ABSTRACT
This research is focused on exploration of forms, deriving inspiration from the guitar for the production of sculpture. It attempts to translate the features of a guitar by exploring the curvilinear form of the guitar for the production of relief sculptures, using mild steel sheets, mild steel rods and found metal objects as the main materials for the execution of works. The study is divided into three groups namely; representational, stylized and distorted. This was achieved through the employment of an exploratory studio based methodology, which was conceived through observation of the acoustic guitar. A number of sculptors like Cantine Rennie, Pablo Picasso, Osamede Obazee, have produced sculptures using the guitar as an appendix to a composition. In the course of this research, it was discovered that several forms can emanate from the acoustic guitar shape when explored. A photographic representation and documentation of all materials from related literature and works executed in the course of this studio based research were all documented. A total of twenty sculptures were produced with one of the works enlarged and embellished on a building. The research also made recommendations for further study.
TABLE OF CONTENTS
Title Page – – – – – — – – – i
Declaration – – – – – – – – – ii
Certification – – – – – – – – – iii
Dedication – – – – – – – – – iv
Acknowledgement – – – – – – – – v
Abstract – – – – – – – – – vi
Table of content – – – – – – – – vii
List of figures – – – – – – – – ix
List of plates – – – – – – – – – x
CHAPTER ONE: INTRODUCTION
1.1 Background of the Study – – – – – – 1
1.2 Statement of the Problem – – – – – – 3
1.3 Objectives of the Study — – – – – – 4
1.4 Justification of the Study – – – – – – 4
1.5 Significance of the Study – – – – – – 4
1.6 Scope and Delimitation of the Study – – – – – 5
1.7 Organization of the Study – – – – – – 5
CHAPTER TWO: REVIEW OF RELATED LITERATURE
2.0 Introduction – – – – – – – – 6
2.1 Analysis of a Guitar – – – – – – – 6
2.2 Review of Related Works – – – – – – 8
2.3 Conclusion – – – – – – – – 19
CHAPTER THREE: METHODOLOGY
3.0 Introduction – – – – – – – – 20
3.1 Source of Data/ Materials – – – – – – 20
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3.2 Data Collection – – – – – – – 20
3.3 Sketches from Data Materials – – – – – – 22
3.4 Pilot Study – – – – – – – – 36
3.5 Tools and Materials – – – – – – – 37
3.6 Representational and Formulation Concept – – – – 39
3.7 Exploration and Production of Sculpture – – – – 40
3.8 Conclusion – – – – – – – – 41
CHAPTER FOUR: ANALYSIS OF WORKS
4.0 Introduction – – – – – – – – 42
4.1 Representational – – – – – – – – 43
4.2 Stylized – – – – – – – – – 48
4.3 Distorted – – – – – – – – – 54
CHAPTER FIVE:
5.0 Findings, Summary / Conclusion and Recommendations – – 61
5.1 Introduction – – – – – – – – 61
5.2 Findings – – – – – – – – – 61
5.3 Summary/ Conclusion – – – – – – – 62
References – – – – – – – – 63
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CHAPTER ONE
INTRODUCTION
1.1 Background of the Study
Understanding artistic expressions is like learning a new language as a useful tool in communication. The knowledge of art elements (line, form, shape, colour and texture) gives an individual an insight of the vocabulary of art. Bell in Owoade (2006), asserts that ―Form is the essence of art.‖ It has been used in various ways to explore ideas, and it appears that it was the earliest element employed to solve basic sculptural problems. According to Ocvrik et al. (2002), form refers to the total appearance, organisation or inventive arrangement of all the visual elements according to the principles that will develop unity in the artwork. Columbian Encyclopaedia (2007) contends that, the manifestation of form in sculpture can be traced as far back as the Venus Willendorf (approximately about 15,000 to 10,000 BC, or more or less to the same period as the cave paintings at Lascaux in France) ancient cultures of Egypt and Mesopotamia, with the ancient traditions produced an enormous number of sculptural works, frequently monolithic, that had ritual and philosophical significance beyond aesthetic considerations. Also in the early Greek cultures, one of the greatest tasks of sculptors was creating statues of the gods in human form. In the ancient Meso- America, the Holmecs, Mayas, Toltecs and Aztecs of 2000 BC and 1519 AD respectively were known to have produced sculptural forms closely associated with religion. In the Eastern world, the Hindus, the Confucian, Shintos and the Buddhists have worked on sculptural forms for religious and other purposes.
The traditional African societies were also known to have produced sculptural forms based on supernatural concepts (Eyo, 1977; Opie, 1994 and Visona, et al, 2001). Nigeria is not left out of this development, the oldest sculptures found, the Nok culture dated about 500BC and
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200AD respectively, the Igbo-Ukwu bronze dated 9th century, the Ife art and Benin bronze all indicate how forms can be manipulated for the creation of sculptures.
In the same vein, twentieth century art authenticated remarkable variety of forms, such that contemporary sculptors in their attempts to be inventive and creative in search of self- direction in their work have explored styles, varying from representational to abstract forms. Amongst some of the artists that have explored the aesthetic qualities of form are Alexander Calder (1898-1976), Jane Alexander (b.1959), Antony Gormley (b.1950), and Osamede Obazee (b.1965). Their sculptures are executed in a variety of media such as stone, bronze, wood and concrete for both interior and exterior habitats. They have also experimented with synthetic and industrial fibre, metal and industrial waste or mixed media (Hammacher, 1969; Danes, 1980 and Visona,et al,2001).
It is plausible to note that the guitar is one of the musical instruments parented by ‗Chordophone‘ (any musical instrument which produces sound primarily by way of a vibrating string or strings stretched between two points). Microsoft Encarta Dictionary (2009), defines guitar as a ―musical instrument with a long neck, a flat body shaped like a figure eight, and usually six strings that are plucked or strummed‖. The guitar is an ancient and noble instrument, whose history can be traced as far back as 4000 years. According to Kasha (1960), many theories have been advanced about the instrument‘s ancestry. It has often been claimed that the guitar is a development of the lute, or even of the ancient Greek Kithara (an instrument of the lyre family with seven strings and a wooden body usually with a flat base). However a study conducted by Michael Kasha in the 1960s proved this claim to be without merit. He showed that the lute is a result of a separate line of development, sharing common ancestry with the guitar, but having no influence on its evolution. The guitar has a collection that says more about the instrument. For example, there are several types of
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guitar that exist like the acoustic guitar, classical guitar, steel guitar, twelve strings guitar, bass guitar, resonator guitar and electric guitar. Though, all the above mentioned types of guitar may be relevant to this research but the researcher chooses the acoustic guitar due to its feministic appearance that is imbued with a high degree of elegance. Again, the simplicity of the forms of the acoustic guitar also informs this choice.
Art historians like Rubin (1989) and Fry (1981) credit the Guitar series to the definitive transition from Analytical to Synthetic Cubism. This was evident in Rubin‘s exhibition catalogue of Museum of Modern Art (MOMA) titled ‗Picasso and Braque‘ in October, 1912. However, the guitars launched so much more after a careful examination of all the collages and constructions, it is clear that the Guitar series (which includes a few violins as well) crystallized Picasso’s brand of Cubism. The series establishes a repertoire of signs that remained active in the artist’s visual vocabulary through the Parade sketches and into the Cubo-Surrealist works of the 1920s. There appears to be no available records of when exactly the Guitar series began. The best way therefore to study the Guitar series is to notice two things: the wide variety of media and the repertoire of repeated shapes that mean different things within different contexts hence exploration of guitar forms to produce sculptures which is the focal point of the study. Thus this study hinges on the exposition of the numerous hidden forms inherent in a modern guitar to produce sculptures.
1.2 Statement of the problem
Over the years, guitar has been a source of inspiration for contemporary artists. However, the researcher observes that a lot of these artists explore the guitar as a component of their artistic compositions rather than an exploration of the acoustic guitar form; hence this poses a gap thus making this research imperative.
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1.3 Aim and Objectives of the Study
The main aim of this study was to create sculpture relief compositions derived from an acoustic guitar form. The specific objectives were to:
1. Explore the possibilities of producing relief sculptures from the guitar form,
2. Explore the possibilities of using curvilinear form of the acoustic guitar to produce relief sculptures,
3. To analyse sculpturally the guitar form to a conceptual stage.
1.4 Justification of the study
The researcher observes that few contemporary sculptors are known to have executed works using the guitar as a source of inspiration. Most of the works done by these sculptors rather show the guitar in its elementary state or as an appendix to a composition. This study however has explored beyond the elementary state of the guitar. The use of guitar form as a source of inspiration by other artists in the past justifies the inherent qualities in form viewed by the researcher.
1.5 Significance of the Study
This research is expected to reawaken the need to look beyond the utilitarian features of the guitar as a musical instrument. It advocates the perception of other utensils or instruments to be viewed beyond their utility or utilitarian value with the view of extracting and adopting their aesthetic qualities for sculptural production. This study is also intended to encourage other sculptors in using other musical instruments to create sculptures.
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1.6 Scope and Delimitation of the Study
The acoustic guitar has been singled out for this study knowing that there are about seven different known types of guitar. The acoustic guitar was chosen because of its simplicity and feminine appearance that is imbued with a high degree of elegance.
1.7 Organization of the Work.
This study is divided into five chapters. Chapter one deals with issues concerning introduction, chapter two looks into review of relevant literature and works, chapter three discusses methodology whereas chapter four analyses the works and catalogue of works produced in the course of the research, while chapter five deals with summary and conclusion.
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