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PAINTERLY EXPRESSIONS AND VISUAL

METAPHORS: A CONCEPTUAL BLENDING OF
CASSIA TORA ROOT FORMS AND WELL-BEING
Stephen Achugwo, Prof Mu’azu Sani

PhD Painting, Department of Fine Art, Ahmadu Bello University Zaria, Kaduna State, Nigeria
Email: sachugwo@abu.edu.ng URL: https://www.artisticsplendor.com/

Received: **** **, *** Abstract

Accepted: **** **, ***
Copyright © 2018 by Stephen Achugwo, Prof
Mu’azu Sani and ABU School of
Postgraduate Studies.
Cassia tora plant roots possess healing attributes that can be used as an alternative ther-
apy (Supare and Patil, 2015). The healing attributes evoke a feeling of hope, which serves
as a metaphorical predisposition that is essential in articulating the phenomenon of well-
being. The metaphorical predisposition could be used in creating painting compositions
by substituting the well-being of Nigerians with Cassia tora root forms, a process referred
as ‘Conceptual Blending’. To do so entails an understanding of the conceptual structures
of visual metaphor and stories based on the well-being of Nigerians. A root-inspired
painting, titled ‘Sunset’, created by Erika Pochybova-Johnson highlights the need for
this civilization to live in harmony. The artwork pays tribute to nature’s purity, by elab-
orating the concept of coexistence in a world of peace, harmony and mutual consolation.
(Symes, 2014). Similarly, in ‘Economic Meltdown’, Eze Ngene blended discarded food
vessels and hunger phenomenon to create a conceptual sculpture that comments on the
economic crisis in Nigeria (Ngene 2015). Could it be possible to use Cassia tora plant
roots healing attributes to heal societal ills and revitalize the well-being of Nigerians?
Yes, metaphorically, through conceptual blending of roots forms and well-being phe-
nomena. This paper provides possible painterly answers to this question. It is a report of
a PhD Painting research, in which Cassia tora root forms were transformed into visual
metaphors that comment on the well-being of Nigerians. It focuses on the fourth objec-
tive of the study.

Keywords
Painting, Conceptual blending, Cassia tora, Root forms, Metaphor, Well-being

Introduction
The image world is inundated with visual metaphors, especially painterly expressions with
a recursive thematic focus on ‘issues’. Most discourses on how to develop Nigeria is over-
shadowed by talks and visual metaphors that comment on issues, including socio-cultural,
economic, ethnic, religious, political, security, infrastructural, agricultural, educational,
health and restructuring. It is always issues that dominate the talk, decision and implemen-
tation, yet in terms of development, this country lags behind most nations. Studies have
shown that too much emphasis on issues with less emphasis on the well-being of the citi-
zens will not lead to the overall progress of a nation. For Nigeria to make substantial pro-
gress, there should be considerable attention paid to the well-being of her citizenry. The

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peace and unity, which this country witnesses when the national team is playing a world
cup match are noteworthy examples of the benefits of investing in well-being.

Hence the need to revitalize the well-being of Nigerians with metaphorical rendering of
root forms, as another vibrant way of articulating solutions to solve her problems. The
philosophy behind the artistic creations is dominated by positive mental attitude. The artist
believes that with positive mental attitude, a nation can make great progress. The transfor-
mation of Cassia tora root forms into painterly expressions relies on the researcher’s per-
ceptual encounter with Cassia tora plant roots and the socio-cultural life of Nigerians. This
led to the redefinition of Cassia tora root forms in painting.

A Cassia tora root pattern is composed of a taproot, branch roots and nodes. These compo-
nents provide creative impetus in creating paintings with metaphorical propensities. Meta-
phor is used to express images in words. It is a figure of speech that equates two different
things for the sake of comparison in order to suggest a resemblance (Hag-berg in Gaut and
Lopes, 2005). For instance, the phrase ‘going back to my root’ means ‘going home’. Root
forms have been extensively used in linguistics as verbal metaphors. Carrol (2001) claims
that some artworks are considered metaphoric because they communicate in the same way
as verbal metaphors. This explains the need for metaphor in compositions such as paint-
ings. Visual metaphor is idea-based. It is epitomized by artworks, such as paintings, created
through a combination of form and content.

With Cassia tora root forms as a subject matter, the researcher created subjective realities.
A variety of techniques, including brush gesture, palette knife impasto, hard-edge, bright
colours and linear expressions were major interrogating elements in the blending of forms
and contents. In the light of analogous and contextual processes, buoyed by the elements
and principles of design, the research brought to bear the emotional content and symbolic
colours of Vincent Van Gogh’s Post-Impressionist style, made visible with vibrant colours
in painting (Gardner and Kleiner, 2013). Sullivan (2010) observes “central feature of art
practice is that it embodies ideas that are given form in the process of making artworks.
Irrespective of the informing sources, media preferences, or image-base, the artist exercises
individual control over the creation and presentation of artefacts as forms of knowledge.”

In painting, metaphorical transformation of forms came to prominence in the modernist era

with the works of Postimpressionism, Fauvism, Symbolism, Expressionism, Cubism, Da-
daism and Surrealism. In Postmodernism, Minimalist, Video, Performance, Conceptual
and Installation artists create artworks through conceptual blending. The conceptual ap-
proach is elucidated by the works of contemporary artists, such as Hadieh Shafie, El
Anatsui, Eva Obodo, Jerry Buhari and Jacob Jari. Shafie uses luminous circular scrolls as
metaphor to express the seductive power of love and passion (Ritzel, 2016). In the same
manner, Jari uses discarded materials in his work as metaphor that expresses the need to
give an individual a second chance to make amends of his past mistakes (Joshua, 2015).

The study aimed at utilizing the root forms of Cassis tora plant in creating paintings that
metaphorically comment on the well-being of Nigerians. This Paper focuses of the fourth
objective that states: to create paintings with multiple Cassia tora root patterns. The study
adopted the Practice-Based Research Design with methods and techniques that were effec-
tive in accomplishing the research works. As postulated by Candy (2006) and Sullivan
(2010), Practice-Based is a form of research that strives towards advancing knowledge,
conducted through practice and for practice purposes.

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Cassia tora Plants

Figure 1: Cassia tora plants at their natural habitat in Figure 2: Cassia tora plant roots,
Zaria, Photograph, Stephen Achugwo, 2015 Photograph, Stephen Achugwo, 2015

Related Works

Figure 3: The Thriving Pine & Roots of Well-being, Unknown Artist, n.d. http://www.dartmouth.edu/~healthed/roots.png

‘The Thriving Pine and Roots of Well-being’ (Figure 3) was designed to motivate students at the Dartmouth College
(Trustees of Dartmouth College, 2018). The graphic design was created with an image of a pine plant and text that describe
some aspects of well-being. The upper part of the plant is a triangular silhouette that appears like a foreshortened trunk and
the foliage of a pine tree. Some branch roots emerge from the base of the pine trunk, spreading over the foreground. The
fibrous root structure differs from Cassia tora root pattern because of the absence of the taproot. Nonetheless the idea of well-
being as typified by this graphic design is essential to the formation of visual metaphors with Cassia tora root forms.

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Sunset

Figure 4: Sunset, Acrylic on canvas, 86 cm x 61 cm, Erika Pochybova-Johnson, 2013,

http://4.bp.blogspot.com/...

In Sunset (Figure 4), Pochybova-Johnson deploys a combination of flipping and intricate dot techniques. A plant is
turned upside down. The roots are upside, enlivened by sunset, whilst the lush foliage is recreated underground. The seesaw
transposition of plant foliage and roots symbolizes the ups and downs of everyday life. This unique style blends contemporary
aesthetics with old European Art. Commenting on ‘Sunset’, Pochybova-Johnson asserts: “The visual arts, in particular, imbue
an object, such as a painting or sculpture, with a wordless language of thought, emotion and visual experience” (Artsceneto-
day, 2013).
‘Sunset’ does not completely concur with this study due to the sky and hills incorporated into the composition. Roots
are not detached from the flipped tree. Perspective was incorporated into the composition in the portrayal of natural forms,
such as sky and ground planes. Cassia tora roots are distorted in most of the research paintings whilst other natural forms are
deemphasized in the research compositions. However, Pochybova-Johnson’s ideas as explicated by this work was essential
in this study. The metaphorical propensities of her philosophy of ‘living in harmony with nature’s purity’ was also explored.

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The Creative Procedure

The creative procedure began with preliminary stages that entailed realistic sketching of Cassia tora plant roots. This was
followed by sketch redefinition, where the root forms were transformed into semi-abstract and pure abstract compositions.
Some of the drawings were further developed into paintings. The procedure is typified by the following drawings.

Plate I: Tafasa, Pen, Ink on Paper, 46 cm x 55 cm, Plate II: Echoes II, Acrylic on Paper, 91 cm x 124 cm,
Stephen Achugwo, 2015 Stephen Achugwo, 2015

‘Tafasa’ is a realistic drawing of a Cassia tora root pattern, replete with a taproot, branch roots and nodes. This preliminary
stage captures the visual detail of Cassia tora plant roots. The second drawing, ‘Echoes II’ is a semi-abstract composition.
The conceptual drawing is composed of Cassia tora root patterns with some root tips turned upside-down.

Discussion on the Paintings produced based on Objective 4

The Fourth Objective entailed the creation of conceptual paintings with multiple Cassia tora root patterns, which were
imported to the picture plane. The paintings dwell on depth, crowded root forms, space and time. ‘Roots of inspiration’ relies
on circles and ripples of curvilinear lines that totalize the picture plane. ‘Flames’ relies on Cassia tora root tips. ‘Digging for
gold’ dwells on concentric orientation of the root forms. ‘Fiesta’ and ‘Forest of wisdom’ series dwell on crowded root forms,
depth, space and time.

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Roots of inspiration

Plate III: Roots of inspiration, Oil on Canvas, 137 x 77 cm, Stephen Achugwo, 2015

.
‘Roots of Inspiration’ (Plate III) is a monochromatic painting, dominated by brown hues. It is composed of branch roots
and nodes, depicted with curvilinear lines and circles. The visual metaphor lays bare the sources of inspiration and meditative
forces that stir an individual to make progress in life. It draws analogy from the Cassia tora plant root healing attributes and
the well-being of Nigerians. At the middle of the composition there are linear forms made of lighter tones of yellow and
brown hues. At the top centre, the circular nodes seem to be falling down through the space, reminiscence of the falling of
the gift of Manna from heaven. The painterly expression serves as a metaphor for hope and inspiration.

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Flames

Plate IV: Flames, Oil on Canvass, 110 cm x 140 cm, Stephen Achugwo, 2016

‘Flames’ (Plate IV) is composed with multiple Cassia tora root tips that are turned upside-down. The picture plane is to-
talised by root tips of red, yellow and brown hues. The kaleidoscope of Cassia tora root tips gives the impression of flames.
At the right side of the painting, there is a root tip depicted in tones of yellow ochre, with a pair of branches that spread across
other root tips. The root tips phantasmagoria, buoyed by warm colours, re-enacts an allegory of reincarna-tion, expressing
the notion that the end of a generation marks the beginning of yet another generation – world without end. The painting is a
metaphor for hope and progress.

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Digging for Gold

Plate V: Digging for gold, Oil on Canvass, 132 cm x 87 cm, Stephen Achugwo, 2016

‘Digging for Gold’ (Plate V) re-enacts an allegory of the ‘Three feet from Gold’. It is composed of multiple Cassia tora
root patterns. The picture plane is filled with Cassia tora root patterns that are arranged in a concentric structure, giving the
impression of a trench. The taproots from various radial axis across the picture plane tend to tie through their root tips. The
branch roots spiral towards the central axis. The concentric and spiral arrangement arouse a sensation of centrifugal forces
that pull the viewer into the deep whole beneath the earth. It also evokes a feeling of loss, in a strange environment. The
painting conceptually expresses the notion that the treasures of this world are hidden beneath the earth and one must dig deep
to find them. It is a metaphor for perseverance, hope, enrichment and wealth.

Fiesta and Forest of Wisdom series of Paintings

‘Fiesta’ and Forest of Wisdom series of paintings dwell on common themes about the societal happenings in Nigerian.
The visual metaphors blend the following concepts: ‘variety is the spice of life’ (an allegory), the New Yam festival cele-
brated annually in Eastern Nigeria, and the Cassia tora root forms. The painting compositions dwell on cluster arrangement,
depth, space and time, which resonates local melodies. The ‘Forest of Wisdom’ and ‘Fiesta’ series are visual voices that sing
to labour; a labour that sings to the agricultural tradition of Nigerian farmers and the well-being of the nation.
In each painting, multiple Cassia tora root patterns are deployed to the picture plane. The metaphoric contents draw an
analogy between the crowd forms and socio-cultural well-being of Nigerians. The picture plane is crowded by a variety of
root patterns, which appear like a forest found in eastern Nigeria. The paintings reflect on the New Yam festival (Iri Ji Ohuru),
held in some towns in eastern Nigeria. ‘New Yam’ is celebrated annually in August at the beginning of harvest. It is a cultural
event that is characterised by a theatre of art forms, such as music, performance and folklores.

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The multiple root forms represent the celebrants and their spectators. Though ‘Fiesta’ and ‘Forest of Wisdom’ series
of paintings share common thematic direction, there are some variations among the three paintings in view of the
transformation of Cassia tora root forms, choice of root components, colour combination, rendition of time of the day
and the sequence of events. The following paintings are synopses of the events at the ‘New Yam’ festival. They are visual
metaphors for peaceful coexistence and progress.

Forest of Wisdom

Plate VI: Forest of Wisdom, Oil on Canvass, 152 cm x 183 cm, Stephen Achugwo, 2016

‘Forest of Wisdom’ (Plate VI) is a monochromatic painting, composed of multiple Cassia tora root patterns and a back-
ground of yellow and brown hues. The composition also relies on space, depth, light, time and crowd forms. The picture
plane is crowded by a variety of Cassia tora root patterns, which appear like a forest. The crowd forms represent the villagers
and their spectators. The dominance of yellow hues and the brightness of the composition are symbolic of early morning
sunrise. The nodes are completely eliminated from the composition. The absence of the nodes signifies that the village has
been cleansed from all sorts of sins, restoring trust among the people. At this moment, the elders have recited the folklore,
broke the Kolanuts and poured libation to the ancestors, giving thanks to God for bountiful harvest and progress of the village.
There is peace, unity, happiness and excitement. And with the early morning sunrise, the villagers have started celebrating.

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Fiesta

Plate VII: Fiesta, Oil on Canvass, 120 cm x 150 cm, Stephen Achugwo, 2016

In ‘Fiesta’ (Plate VII), the celebration is at climax. The dominance of red hues is symbolic of the hot afternoon weather 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! With the glitz and glamour, the fiesta is now at full gear. The drum beats are loud! The dance, fashion
parade and celebration are happening. The people are happy. Nodal forms are now introduced into the composition. The
nodes enshrine the aspirations of the people.

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Forest of Wisdom II

Plate VIII: Forest of Wisdom II, Oil on Canvas, 152 cm x 183 cm, Stephen Achugwo, 2016

‘Forest of Wisdom II’ (Plate VIII) is the third painting chronicling the sequence of socio-cultural events at the New Yam
festival. It is a monochromatic painting that dwells on depth, blue hues, space and time. The cool colours are symbolic of
evening, serene environment and quietness. It is evening and most of the activities are over. ‘New Yam’ festival is still on,
as epitomized by the crowded root forms, but not at full swing at this time of the day. It will soon be over for today’s activities.
Nonetheless, the celebration continues tomorrow.

Findings based on the Fourth Objective

The research discovered that in the paintings created with multiple Cassia tora root patterns, crowded root forms on the
picture plane and depth appear like forest. For this study, crowded root forms epitomizes hope and progress, particularly in
‘Root of Inspiration’ and ‘Flames’ series of paintings. However, in the ‘Fiesta’ and ‘Forest of Wisdom’ series of paintings,
the cluster of Cassia tora root forms are viewed as environment charged into festive mood. The compositions suggest a
festival. The rhythm of root patterns represents crowd of spectators. The harmony of colours expresses peaceful gathering
that echoes an elaborate party, usually outdoors.

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Conclusion
The compositional elements of the research paintings are dominated by Cassia tora root forms, with some variations in
materiality, techniques and the sizes of the canvases. A variety of titles, consisting of ‘Roots of inspiration’, ‘Flames’, ‘Dig-
ging for gold’, ‘Fiesta’ and ‘Forest of Wisdom’ show that the artist’s thematic direction transcended beyond the physical
plant roots into visual metaphors of profound philosophical significance. Cassia tora root forms were rendered as an aesthetic
lingo to articulate a world of peace, harmony and mutual consolation. The metaphoric compositions conceptually blended
the healing attributes of Cassia tora plant roots and well-being, in view of societal happenings, which include labour, festival
and a utopian world. Root forms served as metaphors for inspiration, love, hope, progress, enrichment, perseverance among
other motivational themes.

The paintings produced are aesthetic documents of various studio experimentations with root forms, well-being phenom-
ena, materials and techniques. The visual metaphors and painterly expressions focused on transforming Cassia tora root
forms metaphorically, which is distinct from the traditional study of the Cassia tora plant roots. Works produced are visual
metaphors or conceptual paintings because they relied on analogous, dialectical and contextual methods. The paintings reveal
Cassia tora root forms metaphorical propensities with a blend of concepts, compositions and painterly expressions that evoke
a better state of mind for Nigerians. Metaphorical transformation of forms in painting is epistemological indefinite. The
metaphorical transformation of Cassia root forms in this study has transcended the phenomenon of roots beyond their botan-
ical gardens into icons of artistic expressions. Hence the research has fulfilled the assertion by Read (1977) that art has no
limit and that it is everything that can be imagined and expressed.

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