Creative Integration of Metal into Wood Art Forms

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Wood and metal have a long tradition, but materials or literature related to their joint application are farfetched. Though students learn to create works of art from wood and metal, learning on the two materials are done separately resulting in the lack of direct link between the two materials. Secondly materials and processes involved in working with wood and metal though may have certain similarities also have vast differences that pose threats to the success of wood-metal integration. Moreover works that result from the integration also lack necessary communication jargons, for that matter students or workers are torn between metal and wood terminologies that could do little to help. Also techniques involved in the use of the two materials lack proper documentation which results in the state of time marking or stagnant development. This is because there is no evidence of the latest ideas on which improvement or development could be based. In view of this the researcher adopted a mixed research methodology which includes the qualitative (content analysis, collective case study and ground theory study) and quantitative (experimental and descriptive research) for the collection and analysis of information drawn from the samples. Due to the heterogeneous nature of the population, the probability sampling techniques (simple random and stratified random sampling) and the nonprobability sampling techniques (purposive sampling and convenience sampling) were employed. The researcher therefore arrived at the evolution and current trends in the field of wood-metal integration; the knowledge of relevant information of the two materials for the successful or purposeful integration; information of wood and/or metal complementary materials relevant to the integration of both materials; bases for calculative and constructive measures to curb negative environmental influences on wood-metal integration. Based on these the researcher came up with the following iv findings: factors that are worth considering prior to the integration of wood and metal; aspect of wood and metal that could be integrated; methods and techniques by which wood and metal integration could be achieved; convenient sizes and package of wood and metal specimens that could be kept as reference materials in the library and other places to enhance teaching and learning; and also jargons for the facilitation of easy communication of the findings among future professionals that may emerge through the education on the outcome of this research. This dissertation is recommended to institutions that study integrated art as a source of integration ideas. Also according to the vision of the researcher, it is a study that has just begun in the development of a new art paradigm of study in an unlimited scope. In view of this the researcher recommends its adaptation and developments as a specialty in art and art education that will deal with possibilities related to wood and metal. Recommended research areas include: wood integration into metal art forms; wood and metal integration as a tool for industrial waste management in the wood industry; and the essence of integration in art education notwithstanding others areas regarding the utilisation and behaviour of the two materials and their complementary materials. According to Koestler cited in McCreight (1991), “the principal mark of a genius is not perfection but originality”. This dissertation being the first of its kind deserves other supplementary studies to make it whole or perfect.
A Dissertation submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology-Kumasi in partial Fulfilment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN ART EDUCATION Faculty of Art, College of Art and Social Sciences.