TABLE OF CONTENTS
Title page i
Declaration ii
Certification iii
Dedication iv
Acknowedgedment v
Abstract vi
Table of contents viii
List of reviewed plates x
List of Figure xi
List of Plates xii
CHAPTER ONE
1.1 Introduction 1
1.2 Background of study 2
1.3 Statement of the study 4
1.4 Objectives of the study 4
1.5 Significance of the study 5
1.6 Scope of the study 5
1.7 Justification 6
ix
CHAPTER TWO
2.1 Review of Literature and re1ated works 7
CHAPTERTHREE
3.1 Introduction 23
3.2 ]vfaterial 23
3.3 ]vfethod of Data Collection 23
3.4 Procedure 23
CHAPTERFOUR
4.1 Introduction 27
4.2 Catalogue of works 27
CHAPTER FIVE
5.1 Findings 50
5.2 Summary 50
5.3 Conclusion 51
CHAPTER ONE
1.1 INTRODUCTION
Texture is the quality of or appearance of a surface. This could be physical or
perceived, structural or compositional, of the constituent parts or formative elements of
something as soil, rock or organic tissue. Skunder (2001) states, “what else is texture, but
peaks and craters in space – time as three dimensional motion and repetition”.
Texture is divided into two types: –
i. Tactile Texture: This is directly related to the sense of touch. It is the way we
feel things when we run our hands over them.
ii. Visual Texture: (This is the area of concern in this study). It can be perceived but
not felt but we respond to it as we do to the real things due to long familiarity with
touch sensations, which so conditioned us. According to Chaet (1976), “painters
depend on this when they apply texture through colour differences to evoke
sensory responses that tactile texture would”.
When we think of texture, we invariably use touch sensation adjectives to
describe it. Texture is an outcome of other means rather than a basic means of form in
itself. Its visual effects such as smooth, rough, broken, spotted and the rest are arrived at
by the use of pigment, tone line and pattern in variation. According to Sausmareze
(1970), “form, line and space are created, but other two elements colour and texture try to
assert themselves on a surface”. This implies that textures are there whether we intend
them or not.
1.2 Background to the Study
The researcher is faced with the issue of how painting compositions can be
developed from selected tree barks. Over the years, artists have evolved various methods
of expression. Consequently, earlier ideas not only about method but the whole nature of
arts were over-turned during the Renaissance, since then artists have adapted boundless
means and ways of expression. The search for expression perhaps has been partly
responsible for the development of ideological and philosophical lines. The
impressionists became conscious of their environment, and perhaps in an attempt to
understand its elements, worked out of doors directly from their subjects. According to
Wadley (1975), “the impressionists believed that the only key to originality is to confront
nature until solution comes”. Unlike the impressionists, the expressionists believed that
conscientious and exact imitation of nature would not create a work of art. Nolde (1909)
express his dissatisfaction thus;
“…I was no longer satisfied with the way I drew and painted during the
Last few years, imitating nature and creating form all done preferably
with the few stroke, the first brushful of paint. I rubbed and scratched
the paper until I tore holes in it, trying to reach something else, something
more profound, to grasp that very essence of things. The techniques of
impressionism suggested to me only a means, but no satisfactory end”.
They (expressionists) were of the view that a work became a work of art when one reevaluated
the values of nature and added ones own spirit to it. It is evident therefore that
self satisfaction is the bane of every practicing artist, hence explorations and
experimentations by adapting wide range of available materials take the centre stage in a
bid to satisfy self. It is perhaps for same reason that contemporary painters are often
concerned with testing and extending the bounds of visual expression to incorporate
materials that may be considered as unrelated (mixed media) in their compositions.
Trees as nature do not only form part of man’s physical environment, but also
perhaps perform economic religious and medicinal functions. Its value varies from one
society to the other. Trees are also studied and used as motifs of design by artists; its
position in the composition depends on what function the artist would want such tree to
perform. Barbizon painters who hardly competed their landscape paintings without trees
had to wailed as the trees were cut down in 1850s to pave ways to the urbanization and
industries. In another development, Olaku (1993) who has been accused of `slavishly’
copying nature and giving it an undue position in his composition, said, “in my sincerely
considered opinion, any one not influenced by nature must be living in limbo”. In oral
conversation with Dr. Sani Mu’azu (2001) of the Department of Biological Sciences;
Ahmadu Bello University, Zaria, said that trees as living things are distinct and have
different barks, according to the factors controlling their heredity (genetic), which he said
include types of soil, weather and age. Admittedly that soil, weather and age are factors
that make them distinct from one to the other, the same can be said of trees of the same
species, and perhaps the major factor in the surface appearance is age.
Through careful studies (page ……..) by the researcher it was discovered that the
barks of matured locust bean trees developed opened contour-like scales that easily fall
off on slight touch. It was also discovered that the barks are curative. Herbalists
therefore take advantage of this to peel off the barks. As new tissues develop to replace
the old ones, new forms and scenes of interest are created. This made the barks of locust
bean tree within the main campus of Ahmadu Bello University, Zaria appear to have
hidden images and designs opened for this research above other trees earlier studied.
Statement of the Problem
This researcher believes that painting is not based on a number of static concepts
but changes which extends its boundaries in response to shifts of emphasis in the
intellectual and emotional situation of each period in history. It is perhaps in this light,
that the structures of most visual art courses have the potentials of encouraging students
to focus on new ways of expression.
Our imaginations perhaps end up with us as long as they remain unexpressed.
Jonson (1975:7) states; …“if we tell in words what we imagine, we have made a story. If
we take a pencil and draw it, we have made a picture…” Great artists constantly astonish
us in the remarkable new images they produce from mundane objects (Picasso’s bull
head from handle and seat of an old bicycle). There should be urge always to look at the
immediate environment and beyond to find something new and original.
Ordinarily, the importance of trees cannot be over emphasized. A close up study
of the textures of the barks may lead us perhaps to lines and form that would enable us to
see, create and interprete new exciting and original works. The issue therefore is how
painting compositions can be developed from a range of selected tree.
OBJECTIVE OF THE STUDY
– To paint realistic appearance of matured natural tree barks
– To use various media and paint close up studies of selected portions of the
barks and to project the elements that constitute it.
– To develop painting compositions from the images thus revealed by adapting
various techniques.
– To explore the possibility of evolving paintings inspired by the appearance of
the barks as it relates to ones imagination
1.5 Significance of the Study
It is common sight to see artists and art students flipping through exhibition
catalogues, magazines or newspapers to copy works or photographs of ready-made works
at the expense of originality. This study is expected, therefore, to reawaken interest in
studying of tree barks, which poses not only visual challenges to artists, such as relating
on a surface what is perceived and developing a more imaginative approach to image
making but lead ways to new discoveries when elements of design are re-organised.
This study should therefore offer diverse aesthetic engagement like different ideas
come from the same study through which various educative painting compositions can be
evolved.
No achievement of any kind can be attained in the absence of creative minds,
artists should have that opportunity to study tree barks through which contemplative
imagination can ignite visual studies leading us to see, discover and to create a new world
around us.
1.6 Scope of the Study
A number of tree barks within the main campus of Ahmadu Bello University,
Zaria were explored. A selection of the locust bean tree was made based on their high
textures and inherent aesthetic qualities. Concentration was specifically on matured trees
because of their well-defined contours that make the forms stand out clearly.
1.7 Justification
Having searched through relevant available visual and literary sources, it was
observed that no record was currently on the study of barks of locust beans tree in
painting. Apart from the fact that the tree breaks up whirlwind, its black seed is spicy
and its bark is medicinal, an artist studies its barks where new grounds of ideas would
emanate. With these at the back of our minds, it is necessary therefore that one should
document a new frontier of study like this for others to learn and develop upon.
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