Root

Forms

A PhD Exhibition

BY

Stephen Chinedu ACHUGWO

Department of Fine Art

Faculty of Environmental Design
Ahmadu Bello University Zaria Nigeria

7th -21st April, 2019

Introduction
It is ten years by 2019, when the PhD Painting programme Like all conceptual works, its meaning lies beneath its superficial outlook. According to
was introduced in Ahmadu Bello University, Zaria. By the Stephen, the roots are symbolic of a unification of the different fashionable wears in
end of 2018, it had graduated twelve candidates: Mohammed Nigeria and their uniqueness as a collection despite foreign influence. In other words, local
Sani, Emmanuel Irokanulo, Blaise Gbaden, Joshua Oyedemi, designs have taken root even as foreign wears continue to be attractive. For him who stayed
Amos Aprara, Adewale Ajayi, Johnson Oladesu, Talatu long enough in South Africa to experience, first hand, the full impact of the term
Adiwu, Susan Dingba, Chidimma Nwankwo, Mustapha xenophobia, Fashion Trends XI is expressively metaphorical. Essentially, many of the works
Nadama and Amos Agaku. The high number of graduates he has produced at this time are in the same mould as Fashion Trends XI.
paints an ironic picture when the antagonism mounted
against the programme by several artists and scholars is Need I make further clarification on how much Stephen has developed under the PhD
considered. Conferences were held and verification panels programme?
unleashed, all in an attempt to shut it down but it has
survived. Ten years is enough time within which to take Professor Jacob Jari
stoke of the programme. For some of us who have been Zaria, February, 2019.
involved with it since its introduction, we are better placed to
assess its performance.
I have always thought that Stephen Achugwo's
transformation into a conceptual painter best illustrates the
accomplishment of the PhD programme. It is almost difficult
to believe that the same artist painted the three works
presented above. Stephen painted the work shown on page 2 in
1997 as an M.F.A. candidate. It shows a stylised landscape,
which employs concentric strokes to capture the attractiveness
of a city to rural women who appear to move briskly to its
centre. The second work, on the other hand, shows an attempt
at a realistic representation of a beach with palm trees which
almost ends up like a souvenir piece. It was strangely,
painted in 1999, two years after the work shown in Figure 1
was completed.
This divergence in style at this period of his training
illustrates Stephen's struggle to establish an identity. He
produced the work shown on page 4 in 2017 while
undergoing the PhD programme. It portrays an aspect of a
root in silhouette against a collage of pieces of fabric. At a
glance, it appeals to the viewer as a prefabricated piece of cloth.

1
On the Market Day, Oil on Canvas, 90 cm x 150 cm, Stephen Achugwo, 1997

2
Beach-side Exchange, Oil on Canvas, 53 cm x 91 cm, Stephen Achugwo, 1999

3
Fashion Trends XI, Mixed media, 120 cm x 138 cm, Stephen Achugwo, 2017

4
Metaphorical Rendition of Cassia tora root forms
in painting

PhD in the studio is a distinctive area of academic venture that I feel,

conceptuality should be the bases for it. "Metaphorical rendition of Cassia
tora root forms in painting" by Stephen Chinedu Achugwo” satisfies my
position on conceptuality of ideas in a PhD studio (Painting and
Sculpture) programme. This approach, which I always insist, is the best
option, particularly in Ahmadu Bello University, Zaria, which
encourages such novel ideas, is welcomed. When it is conceptual, then it is
unique and the contributions to knowledge will come out without hitches.

Over the years, artists embracing various art movements have used the
metaphorical approach in diverse ways in the production of artworks to
express their emotions or to tell certain stories about the society. Root
forms have been vastly used in linguistics and other fields as metaphors
for diverse expressions. Achugwo's PhD research in painting is contextual
and conceptual. With a closer look at some root inspired artworks as well
as works that adopted the metaphorical approach, it is my contention that
he has practically accomplished the task expected in this Practice-based
programme by filling some gaps inherent in the metaphorical rendition of
forms in painting.

Achugwo's exhibits are conceptual appropriations of societal happenings in

Nigeria, using the Cassia tora root forms. His works especially the 'Root
of Fashion' series interrogate media, technique and metaphorical approach
in painting. Secondly they highlight the need for a better wellbeing for
Nigerians, using root forms and allegory. In my opinion he has done well
in his reaction to contemporary realities. Zaria Art School PhD Painting
has moved steadily upward in an effort to contribute positively to studio
research in Nigeria and the world in general. Indeed, the candidate’s work
has added to the literature of visual art, another area of thought that could
also be harnessed further, which has satisfied the intellectual enquiry.

Professor Mu'azu Mohammed Sani

April, 2019.
Department of Fine Art
Ahmadu Bello University Zaria

5
 Curatorial Statement
The image world is brimmed with visual metaphors with a recursive
thematic focus on 'issues'. Studies have shown that too much emphasis
on issues with less emphasis on the well-being of citizens will not lead to
the overall progress of a nation. For Nigeria to make substantial
progress, there should be considerable attention paid to the well-being of
her citizenry. The 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 rendition of root forms, as
another vibrant way of articulating solutions to solve her problems.
The philosophy behind these artistic creations is dominated by positive
mental attitude. The artist believes that with positive mental attitude, a
nation can make great progress. The metaphorical rendition of root forms
as visual symbols that reflect on the well-being phenomena relies on the
researcher's perceptual 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.
With Cassia tora root forms as a subject matter, the researcher created
subjective realities. Brush gesture, palette knife impasto, hard-edge,
bright colours, linear expressions and collage techniques were major
interrogating elements in the rendition of forms. 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. 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.”
Art exist as a duality of theory and practice. The absence of one renders
the other incomplete and in an extreme circumstance, inconsequential.
The Catalogue is premised on giving the viewer fresh views of plant roots
and root-inspired artworks.
Hero, Oil on Canvass, 112 cm x 92 cm, Stephen Achugwo, 2015

6
The duality of this catalogue reduces prejudices. Kleiner (2011)
acknowledges there are shortcomings that freedom of interpretation poses,
especially for the viewer in understanding works of art. However, Sullivan
(2010) contends that such criticism fades away as the viewer absorbs the
contextual implications of the works. Viewing the works from the viewpoint
of the researcher's philosophy is appropriate, as the artist's personal and
social worlds would be better understood if viewed from the artist's
perspective. In other words, the viewer would have deeper knowledge about
Cassia tora roots if the artist's personal views are comprehended.

A variety of titles including 'Germination of Gold', 'Aso Rock', 'Bless them

Mama Africa', 'Romeo and Juliet', 'Roots of inspiration', 'Digging for gold',
'Fiesta', 'Forest of Wisdom' and 'Roots of Fashion' show that the artist's
thematic directions transcended beyond the physical roots. They draw
analogies from societal happenings such as relationships, politics, farming
tradition, new yam festival and fashion trend. Root forms are rendered as
metaphors for inspiration, love, perseverance among other motivational
themes. The compositional elements of the research paintings are
dominated by Cassia tora root forms, though there are variations in
materiality, techniques and the sizes of the canvases. Unconventional
materials, such as jute, polythene (rice sacks), woollen yarns, raffia, beads
and fabrics offcuts were also used.

The paintings produced are aesthetic documents of various studio

experimentations with root forms, well-being phenomena, materials and
techniques. They focus on rendering root forms metaphorically which is
distinct from the traditional study of the Cassia tora roots. Works
produced are visual metaphors or conceptual paintings because they relied
on analogous, dialectical and contextual methods. The works reveal Cassia
tora root forms metaphorical propensities as the compositions evoke a better
state of mind for Nigerians. The portfolio provides viewers with
unprejudiced perspective, to ponder over the works, evolve their own
interpretations and bring forth fresh views on root forms.

Stephen Chinedu Achugwo

PhD Painting, Department of Fine Art,
Ahmadu Bello University Zaria. February 2019. A Letter to Kandinsky, Acrylic on Paper, 124 cm x 91 cm, Stephen Achugwo, 2015

7
Review
Nature remains a great source of inspiration for artistic expression by
artists. Painting compositions created based on nature can take many
forms and serve many purposes, because nature is such an immense field,
which encompasses several things. The elements and principles of art are
derived from nature, through imageries and activities experienced in the
environment, which have inspired a lot of artists. Stephen Chinedu Achugwo
of recent, is one among other numerous artists before him, that derived
inspiration from nature to come up with creative paintings.
His paintings created are metaphorical renditions of the root forms of Cassia
tora plant. These paintings created are with the desire of producing
compositions that reflect on the wellbeing of Nigerians metaphorically. Also,
in the paintings produced, the dynamic features of Cassia tora root patterns
are explored. Colours are symbolically infused into the root forms to enhance
their metaphoric content. Generally, in the field of painting, metaphorical
rendition came to prominence in modern era. Post-Impressionism, Fauvism,
Symbolism, Expressionism, Abstract Expressionism and Cubism are
among the modern art movements that utilised metaphorical approach. For
instance, in Postmodernism, metaphorical rendition of forms is used by
Minimalist, Video, Performance, Conceptual and Installation artists.
The metaphorical rendition of Cassia tora root forms in painting by
Achugwo is viewed as a product of “Revolution” that attempt at creating “a
new thinking”. The paintings are deviation from the traditional way of
depicting the subject matter in creating conceptual paintings. The creations
are innovative approach for the painter in portraying emotional and socio-
cultural well-being. The painting compositions are a stimulus of
philosophical thought the invoke the notion of elevating the ordinary (weed
such as Cassia tora) to the extraordinary visual symbol. The paintings
transcend the phenomenon of root beyond its botanical garden into an icon
of artistic expression with profound metaphorical significance.
One observes that, the paintings created by Achugwo hinges on the features
of Post-Impressionism, with particular reference to the works of Vincent Van
Gogh, as exemplified by “Tree roots and trunks”. The paintings are based on
the portrayal of emotions, intellectual and visual imagery. He used vivid
colours and thick application of pigment.
The major compositional elements among the “Singular Element” series of
Achugwo paintings are branch roots, a taproot and nodes. In this particular series,
one can see clearly, a distinct variation in colour combination, shape, depth and the
interaction between space and form. An example of work in this series is a
composition titled “Germination of Gold” (ink and acrylic on paper) is a piece
composed with Cassia tora root pattern that represents “Risen Hero”, set against the
background of brown hues, symbolic of the battlefield.
The Romeo and Juliet series deploy Cassia tora root patterns and symbolic colours.
The root forms are depicted using bright colours. The composition titled “Romeo and
Juliet” like the others in the series are rendered in similar metaphorical direction,
using vibrant colours and the amalgamation of double root units. However, “Romeo
and Juliet III” is more geometric than the preceding paintings in the series. Straight
lines are deployed in the composition, using the hard-edged technique of painting
to transform Cassia tora forms.
The “Nodal Form” series consists of “Nodes of inspiration”, “Gyrating Stars” and
“Reflections”. A composition of interest is titled “Gyrating Stars” (Oil on Canvas).
The work portrays nodes standing out from the back ground. Here, the taproots
and branch roots are completely eliminated from the composition, thereby freeing
the node pattern. The picture plane is filled with various sizes of nodes, depicted
using various tones of alizarin crimson (a fugitive colour) and yellow ochre.
The multiple element series consists of ‘Roots of inspiration’, ‘Flames’, ‘Digging for
Gold’, ‘Fiesta’ and ‘Forest of Wisdom’ series of paintings. An example of works in
this particular series is titled “Digging for Gold” (Oil on Canvas). The painting is
a monochromatic composition of blue hues. The view of the artist, that “the treasures
of this world are hidden beneath the earth and one must dig deep to find them” is a
factor that must have influenced the creation of this composition. The painting is
composed of multiple elements of Cassia tora roots.
The “Roots of Fashion” series are compositions based on the use of mixed-media,
composed of a cross section of a Cassia root pattern and flat planes. The root forms
are created using pieces of jute, cut out from waste jute sacks, while the flat planes
are created using polythene materials. The use of jute and polythene materials,
according to Achugwo are to enhance the metaphorical content of Cassia tora root
forms. The painting composition titled “Roots of Fashion II” (Polythene, Woollen
yarns and Fabric offcuts) is a work that metaphorically gives account of fashion
trend in Nigeria. It is a polychromatic composition, dominated by blue hues.
8
The picture plane is dominated by
cross-sections of Cassia tora root
patterns, created using coloured layers
cut from polythene material. The
background is composed of fabric
offcuts of blue, yellow, green and
brown hues. The variety of fabric
materials and the colourful nature of
the composition, according to the
artist, symbolize the abundance of
wears and fashion styles, currently
worn in Nigeria.

Conclusion
The paintings show the artists’
capability of creating knowledge by
visually contemplating plant roots in
painting. The creations by the artist
are philosophical thoughts that invoke
the notion of elevating the ordinary to
the extraordinary visual symbols.
Hence fulfilling the assertion by
‘Read’ that art has no limit and that
it is everything that can be imagined
and expressed. Through the painting
compositions created, metaphorical
rendition of Cassia tora root forms has
given us metaphors that transcend the
phenomena of roots beyond their
botanical garden into expression in
painting.

Professor Philip O. Gushem

Department of Fine Art,
Ahmadu Bello University Zaria.
April 2019.
Aso Rock, Oil on Canvass, Size: 122 cm x 122 cm, Stephen Achugwo, 2015

9
 Another Letter to Kandinsky Roots of inspiration
Acrylic on Paper, 124 cm x 91 cm, Stephen Achugwo, 2015 Oil on Canvas, 137 cm x 77 cm, Stephen Achugwo, 2015

10
Germination of Gold, Ink &Acrylic on Paper, 91 cm x 124 cm, Stephen Achugwo, 2015

11
Roots of inspiration III, Oil on Canvas102 cm x 153 cm, Stephen Achugwo, 2016
12
 Hero IV
75 cm x 79 cm
Stephen
Achugwo
2015

13
Bless them MamaAfrica IV
Acrylic on Canvas,
77 cm x 61 cm,
Stephen Achugwo, 2015

14
Guerrilla Warrior, Oil Pastel on paper, 91 cm x 124 cm, Stephen Achugwo, 2015 15
Romeo and Juliet II, Water Colour on Paper, 91 cm x 124 cm, Stephen Achugwo, 2015
16
Romeo and Juliet III, Gauche on Paper, 80 cm x 100 cm, Stephen Achugwo, 2015
17
Nodes of inspiration II, Oil on Canvas, 86 cm x 144 cm, Stephen Achugwo, 2016
18
Nodes of inspiration, Oil on Canvas 134 cm x 99 cm, Stephen Achugwo, 2016 Gyrating Stars, Oil on Canvass, 137 cm x 107cm, Stephen Achugwo, 2016

19
Reflections, Oil on Canvass, 153 cm x 102 cm, Stephen Achugwo, 2016 Digging for Gold, Oil on Canvass, 152 cm x 107 cm, Stephen Achugwo, 2016

20
Flames, Oil on Canvass, 110 cm x 140 cm, Stephen Achugwo, 2016

21
 Forest of
Wisdom,
Oil on
Canvas, 152
cm x 183
cm, Stephen
Achugwo,
2016

22
 Fiesta,
Oil on
Canvass,
120 cm x
150 cm,
Stephen
Achugwo,
2016

23
 Forest of
Wisdom II,
Oil on
Canvas, 152
cm x 183
cm, Stephen
Achugwo,
2016

24
Roots of Fashion, Jute and Polythene, 102 cm x 165 cm, Stephen Achugwo, 2017

25
Roots of Fashion II, Polythene, Woollen Yarns and Fabric offcuts, 122 cm x 182 cm, Stephen Achugwo, 2017 26
Roots of Fashion III, Woollen Yarns, Fabric offcuts, Polythene & Beads, 122 cm x 182 cm, Stephen Achugwo, 2017 27
 Roots of
Fashion IV
Mixed media
152 cm x 183 cm
Stephen Achugwo
2017

28
Roots of Fashion VII, Fabric offcuts, Woollen Yarns, Jute, Polythene & Raffia, 122 cm x 182 cm, Stephen Achugwo, 2017 29
When I was creating the mixed media series, PhD Painting Studio, Department of Fine Art, Ahmadu Bello University Zaria, 2017
Profile
Stephen Chinedu Achugwo is a Contemporary Artist from Nigeria. He obtained a B.A. (1995) in Fine and Applied Arts (Majored in Graphic Design) at the
University of Nigeria Nsukka and in 2000, a Master of Fine Arts (M.F.A. Painting) at the Ahrnadu Bello University, Zaria. His experimental nature is
realized in his artworks, which transcend common cryptic cultural critic and materiality into icons of artistic expression.

Acknowledgment
I acknowledge the immense contribution and guidance of my supervisory committee of Professor Mu'azu Mohammed Sani, Professor Philip Obed Gushem
and Professor Jacob Jat Jari. I am grateful to the staffs and students of Fine Art and Industrial Design Departments for their support during my study. And
many thanks to my family for their love and support. My thanks also go to all those who have contributed in one way or the other for the successful
completion of this programme. I remain grateful to you all for your constructive criticism, encouragement and advice. I thank the almighty God for His
stupendous blessing. To God be the glory.

31
Special Thanks to
Achugwo's Family, for their support.

Photographs and Designs:

Dr Stephen Achugwo
https://www.artisticsplendor.com

Printing:
Renetech Ltd. Tetlow Street, Opp Old Stadium, Owerri.

Artistic Splendor ©2019 Nigeria.