Deconstructing the Human Face Using Leaf Veins in Painting

Deconstructing the Human Face Using Leaf Veins in Painting.

ABSTRACT  

This study “deconstruction of the human face using leaf veins in painting,” seeks to deconstruct the human face through a systematic simplification of the human face from a representational rendition to a minimalist possibility using dicotyledons leaf veins. This study has brought to fore a unique style and mode of expression in painting through the use of dicotyledons leaf venations a tool for the deconstruction of the human face.

The following objectives are to; render the human face in representational form, create stylized human faces, reduce the human face to minimalist possibilities using dicotyledons leaf veins. The research started by looking at the works of artists who have deconstructed the human face through various means, however led to analyzing their works.

However, the review did not indicate artists’‟ extensive systematic deconstruction of the human face using leaf veins. The methodology used for this research was practice-led. Different species of leaves with monocotyledons and dicotyledon leaves veins were collected from their natural habitat and observed. Leaves with dicotyledons venations were later employed in the research on the basis of the aesthetic quality and thickness of their veins.

The researcher made use of tools such as a camera, sketchpad, to gather data like photographs of children’s‟ faces and images of selected species of leaves. Data collected were analyzed in different stages i.e.; Representational: this stage saw the production of drawings that captured human faces in a naturalistic manner.

TABLE OF CONTENTS

Title Page…………………………………………………………………………………….i
Declaration……………………………………………………………………………………ii
Certification………………………………………………………………………………….iii
Dedication……………………………………………………………………………………iv
Acknowledgement……………………………………………………………………………v
Abstract……………………………………………………………………………………….vi
Table of contents……………………………………………………………………………..vii
List of figures………………………………………………………………………………..ix
List of plates………………………………………………………………………………….x

CHAPTER ONE
INTRODUCTION
1.0Background to the study…………………………………………………………………..1
1.1Statement of the problem…………………………………………………………………..4
1.2 Aim and objectives of the study…………………………………………………………..5
1.3 Justification of the study…………………………………………………………………..5
1.4 Significance of the study…………………………………………………………………..6
1.5 Scope of the study………………………………………………………………………….6
1.6 Conceptual framework……………………………………………………………………..7

CHAPTER TWO
REVIEW OF LITERATURE AND ARTWORKS
1.0Introduction……….………………………………………………………………………9
2.1 Analysis of Concept of Art Production……………………………………………………9
2.2Deconstruction of Form in Painting………………………………………………………11
2.3Review of Paintings………………………………………………………………………13
2.4 Conclusion………………………………………………………………………………..29

CHAPTER THREE
RESEARCH METHODOLOGY
3.0Introduction.……………………………………………………………………………..30
3.1 Data………………………………………………………………………………………30
3.2 Tools for data collection………………………………………………………………….30
3.3 Procedure for Data Collection……………………………………………………………31
3.4 Preliminary Study………………………………………………………………………..40
3.5 Data Analysis…………………………………………………………………………….45
3.6Execution of Paintings……………………………………………………………………54
3.7 Conclusion………………………………………………………………………………..56

CHAPTER FOUR
CATALOGUING AND ANALYSIS OF WORKS
4.0 Introduction………………………………………………………………………………57
4.1 Analysis of Works………………………………………………………………………..58
4.2 Objective One…………………………………………………………………………….58
4.3Objective two……………………………………………………………………………..68
4.4Objective three……………………………………………………………………………73
4.5Conclusion………………………………………………………………………………..82

CHAPTER FIVE
SUMMARY, FINDINGS, CONCLUSION, AND RECOMMENDATIONS
5.0 Introduction………………………………………………………………………………83
5.1Summary…………………………………………………………………………………83
5.2Findings…………………………………………………………………………………..85
5.3General Findings………………………………………………………………………….85
5.4Conclusion…………………………………………………………………………………86
5.5Recommendations………………………………………………………………………..86
5.6Contributions to Knowledge……………………………………………………………..86
References……………………………………………………………………………………87

INTRODUCTION  

The human face functions as a platform for the carrying of the eyes, nose, mouth, chin, cheek, and forehead. These organs are used for breathing, communication, recognition, identity, and expression of emotion and character. They mirror the human personality and allows us to understand the world around us. DeMello (2012), states that “Our faces are the visual thumbprints that we present to the world, they are the key to our personal identity and sense of self; they allow us to understand and recognize others and represent ourselves.”

The face conveys a message between the person and the world through which we may perceive what the person has experienced. The human face has been presented in a variety of forms throughout the history of art. While some artistic schools of thought strive for naturalism through direct imitation and representation of the human face, others reject such direct imitation by deconstructing the human face either with purposeful intent or by accident.

Finch (2008), asserts that it can be hard to tell exactly what is intentionally deconstructed, but there are usually distinct clues about work that if viewed contextually, can reveal whether it is an anatomical error or purposefully placed in a piece for a specific reason. According to Putman (2011), deconstruction is a means of breaking down forms into simple components so that new forms will emerge.

It is characterized by the ideas of fragmentation, exaggeration, and distortion where radical freedom and form recreation are encouraged. Samara in Çekmegelioğlu (2014), posits that “deconstruction is to deform a rational structure and space 15 so that the elements within that space are forced into new relationships”. According to Curley (2013), in an artistic form of deconstruction, meanings and subjects are been scattered and left for the artists (or the viewers) to put back together depending on his or her ability to see. 

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StudentsandScholarship Team.