….x
List of Plates…………………………………………………………………………………………………………………..xi
List of Appendices…………………………………………………………………………………………………………..xi
CHAPTER ONE – INTRODUCTION
1.1 Background of the Study ………………………………………………………………….1
1.2 Statement of the Problem ………….………………………………………………………..5
1.3 Aim of the Study ………………………………………………………………………….6
1.4 Objectives ………………………….……………………………………………………..6
1.5 Research questions ……………………………………………………………………….6
1.6 Justification…………..……………………………………………………………………7
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1.7 Significance………………………………………………………………………..………7
1.8 Scope……………….……………………………………………………………………….8
1.9 Conceptual Framework .………………………………………………………………… 9
CHAPTER TWO – LITERATURE REVIEW
2.1 Introduction ……………………………………………………………………………….11
2.2 Review of Literature ………………………………………………………………………11
2.3 Review of Artworks….…………………………………………………………………….16
2.3.1 Egyptian Architecture (columns)……………………………………………………16
2.3.2 Boy emerging from Lotus…………………………………………………………17
2.3.3 Onward Sango………………………………..……………………….…………….18
2.3.4 Breathing flower ….………………………………………………………………..19
2.3.5 Floralis Generica….………………………………………………………………..20
2.3.6 Rhythm of love…………………………………………………………………….21
2.3.7 Lily at Federal triangle……………………………………………………………..22
2.3.8 Promise to Flower…………………………….…………………………………….23
2.3.9 Two flowers……………………………………………………………………………24
2.3.10 Adiss Flower……………………………………………………………………………………….25
2.3.11 Balloon Flower………………………………………………………………………26
2.3.12 Echo Flower………………………………………………………………………..27
2.3.13 Flowers that glow at night………………………………………………………….28
2.3.14 Star Flower……..…………………………………………………………………..29
2.3.15 Zoe Bradley’s Collection…………………………………………………………..30
2.4 Analysis of Literature……………………………………………………………………….31
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CHAPTER THREE – METHODOLOGY
3.1Introduction…………………………………………………………………. ………………….33
3.2Sources of data…………………………………………………………………………………..33
3.2Experimental study …………………………………………………………………………….34
3.3 Procedures………………………………………………………………………………………35
3.5 Execution of Work……………………………………………………………………………..36
3.6 Description and Procedures of Executing Works………………………………………………38
CHAPTER FOUR –CATALOGUE OF WORKS
4.1 Introduction …………………………………………………………………………………40
4.2 Works
4.2.1 Bouquet…………………………….………………………………………………..40
4.2.2 Greif……………………………………….………………………………………..41
4.2.3 Spiral Rose……………………………………….………………………………….42
4.2.4 Umbrella…………………………………………………………….………………43
4.2.5 Uncertain…………………………………………………….……..………………..44
4.2.6 Crucifix…………………………………………………….….……………………..45
4.2.7 Broom…………………………………………….…………….…..……………….46
4.2.8 Name your price………………………………………….…….……………………47
4.2.9 Concerted…………………………………………….………….…………………..48
4.2.10 Concave………………………………………….……………………………………49
4.2.11 Reincarnation I………………………………………….…………………………..50
4.2.12 Reincarnation II…………………………………………….……………………….51
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4.2.13 Zig-zag…………………………………………….………………………………..52
4.2.14 Multifacceted…………………………………………….……………………………53
4.2.15 Fall I…………………………………………….……………………………………..54
4.2.16 Fall II…………………………………………….…………………………………….55
CHAPTER FIVE–SUMMARY AND CONCLUSIONS
5.1 Introduction ……………………………………………………………………………………56
5.2 Findings.……………………………………………………………………………………….57
5.3 Conclusions………………………………………………………………………………………58
5.5 Recommendations………………………………………………………………………………58
References……………………………………………………………………………………………..60
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CHAPTER ONE
INTRODUCTION
1.1 Background of the Study
Artists are often torn between representing nature or man-made objects. When an
art piece is centred on animate things it goes by the name nature, or life, but when art is
focused on inanimate (man-made) objects it is confined to the name still-life. Nature
forms a major source of inspiration for artists and designers. Nature has been the
preferential theme in creative art. Nature as described by the Word Web Dictionary
(2013) is the natural physical world, including plants and animals, landscapes,
vegetation, water bodies, clouds to mention a few. Where nature inspires a work of art,
the form is either replicated or distorted yet bearing resemblance with the original form.
Schwimmer, (2000) describes nature as a raw material. By this he refers to nature as
inspiration (idea) for art and also the source of the different media an artist uses. Apart
from representing nature, artists also make use of a variety of media like wood, skin,
stone and wax in the execution of their art. These materials are all products of nature. A
good number of African sculptures were made from clay, stone or wood.
Artists, both contemporary and traditional confirm the notion that there exists a
relationship between them and their natural environment. Moffat (2007) opines that “the
cave art of all social groups consists of five principal motifs: human figures, animals,
tools and weapons, rudimentary local maps and symbols or ideograms”. To further
buttress this, Adams (2007) says “the upper Palaeolithic man produced a wide range of
small sculptures made from Ivory, bone, clay and stone these depict humans, animals
and a combination of the two”. This can be seen in the examples listed below:
v. Venus of Willendorf (2500- 2000bc) a limestone statue of a woman.
vi. Two bison, France (15000-10000 BCE); a relief sculpture made from clay.
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vii. The cave paintings and engravings of Lascaux (c.1500-10,000 BCE),
viii. Ritual Dance; engraving from the Cave of Addaura (10, 000 BC)
(View images at pp 62, 63)
In addition, Kleiner and Mamiya (2005) enthuse that “there are two questions that bother
on the artist before beginning work: what shall be my subject? How shall I represent it?”
In their opinion, the most universal answer to the first question was an animal – Bison,
Mammoth, Ibex and Horse were the most common images of the Palaeolithic period.
The cave man happens to be the first to express these natural forms as subject in his art.
How an artist comes about his subject matter is best known to him/her, there are
no restrictions to the choice of subject matter in contemporary art. Artists are at will to
choose for themselves what their subject matter should be. Adams (2007) opines that,
subject matter is what is manifestly represented in a work of art- including figures,
objects, narrative, shapes, colour and other visual elements. Sale and Betti (2004) state
that “the figure (or human body as it is known in art parlance), has held centre stage for
artists throughout the 1990s and into the twenty-first century. The figure has been called
the still-life of contemporary art”.
During the last two centuries, the encroachment of Christianity, Islam, Western
education, Market economies, and other colonial imports have led to increasing
secularization in all the art of Africa (Kleiner and Mamiya 2005). These changes have to
do with style, techniques, materials, philosophies etc. Not much changed as it pertains to
subject matter. The relationship between Africans and the wildlife cannot be over
emphasized. Traditional African art repetitiously, shows evidence of interest on the
subject of the human being, and a host of animals like birds, lizards, tortoise and
elephants. Most times these animals had some ancestral belief attached to them. The
mythology of the Bamana people of Mali is an example. It tells the story of an antelope
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named Chi Wara who first taught farming skills to humanity. Hence they produced a
head piece adapted from the antelope. The headpieces were worn by Bamana society to
represent the mythical agricultural animal during dances held at sowing and harvest
times (African art museum, 2007). This relationship is also seen in several art traditions
in Nigeria.
Similarly, broken fragments of the Nok sculptures of Nigeria suggest
representations of complete human figure. The stone sculptures of Esie are vivid
examples of the interest on the human forms, though rendered in an idealised proportion.
Ife Artists produced highly naturalistic human and animal figures in bronze and
terracotta. A few organic forms like snails and insect were found in Igbo-Ukwu art. Like
the Bamana people, Nigerian Traditional artists were probably drawn to these forms for
particular reasons they sought to satisfy through art.
The emergence of the non formal art centres like Mbari Mbayo in 1964 produced
artists like Twin Seven-Seven who based their ideas on some of these natural forms. The
introduction of Art into the Nigerian school Curriculum, through the combined efforts of
Aina Onabolu and Kenneth Murray gave birth to the first generation of formally trained
Nigerian artists that include Nigeria’s renowned printmaker, Bruce Onabrakpeya (b.
1932). He experiments with form, in relation to Nigerian folklore, myths and legends.
For example, his series of prints and paintings on Ahwaire the tortoise (Ekeh, 2005).
Similarly, in the surrealistic paintings of Abayomi Barber (b.1934) plants and humans
have been recurrent subjects. Other celebrated motifs in African art are; chameleon,
crocodile, ant, lizards, birds, fish, elephants, snakes and a host of others.
Contemporary art in Europe is not any different; Kiki Smith (b.1954) is one of
such artists. In the early 1990s, she adopted the life-size human figure including the
different body fluids (e.g blood, tears and semen) as her subject (The Solomon R.
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Guggenheim Foundation 2014). In like manner, Antoney Gormley (b.1950) expresses
his affinity for nature. Many of his sculptures are based on his own body as a model
(European Graduate School EGS, 1997–2012.) He seems to show a stream of unending
ideas using the human figure in its simplified form.
There seems to be an imbalance in the treatment of nature generally because, the
human form stands out as supreme; alongside animals and has taken centre stage over
time. The environment consists of other elements aside animals and humans. It includes
land, water and air. Cain (2001) reports that about 71% of the earth is covered by water
while the remaining 29% is the sum total of Landmass, which is predominantly covered
by vegetation. In the findings of Gordon et al, (2001) vegetation is grouped into
flowering plants (angiosperms with about 260,000 species) and the non-flowering plants
(gymnosperms). Angiosperms have a reproductive structure called flower. Apart from
beauty, flowers have actually been cited to improve overall quality of life from their
scent to their shape, they have the power to reduce stress, inspire creativity and lessen
anxiety. Flowering plants are of great importance to humans as they have been used as
natural air freshener, food, and medicine. There is a wide variety of flowers, such as
lilies, sun flowers, magnolia, hyacinth, snowballs, roses and a host of others. Some are
cultivated for ornamental purposes while some just grow on their own in the wild.
Flowers are seasonal and bloom even in the desert where there is scarce vegetation.
According to Henri Matisse (1869-1954) “there are always flowers for those who
want to see them.” Flowers are inclusive in the endless list of raw materials that nature
provides. About flowers, Kunz (2011) says a close-up view of flowers or plants are a
never ending source of beautiful design. Gordon et al (2001), further describes flowers
as brightly coloured, sweet smelling and oddly shaped. From this assertion, flowers
therefore, bear the following obvious characteristics which could prompt artistic inquiry.
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1. Bright colours: the Rose flower for example is known to have variety of colours; there
are red, pink white and yellow roses.
2. Fragrance: pleasurable to both humans and animals.
3. Interesting shapes: some are conical like tulips, others are tubular, star-shaped or funnelshaped.
4. Vary in size: the smallest flower is the water meal, It can weigh about 1/190,000 of an
ounce, equivalent to two grains of table salt and the largest is , the titan arum, or “corpse
flower” which is about five feet tall
5. Natural patterns: as observed in the petal arrangement and the lines formed on these
petals; some patterns are radial, symmetrical and spiral.
6. Structural divisions: flowers have four major parts namely, petals, stamen, pistil and
sepal.
For these basic attributes, artists have found them an interesting subject. However,
flowers have been perceived as a Western concept, and more likely to be expressed in
two dimensions. The research is focused on investigating a seemingly less representation
of flowers in African art, and particularly in the area of sculpture.
1.2 Statement of the Problem
Available literature shows an abundant representation of flowers in European,
Oriental and Islamic art but Africa has been portrayed by certain scholars as
‘deflowered’ (a culture void of flowers). The above assertion is in consonance with
Mazrui (2004) who opines that ‘there is a “floral gap” (insignificant representation of
flowers) in African culture’. Contrary to this, Africa is a home to many flower species.
The Kenyan embassy in Japan (2014) reports that, “Kenya has become the European
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Union’s biggest source of flower imports” making it one of the world’s greatest
producer of flowers. The problem of this research therefore, lies in the less
representation of flowers in African art and in contemporary Sculpture, especially in
relief form in Nigeria. There is a nesed for Africans and Nigerians in particular to
explore flowers as a subject matter in sculpture so as to promote a flower culture in
Nigeria.
The “floral gap” consequently, symbolizes extinction; in accordance to the law
of use and disuse (use it or lose it) as propounded by Charles Darwin (1809-1882). If
flowers are not included in our art, there is a likelihood of its extinction among Africans
perhaps with the exception of Kenya and a few other cultures who relate with them in
terms of economy, food and medicine.
1.3 Aim and Objectives of the study
The aim of this study is to promote a flower culture in Nigeria, making flowers a
relevant subject matter in expressing thoughts and ideas in sculpture.
This research is geared towards portraying flowers as a subject for artistic inquiry in
Nigeria. Floral types, colours, shapes, sizes, patterns and so on, have been considered for
exploration in a variety of media. The researcher hopes to achieve this through the
following specific objectives:
i. select a group of flowers within ABU, Samaru campus for exploration in
sculpture;
ii. compose sculpted flowers into identifiable objects and
iii. explore parts of the flowers; its petals, sepals, pistils and stamens to create
abstract compositions.
1.4 Research questions
The following research questions are generated from the objectives
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i. What flowers are available to the artist for exploration within ABU, Samaru
campus?
ii. In what ways can sculpted flowers be composed into identifiable objects?
iii. What will be the outcome of exploring parts of the flowers in creating
abstraction?
1.5 Justification of the study
It is sad to know that more than one-in-four of all flowering plants are under threat
of extinction (Jowit, 2010).
When nature is destroyed it means that the artist is on the losing side, since nature is
a “raw material” in the hand of the artist. Extinction, adaptation and evolution occur
and distort nature. Vrey (2011) elucidates that “humans do not have the ability to
work in perfect harmony with nature”. When roads, buildings and dams are created;
they prevent specific rivers from flowing freely, which prevents bird species from
visiting particular streams for food. This is likely to inhibit the pollination of a
specific flowering plant and eventually lead to its extinction.
One way of putting flowers into positive use is by approaching them as
inspiration for art as seen in the works of Vincent Van Gogh (1853-1890), Henri
Matisse(1869-1954), Eduardo Catalino(1917-2010), Antone Bruinsma(b.1958),
Georgia O’Keffe(1887-1986) and Choi Jeong Hwa(b.1961). The existence of
flowers and its aesthetic qualities may be enough to inspire floral forms appearing in
the sculptures of contemporary Nigerian artists in the light of which, this research is
relevant.
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1.6 Significance of the study
Artists, in recent times, have made themselves relevant by responding to issues
that bother on the environment. Three African artists are already involved in the
environmental issues of waste management. Kainebi (b.1964), Anatsui (b.1944) and
Ekpe (2012) have harnessed waste cans and bottle tops and turned them into remarkable,
artistic statements. Global warming and its consequent extinction in plants and flowers,
is one of such environmental problems contemporary Nigerian artist should look into.
This research will perhaps be a pointer to other artists to adopt flowers in producing
sculptures. It will open up possibilities for contemporary Nigerian artists to look into
environmental issues and proffer solutions to them in their art. The result is that artists
will be keen on nature (flowers) as a subject for artistic inquiry and expression. This
research considers agencies who aim at preserving nature through art, some of which are
artist groups, to understand their mission and their contributions to the field of art, they
include; Artists for Nature Foundation (ANF) and The Wild Life Art Society.
1.7 Scope of the study
This study is focused on using physically observable features of a flower, for
example: its petals sepals, pistil and stamen in producing sculptures. To achieve this, the
artist limited the exploration to four media; wood, fabric, aluminium and metal sheets.
The research presents flowers in representational or abstract form and produces both
relief and sculptures in the round. Five flowers found within Zaria have been selected for
this study. They are; Sunflower, Rose, Zinnia, Lily and Hibiscus. They were selected
randomly on the basis of colour, size, shapes and petal arrangement. Some other
attributes have informed their selection. Hibiscus for example is selected for its
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relevance in the study of Biology at the Secondary level of education in the whole of
West Africa. Of recent Sunflower has attained an economic value, it is now a cash crop
and individuals are encouraged to cultivate them for export. Zinnia and lily may not
have such values but while lilies are rare on the Campus community the Zinnias are
largely populated and growing wildly without any regard. The last flower, Rose, is
selected for its popularity all over the world.
Furthermore, colour, size, petal arrangement and shape are factors the researcher
considered in choosing the flowers. The Zinnia is the smallest while Sunflower is the
largest. Rose flower grows into a bulb, Hibiscus and lily maintain a funnel shape, while
Zinnia and Sunflower are both disc shaped. To cover a colour variety, yellow Sunflower
was selected alongside red Hibiscus and white lilies. Zinnia and Rose are both pink
colour though having different intensities.
1.8 Conceptual framework
This study is centred on the Egyptian belief in life after death. This is so because
flowers are short lived and under threats of extinction. The Egyptian mythology says
“death is not the end of life but a transition to a similar existence or another place”
(Adams, 2006). Egyptian artists made figurative sculptures that served as surrogates for
the soul of the dead (ka). Death for flowers may mean its metamorphosis into fruits or
death in the real sense. If flowers would live on, they needed similar, three-dimensional
forms as “surrogates” to transcend them from death to the new life else, the soul (ka)
would transcend without a body to live on. Though this belief was applicable to humans
only; this research treats the flowers as humans (having the ability to die). This research
will give them an opportunity to live in the new life, in the sculptures that have been
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produced. As these sculptures live, it is hoped that they will inspire another generation
of flower sculptures. This means the purpose of conservation or documentation would
have been accomplished and “life after death” sustained in this belief. This concept is
explained in the following chart.
The flower has a
spirit (ka)
Flower lives for a
few days and
inspires an artist
Flower dies but the
ka does not. It
finds a surrogate
body in the
sculpture that has
been created
Viewers interact
with the sculpture,
it earns a new life
that gives it power
to cause a change
in the value for
flowers
Fig.1: Life cycle of a flower.
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