Creating Aesthetics in Painting Using Doodles.
ABSTRACT
This research considers the possibilities of creating aesthetics in painting using doodle. The main thrust is to establish a new mode of artistic expression in painting by recreating the doodles made by a select number of people, while the objectives include to,
identify images in doodles, explore line and texture as design elements inherent in doodles, explore the various techniques that could be employed to create visual space for doodles in the paintings,
create paintings adopting doodle images in their original form, create painting compositions combining different doodle images, and create paintings, drawing inspiration from doodles.
Doodling is a mode of expression that is made on a surface; it is an exercise that is regarded as aimless and undecipherable and therefore, its products eventually are discarded and end up in the dustbin.
The researcher‟s intention was to elevate the status of doodles from objects of waste, to adorable and desirable elements of aesthetics.
The research was inspired by the psychoanalysis theories of Sigmund Freud relating to unconscious and sub conscious states of the human mind.
TABLE OF CONTENTS
Cover Page…………i
Title Page…..……….ii
Declaration……..…….iii
Certification …….……….iv
Dedication ………….v
Acknowledgements………………vi
Abstract ………………vii
Table of Contents………………ix
List of Figures ………….xiii
List of Plates………xvi
CHAPTER ONE
1.0 Introduction to the Study …….1
1.1 Background of the study.…………….2
1.2 Statement of the Problem………..5
1.3 Aim of the study………………….5
1.4 Objectives of the study…………….5
1.5 Research Questions..………….…6
1.6 Justification ………….…..6
1.7 Significance ……………….…..7
1.8 Scope of the Study………………8
1.9 Conceptual framework…………….8
CHAPTER TWO
2.0 LITERATURE REVIEW ………11
2.1 Introduction ………………..11
2.2 Artists and Paintings inspired by Dream or Subconscious Associations…….………12
2.2.1 Salvador Dali (1904-1989)………13
2.2.2 Paul Klee (1879-1940)……….16
2.2.3 Andre Masson (1896-1987)……….…21
2.2.4 Joan Miro (1893-1983)………24
2.2.5 Max Ernst (1891-1976)……………..26
2.2.6 Jackson Pollock (1912-1956)….………28
2.3. Artists whose works echo Spontaneous Attributes………30
2.3.1 Edwin Parker Twombly Jr. (1928-2011): ….30
2.3.2 Leonard Charles Huia Lye (1901-1980)…..33
2.3.3 Carl Baratta (b. unknown)……….35
2.3.4 Faith Georgia (b. unknown)……………37
2.3.5 Gani Odutokun (1946-1995) …………..39
2.3.6 Jerry Buhari (b.1959)…….………..42
3.3.7 Sandra Strait (b. unknown)…………..46
2.3.8 Jim Bradshaw (b. unknown)………..47
2.3.9 Sherrie Thai (b. unknown)….…….…50
2.3.10 Tanya McClelland (b. unknown)…..……51
2.3.11 Annalea Bennett (b. unknown)…….….52
2.4 Linear Appearance in Doodle with Nigerian Artists (Ulism and Onaism)..…..55
2.4.1 Uche Okeke (b. 1933)…………….56
2.4.2 Tayo Adenaike (b. 1954)……..59
2.4.3 Olakunle Filani (b. 1957)…….61
2.5 Waste to Wealth Syndrome.…….63
2.5.1 Jacob Jari (b. 1960)…………….63
2.5.2 Kolade Osinowo (b. 1948).………65
2.6 Review of Concepts of Aesthetics……68
2.6.1 Traditional Theories of Aesthetics…….68
2.6.2 Modern Aesthetics………70
2.7 Conclusion…………………71
CHAPTER THREE
3.0 METHODOLOGY ………….72
3.1 Introduction ………………72
3.2 Procedures in Studio Research………..…73
3.3 Exploration and Development of Forms ………..74
3.4 Methods of Data Collection……………….75
3.5 Exploration of Form ………….84
3.5.1 Preliminary Studies I………….84
3.5.2 Preliminary Studies II……….87
3.5.3 Preliminary Studies III…….….91
3.5.4 Preliminary Studies IV……….105
3.6 Development of Form…..114
3.6.1 Reformation Stage I……114
3.6.2 Reformation Stage II….119
CHAPTER FOUR
4.0 DISCUSSION…….…126
4.1 Introduction …126
4.2 Discussion of Selected Works……..129
CHAPTER FIVE
5.0 CATALOGUE…….151
5.1 Artist Curatorial Statement……151
5.2 Portfolio…….…153
CHAPTER SIX
SUMMARY AND CONCLUSION …..166
6.0 Summary and Conclusion….….….166
6.1 Summary………………………175
6.2 Findings………………….….…..175
6.3 Conclusion………….….176
6.4 Contribution to Knowledge….….….177
REFERENCES……………..178
INTERNET SOURCES…………183
INTRODUCTION
Freud sees consciousness, sub consciousness and unconsciousness as a “Tripartite System”. While he employed a three dimensional analogy to describe this system, he sees unconsciousness as a large entrance hall where different mental impulses fly around independently, leading into a second narrower room in which consciousness resides.
At the entrance in between the two rooms, however, resides a “watchman” who acts like a “censor” checking the different impulses to admit anyone that he pleases to.
This entrance where the watchman stands, Freud refers to as the level of sub-consciousness.
He says “it is perhaps the most important site of mediation within the entire system, as it is at the preconscious level that impulses are either censored and sent back to the unconscious repressed, or admitted to pass on to consciousness” (Pomerantz 2007).
Consciousness and sub-consciousness are mental experiences of human beings that also generate reactions from the mind.
Consciousness is the quality or state of being aware especially of something within oneself while sub-consciousness is the mental activity not directly perceived by the consciousness from which memories, feelings, or thoughts can influence behavior without the realization of it (Brown 1985).
REFERENCES
Adenaike, T. (2004) Image of Different Colours One People Retrieved from
www.skotogallery.com on March 10, 2014.Adenaike, T. (2004) Image of And Two Shall Become One Retrieved from
www.skotogallery.com on March 10, 2014.Baratta, C. (2008) Image of Straw Hands Thread Fingers Retrieved from
www.PeopleSmart.com/Carl Baratta on 19 November 2012Baratta, C. (2008) Image of The Faithful Protector Retrieved from
www.PeopleSmart.com/Carl Baratta on 19 November 2012Bennet, A. (2013) Image of Cosmogenesis Retrieved from http://www.annaleabennett.com
on March 10, 2014Bennet, A. (2013) Image of Decartes Dream Retrieved from
http://www.annaleabennett.com on March 10, 2014
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