METAPHORICAL RENDITION OF CASSIA TORA ROOT FORMS IN PAINTING

Author: Stephen Achugwo, PhD Painting, Ahmadu Bello University Zaria, [email protected]

https://www.artisticsplendor.com , +2349092257858, [email protected]

Journal: Resonance Journal of Contemporary Arts Scholarship, 2020, Volume 2, ISSN: 2630-7162

Publisher: Department of Visual and Creative Arts, Federal University Lafia, Nigeria.

Abstract

Over the years, artists embracing various art movements have used the metaphorical approach in diverse ways in the production of artworks to express emotions, feelings, notions, ideas and to tell certain stories about the society. In modern art movements, such as Post-Impressionism, Symbolism, Expressionism, Cubism, Surrealism, among others, metaphor played a vital role in relating their artworks to societal issues. It is still used in contemporary art by installation and conceptual artists for drawing analogies with their assembled forms. With the works done by various artists in this direction, notwithstanding, metaphor still has a lot to offer art, as it establishes coherent links between content and form in a composition. Root forms have been vastly used in linguistics and other fields as metaphors for diverse expressions. But this is not the case with painting, despite the interesting visual features. This study has observed some root inspired artworks as well as works that adopted the metaphorical approach. What are the gaps inherent in the metaphorical rendition of root forms in painting? How would this study practically accomplish the task? These are the major questions underpinning this paper.

Keywords

Painting, Root Forms, Cassia tora, Metaphorical Rendition

Background of the Study

Roots of plants form interesting creative imageries in the natural environment, and yet have not been given adequate attention by contemporary Nigerian artists. The natural environment is full of plants with various root systems, such as taproots, which could serve as sources of inspiration for artistic expression. Plant roots can be read in different ways and serve various purposes as the subject of roots is broad. The images from plant roots can aid artists in creative expression. Captivated by the Cassia tora roots, this researcher embarks on a task to develop compositions in painting that would thrive on metaphorical rendition of root forms.

In contemporary art, some artists use the metaphorical approach in the production of their works. A metaphor creates a link between different idea(s) through visual image that suggests a particular association or point of similarity. An artwork, produced through a metaphorical rendition of forms is known as visual metaphor, pictorial metaphor or analogical juxtaposition (Nordquist, 2017). However, in linguistics, metaphor is used to express imagery in words. It is a figure of speech that equates two different things for the sake of comparison or symbolism in order to suggest a resemblance. For instance, ‘going back to my roots’ means going home. Munteanu (2014) observes: “The ‘language’ that writers and painters use finds its parallels in form, structure and intent.” This explains the importance of metaphor in artworks and a need to explore root forms in painting through a metaphorical approach.

Metaphor is incorporated in visual and auditory art, to portray events, thoughts and imagery. Carrol (2001) claims that some artworks are considered as metaphoric, because they communicate in same way as verbal metaphors. It is not mainly the exploration of form in a medium that results into a work that is metaphorical. In other words, visual metaphor is idea-based. It is a combination of form and content. It is the product of rendition of form and its related story. Thus, a composition in painting with root forms must be accompanied by related stories in other to be referred to as a visual metaphor.

Artists through the ages have been motivated by certain perceptions in articulating and developing their concepts and compositions. From the Stone Age to the beginning of Modernism, art was based on realistic style with little consideration to metaphor (Gardner and Kleiner, 2013). In painting, metaphorical rendition of forms came to prominence in Modernist era. Some of the Modern art movements that used the metaphorical approach include Postimpressionism, Fauvism, Symbolism, Expressionism, Cubism, Dada and Surrealism. In Postmodernism, metaphorical rendition of forms is common with Conceptual art, Minimalism, Video and Installation art. It is also apparent in the works of Jerry Buhari, Mua’zu Sani, El Anatsui, Jacob Jari, Eva Obodo and Hadieh Shafie and other contemporary artists. Despite this aesthetic development, neither the metaphorical rendition of forms nor the use of root forms has been exhausted in painting.

Root forms appear to be subjects for developing compositions in painting yet to be given attention by Nigerian artists. Cassia tora roots have posed little interest to Nigerian artists, despite the wide spread of Cassia tora plant in the country. Cassia tora is regarded as weed by agronomists and by most farmers. This subject-matter, according to Pankaj (2002), is also known as C.tora, Sickle Sienna, Sickle pod, Tora, Coffee pod, Tovara, Chakvad and Foetid Cassia. Its Hausa name is ‘Tafasa’. It is a dicot legume with healing properties, mostly found in Asian and African countries. Cassia tora is well distributed in Zaria and grows in every town in Nigeria. Cassia tora roots lie below the soil. The root pattern is composed of a taproot, branch roots and spherical nodes. Visually, it possesses design elements consisting of line, shape, form, texture and depth; which provides a creative impetus for this research.

Some contemporary artists are inspired by root forms. Barbara Snyder is enchanted by the roots of a fallen giant Sequoia in California, which she developed into a realistic composition in painting. Dayla Luttwak uses steel to realistically produce root-inspired sculptures. Despite the beauty of their realistic depictions, the root forms were not rendered metaphorically. This researcher acknowledges their concepts, philosophies, materials, styles and techniques, in consideration with the elements and principles of design inherent in the root forms, especially line, colour, texture, depth and movement.

A closer look at the root inspired works of these artists shows that there is little attempt at rendering root forms metaphorically. The artists did not use the root forms to reflect on societal happenings, rather their aesthetic directions were confined to the beauty of the paintings. The common practice by these artists is a naturalistic representation of roots. In most of the paintings, other plant and environmental imageries are added to the composition. These facts point to the need for an in-depth study of root forms, through metaphorical approach, in order to exploit the creative possibilities in painting. 

Statement of the Problem

The use of plant roots to create painting composition, especially in transforming space and forms, remains among the areas that have not been given scholarly attention by Nigerian painters. While some researchers made significant contributions to knowledge in the study of plant roots, few have solely studied root forms for the purpose of artistic expression in painting. Few artists, including Vincent van Gogh, Ishrath Humairah, Dayla Luttwak and Mary Shiros have used root forms in producing paintings. In the paintings of these artists, it is observed that where the artist attempted abstraction with root forms, the realistic imageries of plants and the environment are added to the composition. The problem of the study thus, is to solely embark on the metaphorical rendition of root forms from Cassia tora plant in painting without adding other naturalistic imagery.

Aim and Objectives

The aim of this study is to create paintings by metaphorical rendition of Cassia tora root forms. The objectives are to:

1. realistically explore the dynamics of Cassia tora’s root pattern in painting;
2. infuse vibrant colours into patterns of taproots, branch roots and nodes of Cassia tora;
3. generate compositions in painting with the Cassia tora nodes;
4. create paintings that encompass root forms and non-figurative vegetal space;
5. produce root-inspired paintings using unconventional materials.

Significance of the Study

This study is significant due to its deviation from the traditional way of interpreting a subject matter, such as root in painting, using Cassia tora root forms to create painting compositions. Creating paintings using Cassia tora root forms serves as a metaphorical statements or symbols for representing contemporary realities. It is a stimulus of philosophical thoughts that invokes the notion of ‘elevating the ordinary (weed, such as Cassia tora)’ to the ‘extraordinary visual symbol in Nigeria’. The text and forms would be a referral point for art historians and other researchers.

Justification of the Study

This study is justified as it redefines existing methodologies for rendition of root forms, within the context of contemporary art in Nigeria. The common practice by artists working with root forms is mostly naturalistic and semi-naturalistic methods of interpreting plant roots. A metaphorical rendition of forms in painting has not been given adequate scholarly attention in Nigeria. Furthermore, the study being evidence that Practice-based methodology can offer a better research strategy for painting than the traditional quantitative and qualitative methodologies, thus justifies the study. 

Scope of the Study

This study is restricted to the use of roots as a source of inspiration in painting. It focuses on the Cassia tora roots (Leguminosae Family of Plants), located in Zaria, Nigeria. The choice is due to its distinct visual characteristics that are not common with other plants root systems.

Conceptual Framework

The conceptual framework for this study hinges on the ideas of Post-Impressionism with particular reference to the abstract paintings of Vincent van Gogh. Post-Impressionists tenets were based on the portrayal of emotion, intellect and visual imagery. They deployed vivid colours, often thick application of paint, and real-life subject matter. Van Gogh was more inclined to distort forms for expressive effect. His dedication to articulating the inner spirituality of man and nature, led to a unique fusion of style and content that resulted in dramatic, imaginative, rhythmic, and emotive canvases (Adams, 2011). Van Gogh used an impulsive, gestural application of paint and symbolic colours to express his emotions. As stated by Gardner and Kleiner (2013), Van Gogh “explored the capabilities of colours and distorted forms to express his emotions as he confronted nature.”

This study adopts Van Gogh’s approach of rendition of forms, thus serving as a major stimulus in articulating a concept in painting with Cassia tora root forms. In Van Gogh’s paintings, forms are transformed with short strokes of lines with symbolic colours. In like manners, this study deploys textured planes, impasto background and root forms combined with symbolic vibrant colours to create compositions in painting. With the combination of various Cassia tora root forms however, the study extends Van Gogh’s ideas in painting. Van Gogh’s paintings focused on expressing his emotions. The researcher’s compositions in painting conversely, transforms root forms in diverse ways, as metaphors for inspiration, hope, aspiration, reincarnation, hero, among others, that reflect on the well-being of Nigerians.

Critical ideas dwell on theory of causality by Immanuel Kant and aesthetic theories of other thinkers. Kant found that it is possible to generate knowledge with universal validity through the analysis of cause and effects. In the ‘Critique of Pure Reason’, Kant (1998) affirms:

• I call intelligible that in an object of sense which is not itself appearance. Accordingly, if that which must be regarded as appearance in the world of sense has in itself a faculty which is not an object of intuition through which it can be the cause of appearances, then one can consider the causality of this being in two aspects, as intelligible in its action as a thing in itself, and as sensible in the effects of that action as an appearance in the world of sense. Of the faculty of such a subject we would accordingly form an empirical and at the same time an intellectual concept of its causality, both of which apply to one and the same effect.

From the above, Kant affirms that true knowledge can only be generated through a combination of experience and intuition (pure reason).

In terms of knowledge production in painting, Kant’s affirmation is corroborated by Graeme Sullivan’s theory for a research in the visual art. Sullivan (2010) states: “Knowledge creation in visual arts is recursive and constantly undergoes change as new experiences ‘talk back’ through the process and progress of making art in research settings.” By intuition or pure reason, Kant refers to reasoning without bias. Kant’s causal theory is essential to this study, as exploration of Cassia tora root forms with metaphor and critical reflection constitute the creative frames of this study.

Reviewed Works 

Figure 1: Perseverance, Gesso & Acrylics on Canvas, 120 cm x 90 cm, Ishrath Humairah ?2010, India, https://wanderingmist.com/...

Figure 2: Deep Roots, Oil on Canvas, 120 cm x 120cm, Cedar Lee ?2013, USA, https://images.fineartamerica.com/…

 The idea behind ‘Perseverance’ (Figure 1) came to Ishrath Humairah while she was pondering over root-inspired compositions. She recalls: “It happened in my mind when I was gazing at free within with its deep earth and sky above” (Humairah, 2010). In ‘Perseverance’, the upper part of the composition is covered by a flat patch of green that portrays the lush forest foliage. The lower part, which is about half of the upper part is composed of orange foreground that represents the soil and black roots emanating from a tree trunk leftover. Cedar Lee used root forms to reflect on her nuclear family, which she refers to as her roots. She believes: “people must be both grounded in their bodies, honouring and celebrating their roots…” (Lee 2013). ‘Deep Roots’ (Figure 2) is a semi-abstract painting, dominated by sienna and blue hues. On the right side of the painting, Lee depicts a tree standing on top of a hill with aerial roots of brown shades, shovelling through the soil. White arc at the top left side suggests the moon.

Both paintings show diverse ways of using root forms in creating painting composition. They aided the researcher in unravelling the visual characteristics of roots. However, Humairah made no attempt at abstracting roots forms, while Lee abstracted root forms but could not detach the roots from the tree. Sky, shrubs and other forms were added to both compositions. There was inadequate attempt at drawing analogy between the root forms and societal happenings as the artists focused on technical dexterity and beauty of the compositions. These facts call for further studies of root forms through metaphorical rendition in painting.

Visual Characteristics of the Cassia tora plant

Figure 3: A Cassia tora Plant Sample, Photograph, Stephen Achugwo ?2018, Nigeria

Figure 4: A Cassia tora Root Sample, Photograph, Stephen Achugwo ?2018, Nigeria

The photograph on Figure 3 shows a Cassia tora plant, replete with the leaves, flowers, buds of seeds, roots and a stem. It compares Cassia tora plant with a man’s hand, giving a clue to the size. The picture on Figure 4 however, shows a Cassia root sample used for this study.

Methodology

Research methodology facilitated the researcher from gathering and structuring data to making informed decision at various stages of this study. This study adopts the practice-based methodology accompanied with historical and observatory qualitative methods.

Practice-based Research Methodology

“I never made a painting as a work of art, it’s all research.” So says Pablo Picasso, as cited by McNiff (2007). Practice-based Research Methodology is a form of research that strides towards advancing knowledge and understanding using practice, invention of ideas, images, performances or artefacts, where these lead to new or substantially improved theories. A pivotal point in practice-based research is the relationship between artefact and the theory. Borgdorff (2012) describes the key in practice-based as the relationship between the practice (what can be shown, displayed, demonstrated, made) and the theoretical verbal aspects. There is an element of reflection. This research also involves certain amount of contemplation and writing.

Primary Source of data

The primary source of data for this study emerges from samples of Cassia tora roots (Figure 4), upon which the foundation of the research is established. Some Cassia tora plants were uprooted from their natural habitat in Samaru Zaria and brought to the studio, to serve as creative models for the study. Each painting started with perceptual encounter with the Cassia tora roots.

Secondary Source of data

The secondary source of data came from the vibrant colours of postimpressionism, allegories, stories, societal affairs and materiality. Ideas came from intuition, chance encounters, theory reading, library consultations and the internet. Data were also sourced from the media, which include social media, radio and TV programmes, videos, documentaries, books, magazines, journal articles and newspapers. Others include the information retrieval systems, consisting of CD, DVD, Bluetooth, Flash and Micro SD Cards.

Process/Procedure            

In the process/procedure the researcher was engaged with a variety of studies, in tune with relevant artistic theories leading to the production of paintings. This was achieved through the use of a variety of media, which entailed drawings and colour studies undertaken within the studio and its surrounding environs. Sketches were made of select Cassia tora root samples using pencil and pen. These were further developed using pen, ink and acrylics. Some of the studies are shown on Figs. 5-6 below.

Studies with Acrylic and Gold Ink

Figure 5: Germination of Gold, Acrylic & Gold Ink on Paper, 91 cm x124 cm, Stephen Achugwo ?2015, Nigeria

Figure 6: A Letter to Kandinsky, Acrylic on Paper, 124 cm x 91cm, Stephen Achugwo ?2015, Nigeria

Germination of Gold (Figure 5) is a pen and ink drawing of a Cassia tora root pattern. It is a realistic depiction of a Cassia tora plant roots, replete with a taproot, branch roots and the nodes. At this stage, emphasis is laid at capturing the details of forms and shape of the subject matter. In the ‘A Letter to Kandinsky’ (Figure 6) however, the process entailed dismantling of the taproot, branch roots and nodes. These root components were re-structured and then re-assembled to create an abstract composition. These studies led to the production of the research paintings.

Discussion of Selected Paintings Produced

The paintings produced are grouped into six phases comprising Phase-1: Singular Element, Phase-2: Cross-sections, Phase-3: Romeo and Juliet, Phase-4: Nodal Forms, Phase-5: Multiple Elements and Phase-6: Roots of Fashion. The composition of paintings in ‘Singular Element’ dwell on a Cassia tora root pattern, replete with a taproot, orchestrated by branch roots and nodes. ‘Cross-sections’ relies on cross sections of Cassia tora root. ‘Romeo and Juliet’ is composed of two Cassia tora root patterns, while the picture plane of ‘Nodal Forms’ is totalised by nodes. ‘Multiple Elements’ integrates three or more Cassia tora root patterns. However, ‘Roots of Fashion’ (Phase-6) relies on a combination of Cassia tora root patterns and unconventional materials.

Phase-1: Singular Element

Figure 7: Guerrilla Warrior II, Acrylic on paper, 91 cm x 124 cm, Stephen Achugwo ?2015, Nigeria

Figure 8: Guerrilla Warrior III, Oil on Canvas, 99 cm x 93 cm, Stephen Achugwo ?2015, Nigeria

 ‘Singular Element’ series of paintings lay emphasis on a visual analysis of the subject matter. They rely on singular element of the Cassia tora roots as well as contrasting backgrounds. Cassia tora roots were subjected to a thorough aesthetic examination through close observation, photographing and drawing. There was also various studio exploration with the Cassia tora root forms and various painting media. This procedure led to the production of ‘Guerrilla Warrior’ series of paintings (Figures 7 - 8). The common theme is a view of the risen hero, who defied all odds, in conquering his enemies at a battle field. In each painting, the ‘Hero’ is suggested by a singular element of Cassia tora, that dominates the picture plane. There is distinct variation in colour combination, shape, form, depth and pattern of roots between the two paintings. In both compositions, Cassia tora root forms are rendered as visual metaphors for victory achieved through courageousness.

Phase-2: Cross-sections 

Figure 9: Bless them Mama Africa, Oil on Canvas, 127 cm x 141 cm, Stephen Achugwo ?2016

Figure 10: Flames II, Enamel on Canvas, 126cm x 136 cm, Stephen Achugwo ?2015

In ‘Cross Sections’ (Phase-2), the researcher generated a variety of compositions through experiment with cross-sections of the Cassia tora roots, as exemplified by ‘Bless them Mama Africa’ and ‘Flames’. The heterogeneous schema of the paintings is due to distinct segments of the Cassia tora roots. There is also distinct variation in thematic focus.

‘Bless them Mama Africa’ (Figure 9) lends helping hands to Nigerians. At a glance the background looks like a room space, as if the world has come to an end. On a closer look, it appears like an environment lit with sunset. ‘Mama Africa’ is represented by a segment of Cassia tora root pattern. The branch roots serve multiple purposes in the composition. They represent various tribes in Nigeria as well as the helping hands of ‘Mama Africa’. The dominance of yellow hues in the warm colour combination symbolizes hope for the nation.

In ‘Flames II’ (Figure 10) however, the picture plane is totalised by the tail-ends of Cassia tora roots, which suggests flames of fire. This blazing composition of root-tips phantasmagoria re-enacts the allegory of reincarnation. It expresses the notion that the end of a generation marks the beginning of yet another generation – a world without end.

Phase-3: Romeo and Juliet

Figure 11: Romeo and Juliet, Gauche on Paper, 80 cm x 100 cm, Stephen Achugwo ?2015, Nigeria

Figure 12: Romeo and Juliet II, Water Colour on Paper, 91 cm x 124 cm, Stephen Achugwo ?2015, Nigeria

‘Romeo and Juliet’ series of paintings (Figs. 11-12) dwell on double root patterns of Cassia tora that dominate the picture plane. The paintings differ in terms of colour combination and the rendition of root forms. Nevertheless, they share a common thematic direction. In each painting, two Cassia tora taproots intertwine each other, reminiscent of the power of love that entwined Romeo and Juliet. The double root units of different colours represent couples from different ethnic region in Nigeria. The background represents the diverse culture and traditions of various ethnic groups in Nigeria. Nonetheless, the ethnic boundaries will dissolve as time passes by. The dual root forms are rendered metaphorically, buttressing the speculative notion that with time the ethnic and religious conflicts affecting the well-being of Nigerians would fade away, paving way for a country that is known for peace, unity and progress.

Phase-4: Nodal Forms

Figure 13: Nodes of Inspiration, Oil on Canvas, 134 cm x 99 cm, Stephen Achugwo ?2016, Nigeria

Figure 14: Reflections, Oil on Canvas, 153 cm x 102 cm, Stephen Achugwo ?2016, Nigeria

  The major creative elements in ‘Nodal Forms’ (Figs. 13-14) are the nodes of Cassia tora. Sketchy impressions of the branch roots are added into the compositions to give a sense of direction to the patterns of nodes. In each composition, the picture plane is filled by nodes, which are portrayed with circles. The actual colour of the nodes of Cassia tora is brown, but in the compositions they replicate the colour of the background. This brings fluidity to the monochromatic compositions and the effect of motion. The circular planes are articulated as bubbles of hope. Nodal forms are rendered as a metaphor of hope for a better life in Nigeria. Sketchy impressions of branch roots in ‘Nodes of Inspiration’ bring rhythm to the nodal forms. But in ‘Reflections’ the outlines become more rigid boosting the effects of reflection, refraction and diffraction.

Phase-5: Multiple Elements

Figure 15: Forest of Wisdom, Oil on Canvas, 152 cm x 183 cm, Stephen Achugwo ?2016, Nigeria

Figure 16: Fiesta, Oil on Canvas, 120 cm x 150 cm, Stephen Achugwo ?2016, Nigeria

In Phase-5, multiple Cassia tora roots are deployed to the picture plane. Both paintings dwell on perspective and a common theme, based on the allegory of “variety is the spice of life” and the ‘New Yam’ Festival, celebrated in Eastern Nigeria. The crowded root forms represent the celebrants and their spectators. The textured depth resonates local melodies. The paintings epitomize a visual voice that sings to labour; a labour that sings to the agricultural tradition of Nigerian farmers. They also rely on time and the sequence of events, as the compositions transcend the phenomenon of roots beyond the botanical realms into painterly expressions that reawaken discourses on socio-cultural wellbeing and peaceful co-existence.

The dominance of yellow hues in ‘Forest of Wisdom’ (Figure 15) is symbolic of early morning sunrise. The nodes are completely eliminated from the composition, which signifies that the village has been cleansed from evils, restoring trust among the people. At this moment, there is peace, unity and excitement. With the early morning sunrise, the village is ready to celebrate. The celebration is at climax in ‘Fiesta’ (Figure 16). Some nodes are restored, which enshrine the aspirations of the people. The dominance of red hues is symbolic of hot afternoon in Nigeria. It is afternoon and the socio-cultural activities have shifted from the forest of wisdom to the village centre. It is hot and it is New Yam! The fiesta is now at full gear.

Phase-6: Roots of Fashions

Figure 17: Roots of Fashion (ii), Polythene, Woollen Yarns & Fabric offcuts, 122 cm x 182 cm, Stephen Achugwo ?2017, Nigeria

Figure 18: Roots of Fashion (iv), Jute, Woollen Yarns, Polythene, Raffia, Beads & Fabric offcuts, 152 cm x 183 cm, Stephen Achugwo ?2017, Nigeria

‘Roots of Fashions’ series of paintings (Figs. 17-18) are created with the taproots, branch roots and nodes. Unconventional materials are used in the production of the paintings to enhance the metaphorical contents of the works. The works differ from paintings produced at other phases in terms of materiality and technique. Instead of the conventional painting materials, jute, Polythene sheets (sourced from rice sacks), woollen yarns, raffia, beads and fabrics offcuts are used. The picture plane is dominated by the taproot, which serves as a clue to the omnipotence of change in fashion trend.

The layers of materials represent changes in fashion caused by the influence of the cultures of other countries on Nigerian indigenous culture. An example of which are the unconcealed dress style at the beginning, later the concealed dressing, and a combination of the two currently experienced in Nigeria. The paintings narrate the trajectory of fashion trend in Nigeria, as highlighted by layers of diverse fabrics (Figure 17) and interchanging warm colour zones (Figure 18). A variety of flat planes recounts the proliferation of culture accompanied by continuous change in fashion. ‘Roots of Fashions’ series of paintings are visual metaphors for socio-cultural evolution. They epitomize the notion that the culture of a country is dynamic, susceptible to cultural influences of other countries and continues to evolve.

Findings

The main finding of this research is that metaphorical rendition of Cassia tora root forms in painting can be fully attained after the artwork has been practically completed. The last procedure is intuitive, which engaged the researcher in a meaning making process. The root forms from the paintings were used to reflect on allegories, speculative notions and the well-being of Nigerians. Other findings include:

i.         in the realistic paintings created with the dynamic features of Cassia tora roots, the singular Cassia tora root pattern stands out from the background. It appears like a hero.

ii.        in the paintings created with the cross-sections of Cassia tora roots, the warm background and the root-tips give the impression of flames.

iii.       the vibrant colours that were infused into patterns of taproot, branch roots and nodes of Cassia tora, in the light of analogies, imbue the paintings with social meaning, relating to certain events in Nigeria such as wedding.

iv.       in paintings created with nodal forms, the picture plane is totalised by various sizes of circular nodes, which appear like bubbles or space full of stars, it denotes an entertainment arena, like a stadium or a club

v.        in the paintings created with multiple elements of Cassia tora root forms, crowded forms on the picture planes appear like forest. There is so much depth, which epitomizes an elaborate party, like a traditional festival that is usually held outdoors.

vi.       in the paintings made with unconventional materials, the layers of fabrics, jutes, polythene sheets (rice sacks), raffia, beads and woollen yarns are reminiscent of fashion trends.

Conclusion

Deducing from the outcomes of the objectives, redefinition of experiences can help people to live a better life. The study is driven from certain precepts of Post-impressionism, which rely on vibrant colours and emotional contents. Post-impressionist artists rendered forms metaphorically in some of their paintings. The study is also conceptually constituted to some extent, as it dwells on analogous juxtapositions of forms and contents. The Cassia tora root pattern is umbrella-like in shape, with monochromatic shades of brown. The taproot (central root) is orchestrated by branch roots and nodes.

The researcher saw the opportunity that Cassia tora roots offers in creating paintings. He reckoned the possibility of metaphorical approach in utilizing the root forms, to create compositions. Enchanted by the dynamic patterns of Cassia tora, the researcher carried out series of studio exploration with Cassia tora root forms, in the light of element and principles of design, as well as aesthetic speculations, allegories, stories and subjective notions. This led to the production of non-figurative abstract paintings. The final procedure was the analogous process which aided the research in linking the root forms to some storyline and notions. The paintings produced redefine root forms in diverse ways, as metaphors for inspiration, hope, perseverance, reincarnation, hero, among others.

This study shows that artists are capable of creating and reviewing knowledge by visually contemplating plant roots in painting. This means that it has fulfilled the assertion by Read (1977) that art is everything that can be imagined and expressed. Contemporary artists need to acquire more knowledge of the environment, make sense of them, in order to understand the future. The study therefore, concludes that the metaphorical rendition of Cassia tora root forms in painting, has created not only visual metaphors that express hope for a better Nigeria but also visual symbols that transcend the phenomena of roots beyond their botanical realm into icons of expression in painting.

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