Sculptural forms for emotional expression

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“Sculptural forms for emotional expression” seeks to reveal the damage tourist or airport art has caused creativity, and also to show the potentialities of wood as a sculptural material for the production of sculpture. It also highlights on the power and supremacy of the artist over his material herein referred to as “sculptural forms”. This research indicates the spirit or life possession of a piece of wood or stone; but just as the spirit of the prophet is subject to the control of the prophet, so the spirit that indwells a wood or stone is subject to the control of the carver. It takes the emotional spirit of the sculptor to evoke this indwelling spirit of the working material to be made visible, and in this wise the artist actually dictates the composition and style, through a particular technique and finish. The application of distortions, exaggeration and elongations of the overall form in a semi- abstract expressionist fashion would be the domineering feature in the project for the achievement of full expression, in a personal way. The project therefore offers a platform to sculptors for the discussion and a possible expression of similar emotions in their works. Essentially, the thesis is divided into four main chapters; each dealing with a specific issue. There is an introduction which precedes the main chapters indicating the statement of the problem, the objective, justification of the objective, delimitation of thesis and research methodology. Chapter one reviews the related literature, whiles chapter two looks at five experiments using different sculptural wood forms to express emotions in a personal way as a prelude to the actual project works. These experiments discuss personal ways of expressing emotions of joy, pain, sorrow, fear, depression and love. Chapter three deals with the main project based on the experiences and findings in the experimental works into producing four additional works of varied emotions. Chapter four looks at the results, recommendation and conclusions, and ends with the bibliography
A thesis submitted to the Board of Postgraduate Studies, Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfilment of the requirement for the award of the Degree of Master of Fine Arts in Sculpture, 1997