ABSTRACT
This study is a Practice-Based research, which explores the root forms of Cassis tora plant with the aim of creating paintings that reflect on the well-being of Nigerians metaphorically. Plant roots from the natural environment possess interesting visual features such as line, rhythm, depth and space. Root forms have not been adequately explored in painting. Similarly, metaphorical rendition of forms in painting has not been exhausted. These facts present an opportunity for further research of Cassia tora root forms. The Conceptual Framework of the study is driven by features of Post-Impressionism that are characterised by emotional contents and symbolic colours, anchored by the works of Vincent Van Gogh. Van Gogh rendered forms metaphorically with short brush strokes and symbolic colours, reflecting on his emotional anguish and the plight of the poor people around his neighbourhood. Similarly, this study is contextual. It utilizes the conceptual structure of visual metaphor, to draw analogies with Cassia tora root forms and societal happenings in Nigeria. It begins by reviewing Cassia tora plant, focusing on its origin and the visual features of the roots. Beside theory, the study reviews related works consisting of root-inspired paintings, root-inspired works in other media and visual metaphors done with unconventional materials. Works of Vincent Van Gogh, Barbara Snyder, Cedar Lee, Gary Tonge Alexa los Reyes and many other artists were reviewed. This revealed that the upper part of plant and other natural images of the environment are included in the compositions. There are little attempts at metaphorical rendering of root forms. The major focus of these artists is technical dexterity instead of contextual approach. The primary source of data for this study is from the samples of Cassia tora roots, upon which the foundation of the research is established. The data are also sourced from societal happenings, allegories and speculative xii notions. The Instruments for data collection are direct observation, participatory observation, interview, photography and drawing. The tools for data collection are cameras, sketch pads and the retrieval systems such as compact discs and flash cards for capturing images. The exploratory and developmental processes led to the production of research paintings. The artworks are created in five phases, according to the five objectives. The first phase laid emphasis on the visual analysis of Cassia tora root forms, which is made of a taproot, branch roots and nodes. Phase II relied on the entwining of two Cassia tora root pattern to make statements regarding love and unity. The picture planes at Phase III are totalised by Cassia tora nodes. Phase IV series of paintings relied on multiple Cassia tora root patterns. They dwell on depth, bright colours, space and time. However, Phase V series of paintings were created with Cassia tora root forms, collage technique and unconventional materials including woollen yarns, raffia, Jute, polythene, beads and fabric offcuts. The research found that in some paintings created with multiple elements of Cassia tora root forms (at Phase IV), the crowded root forms and depth appear like a forest; an expression of so much depth. This symbolises a fiesta, as the environment is charged into a celebrating mood. The composition is a metaphor for peaceful coexistence. The study concludes that in the light of contextual process, analogy and conceptual blending, artists are capable of generating knowledge by rendering root forms metaphorically in painting. The study recommends that further researches should be carried out to reveal other ways of rendering Cassia tora root forms in painting, such as performatives, kinetics and site-specificinstallations.
