ABSTRACT
The research ―A Metaphoric Transformation of the Pawpaw Tree into Female Forms in Painting‖, is anchored towards a conceptual representation of the pawpaw tree into female forms. The statement of the problem is hinged on the seemingly lack of deliberate and systematic attempt at an academic painterly study in Nigeria. The study is justified in that; the researcher affirmed the concept of Morton Luise (1983) which states that ―Art is idea based‖. The aim of the study is to create paintings of female forms based on the metaphoric transformation of the pawpaw tree while the objectives are to: transform inherent aesthetic nuance of the pawpaw tree into female forms in painting, produce paintings that exhibit feminine metaphoric gestures from the pawpaw tree, exhibit the practical outcome through cataloguing, perceive and interpret the pawpaw tree subjectively through painting, Ideally conceptualise the pawpaw tree as female forms in painting. The main research technique employed in this study, is the studio exploration procedure derived from the qualitative methodology with emphasis on action research approach. It adopts the four stages of action research; (i) Ideas and Interrogation (ii) Structure, Design and Sketches (iii) Critical process/ Exploration and Development (iv)Visual Practice, Catalogue and Exhibition as recommended by Sullivan (2010). At the end of the exploration, the study observes that works inspired by the pawpaw tree forms resulted to the establishment of novel forms in painting. Hence, the study recommends that more research should be carried out through individual artistic perception on the female form, relying on all other plants and objects.
TABLE OF CONTENTS
Fly Leaf – – – – – – – – – i Title page – – – – – – – – – ii Declaration – – – – – – – – – iii Certification – – – – – – – – – iv Dedication – – – – – – – – – v Acknowledgements – – – – – – – – vi Abstract – – – – – – – – – vii Table of contents – – – – – – – – viii List of figures – – – – – – – – – xi List of plates – – – – – – – – – xiii CHAPTER ONE – – – – – – – – 1 INTRODUCTION – – – – – – – 1 1.1 Background to the Study – – – – – – – 1 1.2 Statement of the Research Problem – – – – – 3 1.3 Aim and Objectives of the Study – – – – – 4 1.4 Research Questions – – – – – – – 4 1.5 Significance of the Study – – – – – – 5 1.6 Justification of the Study – – – – – – 5 1.7 Scope and Delimitation of the Study – – – – – 5 1.8 Conceptual Framework – – – – – – 6
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CHAPTER TWO – – – – – – – – – 8 REVIEW OF LITERATURE – – – – – – – 8 2.1 Preamble – – – – – – – – 8 2.2 Metaphors in Art – – – – – – – – 11 2.3 Review of Concepts – – – – – – – 15 2.4 Works of Art and Ideas – – – – – – 16 2.5 Works of Feminist Artists – – – – – – 26 2.6 Conceptual Explorations of Female Images from Nature – – 33 2.7 Aspects of the Pawpaw Leaves and Elements of Nature – – 41 2.8 Summary of Review – – – – – – – 62 CHAPTER THREE RESEARCH METHODOLOGY 3.1 Preamble – – – – – – – – – 64 3.2 Process and Procedure – – – – – – 64 3.3 Stages of Production – – – – – – – 65 3.4 Instruments for Data Collection – – – – – 66 3.5 Ideas and Interrogation Stage – – – – – – 67
3.6 Structure, Design and Sketches – – – – – 68 3.6.1 Sketches – – – – – – – – 68 3.7 Critical Process, Exploratory and Development – – – 71 3.7.1 Exploratory Stage Phase I – – – – – – 72
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3.7.2 Developmental Stages – – – – – – – 76 3.8 Visual Practice, Catalogue and Exhibition – – – – 83 3.9 Population – – – – – – – 83 3.10 Sampling – – – – – – – – 84 3.11 Materials and Method – – – – – – – 84 3.12 Systematic Illustration of Process and Procedure – – – 85 CHAPTER FOUR ANALYSIS OF PAINTINGS PRODUCED 4.1 Introduction – – – – – – – – 86 4.2 Exploratory Stage Phase I – – – – – – 87 4.3 Exploratory Stage Phase II – – – – – – 91 4.4 Developmental Stage Phase I.- – – – – – 96 4.5 Developmental Stage Phase II. – – – – – 99 4.6 Developmental Stage Phase III. – – – – – 105 CHAPTER FIVE CATALOGUE 5.1 Introduction – – – – – – – – 109 5.2 Artist‘s Curatorial Statement – – – – – – 110 5.3 Visual Practice, Catalogue and Exhibition – – – – 111
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CHAPTER SIX SUMMARY AND CONCLUSION 6.1 Preamble – – – – – – – – 173 6.2 Summary – – – – – – – – 173 6.3 Findings of the Study – – – – – – – 176 6.4 Conclusion – – – – – – – – 177 6.5 Recommendations – – – – – – – 177 6.6 Contributions to Knowledge – – – – – – 178 REFERENCES – – – – – – – – 179
CHAPTER ONE
INTRODUCTION
1.1 Background of the Study
The pawpaw, botanically known as papaya, is a tree-like plant, with a single stem, growing from 5 to 10 meters (16 to 33ft) tall, with spirally arranged leaves confined to the top of the trunk. Pay and Telford (1993) observe that, the genus name, carica, is derived from Latin, for a kind of fig, which the leaves and fruits of carica papaya resemble. Similarly, Morton (1987) notes that the pawpaw leaves emerge directly from the upper part of the stem in a spiral, on nearly horizontal petioles hollow, succulent, green and more or less dark purple. Furthermore, Anon (2011) posits that the blade is deeply divided into 5 to 9 main segments. Each irregularly subdivided, varies from 1 to 2ft (30-60cm) in width and has prominent yellowish ribs and veins. The trunk is conspicuously scarred, where leaves and fruits are born, leaving notable scars on the tree trunk. The flavour of home-grown pawpaw is delicious and often distinctly sweeter than the insipid pawpaw‘s commonly sold in supermarkets (Anon, 2012).
Nature remains a great source of inspiration for artistic expression by an artist. Art works based on nature, can take many forms and serve many purposes, because nature is such an immense field, which encompasses several things. The principles of art are derived from nature, through the imagery and activities that are generally experienced in the environment, which have inspired a lot of artists. Leonardo Da Vinci, in Adams (2007) wrote that, since gods were conceived of, as the creators of nature, artist are grandsons of God and create replicas of nature. Artists and art writers have constantly
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sought for the origins of art, emphasizing visual metaphor as a significant source of creative thinking. The notion of metaphor, is perhaps more familiar in literature…In visual metaphor, forms, rather than words, inspire imagery, and associations are made between one image and the other. According to Da Vinci, in Adams (2007), an artist has the ability to look at stains on the surface of a wall, or patterns on stones and see a resemblance of landscape. He demonstrates this ―resemblance‖ in a drawing, where an old man contemplates the flow of water, around a stake. The movement of the water resembles a woman‘s flowing hair, making the water a visual metaphor for the hair. It is likely that the old man, who contemplates the flow of water, represents Da Vinci‘s idea of the artist, studying nature intently, and envisioning possible ties for transforming observed natural images into works of art. The researcher sees transformation as a modification of an object from its original, to an improved state. This is applicable to this study, where the pawpaw tree is transformed into something novelle. The Encarta Dictionary (2009) defines transformation as ―a complete change, usually into something with an improved appearance or usefulness”. However, this definition corroborates this researcher‘s exploration of the world of pawpaw into female forms as seen in the context of this study.
Lakoff and Johnson (1983) and Ortony (1993), observe that the use of metaphor has long been acknowledged as being a powerful means of enhancing man‘s or one‘s understanding through imaginative strategies. In addition to this, Nordguist (2005) defines metaphor as the representation of a person, place, thing, or idea by way of a
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visual image, that suggests a particular association or point of similarity, as embedded in this study. It is in this light, that the researcher perceives the pawpaw tree as a woman‘s world and therefore, intends to explore the female form in painting by using the pawpaw tree as a source of inspiration. The researcher, in her own words, defines metaphor as ―one thing, which by means of comparison, is regarded as another thing.‖ The pawpaw tree, by a means of vivid comparison, suggests a conceptual imagery of a woman in an upright posture. It is based on this assessment that, the researcher intends to explore the ―feminine and her world‖ in painting. 1.2 Statement of the Research Problem Beside the usage of the pawpaw for food, medicinal purposes, it is observed that, artists have attempted exploring pawpaw tree in varied ways. Artists like Carpathia Tita, captures images of pawpaw leaves after rain, then focuses on the little water seen on the leaf. Similarly, other artists like Suzie Baker explore the fruity nature of the pawpaw tree. An example can be seen in the painting ―Fishing Lures pawpaw‖. Edmanson Jr, explored Asimina trilopa species, of the pawpaw of eastern North America in a still life painting. David Friedman explored the leaves of the sunrise solo pawpaw, the Hawaiin variety to create designed fabrics on throw pillows and fabrics.
In Nigeria, Micheal Dagold (2007) explored both the fruits and leaves in a still life composition titled ―A call to the Fruity Table‖. Also, Gabriel (2008), in his study, ―An Artistic Contemplation of the Water- melon Fruit in Painting‖. Olumide Onadipe (2006) among others, engage their audience through conceptual representation of natural forms to create female forms and images. The examples above indicate that, there seems
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to be no deliberate and systematic painterly attempt at an academic study of the pawpaw tree, in Nigeria. The researcher is not aware of any artist in Nigeria that has made a perceptible exploration of the pawpaw tree, hence the thrust of the study. Where pawpaw tree or some parts of it have been painted, even as a complement to some other subjects, the metaphoric gestures that can be deduced from the pawpaw tree have not been explored, as expressions in painting. Hence the concern of this study is whether this can be achieved by exploring the pawpaw tree, in painting to create feminist forms? 1.3 Aim and Objectives of the Study The aim of this study is to create paintings based on the metaphoric articulation of the pawpaw tree, into female forms, while the objectives are to:
i. transform inherent aesthetic nuance of the pawpaw tree into female forms in painting;
ii. produce paintings that exhibit feminine metaphoric gestures from the pawpaw tree.
iii. exhibit the practical outcome through cataloguing
iv. perceive and interpret the pawpaw tree subjectively through painting.
v. ideally conceptualise the pawpaw tree as female forms in painting.
1.4 Research Questions This research attempts to answer the following pertinent questions:
1. How can the inherent aesthetic nuance of the pawpaw tree forms be transformed into female forms in painting?
2 What are the feminine metaphoric gestures the pawpaw tree exhibit?
3 How can the study exhibit practical outcome through cataloguing?
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4 In what ways can the pawpaw tree be perceived and interpreted subjectively through painting?
5. How can the pawpaw tree be ideally conceptualised as female forms in painting? 1.5 Significance of the Study The study is significant as it will establish the possibility of teasing out gender issues emanating from the study of pawpaw tree. It will open up possibilities for artists to delve into nature‘s intrinsic qualities for new discoveries. The study will further give an insight into studying nature as a source of inspiration in art. It will facilitate the exploration of natural forms and imageries inherent in the pawpaw tree, as an element of nature. This will open up possibilities for artists to explore nature‘s intrinsic qualities. 1.6 Justification of the Study Based on the concept of Morton Luise (1983) that ―Art is idea based‖ the study is justified as it used the pawpaw tree as its subject. The researcher, from the study of the pawpaw tree and its components, discovers that perception and artistic imagination, encourage the ability to obtain nature‘s element (pawpaw tree), and execute something innovative with it, which grants a distinctly human dimension. Therefore, the researcher sees more than what is generally perceptible, and symbolizes the vision so that others may share in it. 1.7 Scope and Delimitation of the Study
There are 31species of the pawpaw plant as affirmed by Nakasone and Paul (1998); the most common are the Hawaiian and Mexican varieties. Having looked at the
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different species of pawpaw tree, the researcher delimits the study on to the clustered formation of the leaves, the conspicuous scars on the tree trunk, and the fruits of the ‗sunrise solo‘, (one of the Hawaiian varieties), due to its availability and the surface quality the tree possesses. More so, it is commonly found around the Ahmadu Bello University, Zaria, where the research was carried out. 1.8 Conceptual Framework This study is conceptualized on the theory of Morton Luise. Luise (1983) observes that Conceptual Theory is divided into two main categories: those relating to the nature of art and those which centre on the purpose of art. The theory states that generally, conceptual artists have centred on two questions: ―What is the nature of art?‖ and ―what is the function or usefulness of art? In respect to the first question, conceptualists claim that art lies not in the object itself but in the artist‘s idea of how to form it. However, this study adopts the first idea by Luise, over the second question based on the theory which states that ―art lies not on the object itself but in the artist idea of how to form it.‖ Having relied on Luise‘s ideas, the researcher adheres to this assertion because the researcher sees the pawpaw tree as the object while the metaphoric gestures deduced from the pawpaw tree are the researcher‘s idea behind the study. This is evident on the works executed in the course of the study where the paintings of this study focused on ideas derived from the pawpaw tree. Luise observes that focusing on the artist‘s intention, combining social, political, and economic issues as content. Conceptualists merge theory with art; they themselves explain their work because art should be about intellectual inquiry and reflection.
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They claim that the conceptual artwork not only affects the ontology of the conceptual artwork but also profoundly alters the role of the artist by casting the artist in the role of thinker rather than object-maker. However, Sullivan (2010) observes that both the artist and process of creation are the data in research. For this reason, the art work is a site of knowledge. This study embraces the two, as the artist is a thinker and an object maker as ideas perceived depicts the gradual stages, from exploratory to the developmental stage of the study. Moreover, it calls for a thorough review of the way in which we perceive, engage and appreciate artworks. Further still, it links art so intimately to ideas and concepts that even a principled distinction between the domain of art and the realm of thought seems difficult to establish and preserve.
In the same vein, the French artist, Duchamp, paved way for the Conceptualists, providing them with examples of prototypically conceptual works — the ready-mades, for instance. Duchamp’s relevance and theoretical importance for future “Conceptualists” was later acknowledged by US artist, Joseph Kosuth, in his 1969 essay, “Art after Philosophy,” when he wrote: “All art (after Duchamp) is conceptual (in nature) because art only exists conceptually”…. In Nigeria, artists who adopt the conceptual art are Jari (2014) who states that “I imbibe conceptual art as a mode of expression, a post modernist approach which puts premium on idea over medium and techniques‖. Other artists like Mu‘azu (2014) and Gbaden (2014), exemplify artists who have explored phenomena in this direction.
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