Exploring the aesthetic qualities of textures in painting from selected tree barks

Project Abstract

This research project delves into the exploration of aesthetic qualities found in textures of selected tree barks as a source of inspiration for painting. The study aims to investigate how tree barks, with their intricate patterns, colors, and tactile qualities, can be translated into unique and visually captivating artworks. By examining different tree species known for their distinctive bark characteristics, such as the paperbark maple, river birch, and lacebark pine, the research seeks to uncover the diverse range of textures and visual elements that can be extracted for artistic purposes. Through close observation and analysis of these natural textures, the project aims to develop a deeper understanding of the aesthetic potential inherent in tree bark patterns and surfaces. The methodology involves a combination of field research, where tree bark samples are collected and studied in their natural environment, and studio experimentation, where these textures are translated into paintings. By closely observing the details of bark textures through techniques such as rubbing, casting, and photography, the research aims to capture the essence of these surfaces and bring them into the realm of painting. Experimentation with different painting techniques, materials, and color palettes will be conducted to explore the ways in which bark textures can be interpreted and manipulated on canvas. The significance of this research lies in its potential to expand the creative possibilities for artists and designers by tapping into the rich visual and tactile qualities of tree barks. By drawing inspiration from the natural world and incorporating these organic textures into artworks, artists can create pieces that evoke a sense of connection to the environment and explore the beauty of imperfection and complexity found in nature. Furthermore, the study aims to contribute to the discourse on the intersection of art and nature, highlighting the importance of sustainable practices and environmental awareness in artistic creation. Overall, this research project offers a unique exploration of the aesthetic qualities of textures in painting derived from selected tree barks. Through a combination of observation, experimentation, and creative interpretation, the study aims to showcase the beauty and diversity of natural textures and inspire new artistic directions informed by the richness of the natural world.

Project Overview

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