THE ARTIST JOURNAL (TAJ) Volume. 2, No. 4, November, 2018

APPLICATION OF ACRYLIC AS A MEDIUM OF VISUAL EXPRESSION

Fatai Olumide Olufowobi Department of Art, Design & Printing Technology The Polytechnic, Ibadan, Oyo State

ABSTRACT The researcher looks at acrylic yarn as a medium of visual expression using bond materials as vehicle to stick the yarn to a ground. The application of bonded is a paradigm shift from what designers displayed during exhibitions which is a contribution to the body of knowledge. The objective of the study is to espouse other alternative technique in which will be complementary to other textile medium of expression known like, screen printing, weaving, resist, design application and so forth. The researcher employs studio activities using different elements and motifs, grounds and different to achieve creative visual imagery that can be displayed by textile specialist to conform with how other arts specialization displayed their works in terms of mounting and framing rather than the usual speculative works of textile designers. The methodology adopted was experimental and descriptive in nature. Continuous studio experimentation finally revealed that woven pile technique could also be used by textile designers to complement other woven techniques that are abound and taught in schools. The findings show that the technique is a bridge between works of other artists, thereby creating a shift from the traditional display. Furthermore, RTV Silicon sealant is a better alternative to other binding agents. The study concludes that non-woven technique of textile production is complementary to existing techniques. Hence, it is recommended that this technique be explored by textile designers.

Keywords: Fabric, Acrylic, Textiles, Techniques, Yarn.

Introduction Textile is abroad term used in describing any material of fiber origin, therefore, fiber, yarn, fabrics and other products derived from aforementioned are regarded as textile and can be used at every stage of production (Olufowobi, 2009:91). The world Textile comes from Latin word “Textile” and the French word “Texere” pertaining to weaving or to woven-fabric (Charu, 2011:3). She (Ibid) went further to explain that textile covers all the woven materials whether made of , , , , or other manmade, fibers. Textile is a finished product from raw material called fiber which is the origin of any textile products. Textiles are indispensable part of human civilization. Textiles serve the individual, the home and the country. We are all aware that the prime needs of man are food, clothing, and shelter. Charu (Ibid: 5) describes fiber in simplest term s a continuous filament long enough to be spun into yarn while yarn is number of fibers twisted or turned together along its length. To weave or knit a fabric it is necessary to have a continuous fiber length. i.e. a thread or a yarn. Thus, construction of yarn dates back since the manufacturing of fabric. Primitive people discovered that a succession of short fibers could be twisted into a continuous strand called yarn. In the beginning the yarn was spun by man with bare hands without the aid of tools, before the spindle was evolved for . Now, in textile industries there are electric driven machine employed for spinning i.e. Flyer, Mule, Cap, and ring spinning systems. A yarn could come from any source, be it natural or synthetic and sometimes blended to form a single tread or material. But for the purpose f this experimentation, acrylic yarn otherwise and popularly referred to in this clime as “woolen” yarn will be used but this does not foreclose the use of other yarns that are readily available in the market for further experimentation. Fabrics with a pile can be in various qualities and are used in many different ways, for upholstery, and in the clothing trade for men's, women's and children's wear and household articles, such as towels, curtain materials, cushion covers, e.t.c. the pile is formed either with the warp or weft and can be very simple in construction or very complex. This probably explains why Gale (1968:34) asserts that:

Pile fabric is a term referring to all cloths that have thread projecting either in loop form or as straight fibers from the ground of a fabric.

This type of fabrics structure gives more thickness, ornamentation and wearing properties to a cloth. The fabrics woven as pile cloths owe much of their effects to the large amount of threads used and the treatment given to the woven cloth in the finishing processes. However, textile expert seems too rigid in their choice of the fabric as if it is the only medium that can be used in expressing ideas. These are the short comings this study looks

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for better ways bonded pile works could be done and accepted locally and for international consumption as alternative medium of visual expression in art.

Background to the Study The term yarns refer to all those tread used in or weaving, which interlace to form a cloth or fabric and are manufactured from natural or man-made fibers. The natural yarns are obtained from animals and vegetables and the man-made or synthetic are constructed chemically. Elizabeth Gale (1968:16) posits that:

These two groups of fibers can be combined during the spinning processes, by addition a percentage of one group to the other, and spun as one yarn, this blending of fibers allows a wide range of yarns to be produced each one having its own special qualities and uses.

Fabrics are also woven by mixing natural and man-made yarns, .e.g. the warp of natural and the weft of man-made or vice-versa. These combinations of the two groups either by blending or mixing may reduce the cost of yarn, strengthen the fabric, lessen the weight, or benefit the yarn or fabric in other ways. This researches therefore is a paradigm shift from weaved materials and weaving process. Seema (2011:189) explains that:

Non-woven's include those fabric structures which are made by some means other than weaving or knitting

This mean a partial or complete elimination of conventional textile processes such as silver formation, attenuation, spinning, weaving or knitting. This, in turn, leads to large saving of time and cost. Today, non-woven are witnessing a phenomenal spurt in applications and demanded. This industry also has a significant potential for growth. Non-woven is commonly divided into two groups, viz., and bounded fabrics. It is interesting to note that while felts are perhaps the oldest of fabric made by man, bonded fabrics are the “youngest”. Over the years, bonded fabrics have become synonymous with non-woven and felts are considered a separate category. (Seema, 2011:190) Bonded fabrics can also be divided into subgroups, based on the method of bond technique employed. In summary, the researcher's intention is to evolve a medium, using a liquid adhesive as a bond for pile technique which will be at the disposal of textile designers to express themselves when preparing for exhibitions so that they can produce aesthetic works of art that can be framed instead of the conventional textile prints or resist techniques which we are all familiar with.

Statement of the Problem Often a time when textile designer is confronted with the challenge of participating in an exhibition, the only medium of use that readily comes to mind is print or dyed resist fabrics either in piece or in garment form. This, in most cases does not challenge the artist ingenuity of the designers when compared with his/her counterparts in other options like painting, sculpture, and sometimes ceramics and graphics. One thing that readily makes difference is the format and ability in mounting these works for aesthetics but the textile designers work in most cases are predictable, printed or resist fabrics works in piece or in garment form lacking aesthetic intuition of an art piece. For instance, when a painter talks to his/her works the textile designer would be talking on a familiar and predictable medium, resist () or prints. The purpose of this research is: · To explore bonded technique to the advantage of the textile designers. · To popularize the use of bonded pile technique amongst the art schools as another medium and choice available to them. · To show dexterity inherent in the textile connoisseurs at the application of bonded pile technique. · To explore non-woven bonded pile as another means of expressing textile images and documentation of various element.

Objectives of the Study The study looked at a bounded pile technique: a medium neglected for long by the textile designers for some time now which if brought to the fore could make textile designers rub shoulders with their counterpart especially during stage exhibition. In the past, most of the exhibit by the textile designers during any staged

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exhibition are usually fabrics either in piece or garment form which makes them often times shy away from exhibitions because their works are only for utility and not for aesthetics like the paintings or sculpture which agog public places due to the format and presentation of work. Furthermore, this study was expected to bring out the ingenuity of the textile designers for them to compete favorable with their fellow artist during any group exhibition and to have their work sold and exhibited in any public places. Finally, this study will be useful as a reference material in the development of other medium yet to be explored in the field of textile. The objective of this research is to: · Produce a bonded pile effect of different pictorial composition that will complement any visual expression. · Carry out experimental work (bonded pile) on acrylic yarn otherwise known as woolen yarn to produce works of art in colour to complement visual techniques. · Experiment on various bond (adhesive) materials that are available. · Examine launderability and humidity effect on the finished pile technique weave. · The data gathered for the objectives1-4 would be analyzed, synthesized, and applied in both narrative and visual forms using bonded pile as a medium for documentation.

Conceptual Framework For better conceptualization, it is necessary to refer to other non-woven techniques from a global perspective in other to define the bonded pile technique within the world context. One of the many ways of making cloth is through non-woven techniques and by definition; non-woven are broadly categories as fabric structures which are made by some means other than weaving or knitting (seema 2011:189). She (ibid) went further to say that, this is a partial or complete elimination of conventional textile processes such as sliver formation, attenuation, spinning, weaving or knitting. This, in turn leads to large saving of time and cost. Today non-woven are witnessing the phenomenal spurt in applications and demand. This study focus on non-woven (bonded pile) as a medium of expressing textile images and to experiment different styles and other available bonded materials. The study looked at the different form of compositions, still life, basic shapes and animals in their natural habitat. The outcome of works of art produce thereafter is hanged and framed for exhibition. The result is a paradigm shift and a total departure from printed/resist/weaven techniques which the designers are used to in textile parlance. The researcher introduced fringes' another form material for hanging this works aside from framing which had aesthetic qualities to the works on display.

Scope of the Study The researcher experimented more on the bonded pile as a medium of visual expression. Works were produce on human figures, compositions on still life objects. In summary, the scope of this study is limited to bonded pile technique as a medium of visual expression of textile imagery as against tapestry and rug weave techniques which are commonly taught in schools offering arts. This involves: Carrying out experimental bonded pile technique using acrylic yarn otherwise known as woolen yarn to produce art works on and other surfaces. Producing a bonded pile technique of different pictorial composition that complement other imagery techniques used by textile designers and other artist in the visual world.

Significance of the Study The importance of this research is to bring about scholastic improvement to the existing body of knowledge. This study introduced non-woven technique and the use of acrylic yarn as the medium of visual expression. This put the textile designers at par with their counterpart in the art world especially when putting up works for exhibition. Thus helping to propagate, revive and show case the richness of the non-woven techniques. Also the research is a paradigm shift from the conventional printed/resist fabrics display of art works during stage exhibition. Infact, from observation, most staged exhibition in Nigerian does not include works from non- woven techniques as the paradigm shift from print/resist techniques. Moreover, the researcher observed that apart from promoting and evolving the bonded pile technique, this will encourage and stimulate self reliance, alleviate poverty by the use of non-woven technique. Finally, the study no doubt to be useful as a reference material in the areas of non-woven and as a medium for visual expression by textile designers whom may want to establish small scale industries.

Methodology This research experimented on acrylic yarn otherwise known as woolen yarn as a means of visual expression which can be explored by textile designers in their pursuit to contribute their quota through creative ingenuity and to the body of knowledge. The research looked into the possibility of solving the problem of fungi

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infection and launderability of the bonded as against bacterial infection due to the adhesive used as bond agent. The Acrylic yarn from the synthetic category was used with Abro 2000 silicone sealant and top bond as adhesive to stick down the cut acrylic yarns. The composition was drawn on a prepared canvas and the adhesive is applied before the acrylic yarn is laid on it, the cutting of the yarns differs in height due to the principle of drawing (perspective) which also affects the distribution of colour. The element closer is more vivid brought in colour than the farthest object. Assorted colours of Acrylic yarns otherwise known and called as woolen yarn here in are bought for the project bearing in mind the colour scheme to be work with. This yarn is very pliable to work with and has varieties of hues to choose from.

Fig 2: Sketch of pictorial image on the prepared canvas

Fig 1: Acrylic yarn used for the Bonded pile technique

Fig 3: Sticking of the acrylic yarn on the canvas

Fig 4: Sticking of the acrylic yarn on the canvas

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Analysis: The non-woven composition is Ojude-Oba festival - an annually celebrated on the third day of Eid-el-kabir by the Ijebus. Age-grades otherwise known as Regberegbe, traditional Chiefs and Government dignitaries flock to the venue to show relevance especially during election period that falls around Ojude-Oba. The yearly festival can be best described as a celebration colours due to the colourful and glamourous of dressing of the indigenes of Ijebu-land. The Ojude-Oba is characterized with the age-grade, the horse riders and prominent sons and daughters paying homage to the paramount ruler of the Ijebu-land, His Royal Eminence, Alayeluwa Oba Sikiru Olukayode Adetona. The three age-

Plate: 1 Age-group paying obeisance to the King grade leaders step forward to represent their group to pay Technique: Non-woven bonded pile Size: 36”x 48” obeisance to the King and Olori to receive the blessing of the Photographs: Olumide Olufowobi traditional head. The monochromatic effect of the sky and the Colours: Five colours Date: October, 2015. navy blue colour dress worn as uniform “Aso-egbe” with hand scarf “Pele” are artistically expressed with the bonded technique. The shadow of the foreground and the background with mural behind the composition are all complementing each other. The work represents the cordial relationship and sociability of the Ijebu Nation

Analysis: Butterfly in its beautiful and attractive colours with wings fully stretched. Butterfly is significant in the oral traditions of the Yoruba Nation especially when used to admonish for caution. Butterfly by nature is tender and feeds on the nectar of a flowering plant to survive. Butterfly is this context is used to represent the insurgence currently plaguing the nation especially in the north e astern part of Nigeria. The Boko Haram is referred to as Butterfly that has no attributes of Plate: 2Butterfly a bird. Also the bird here referred to the Nigerian Army might. Technique: Non-woven bonded pile Size:24”x 30” Insurgency will be short lived as the butterfly can never fly Photographs:Olumide Olufowobi Colours:Five colours higher than the bird without losing its wings. Five colours are Date:April, 2011 used segmentally with the inherent textures sideways and artistically arranged. Analysis: This fearful mask belongs to the Eastern Nigeria collections which is interpreted with the use of bonded pile technique. The mask has a common feature with some masquerades from eastern zone that are particularly used to eject evil spirit from their community. The use of red colour was deliberately used to create fears to the sub-conscious mind of the evil ones in the community and for them to give up their evil spirit. The big eye and the mouth signifies the power to consume any evil intrigue of the wicked people while the wild bear connotes the tradition ancestry of the masquerades. The horn on the fore head of the mask also in red colour indicates the power of the masquerade to conquer any of the evil forces.

Plate: 3 Fearful Masquerade Mask Technique: Non -woven bonded pile Size: 36” x 24” Photographs: Olumide Olufowobi Colours: Eight colours Date: Jan, 2013

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Analysis: When cock crow at dawn the rhythmic tone at which the cock crows, the interpretation, and the timing is likened the call to prayer by human. The cock stands on a higher pedestal with stretched neck to make the call to glorify his Lord, the same approach by human especially when calling for prayer. The cockerel is symbolic and instructive to human that if they fail to glorify and worship their God many other creatures are already and willing doing so without compulsion. The act of crowing is an act of glorifying God with the cockerel in attention. Cock is among the colourful birds with several beautiful colours segmented throughout the feather. The significance of the crow is enormous aside from glorifying God, it also serves as alarm to immediate neighbor of this cock which is claimed to be reliable.

Analysis: As in human, animal kingdom is just a replica of the

characteristic of life cycle and attribute of the higher animal Plate: 4,Cockerel Technique:Non -woven bonded pile called man. The man reproduces and nurtures it young ones, Size:36” x 24” Photographs:Olumide Olufowobi same with the mother eagle that looks for food for its young ones Colours: Seven Colours Date:March, 2012 as man. Eagle is a sharp and long sighted bird that catches it unsuspecting prey from far distance to feed its young ones. Five colours were used to depict the bond between mother and young ones. If bird that is generally regarded as lower animal can be of servitude to her young one, nothing less is expected from the higher animal called man. The lesson and the interpretation of the animal kingdom should be learnt by man. The obedience of animal to God” law is far beyond man's obedience to his creator. Works of art are mere things until we begin to carefully perceive and interpret them-then they become alive and enliven us as we reflect on, wonder about, and respond to them. The use of lighter colours for the young birds shows the innocence inherent in them unlike the colours used for the mother bird which is darker due to ageing and experience.

Plate: 5 Hospitality of Mother and Child. Technique: Non-woven bonded pile Size: 36”x 24” Photographs: Olumide Olufowobi Analysis: This is a village scene a reminiscence of the Colours: Five colours Date: August, 2017 researcher's childhood life when sent with the adult to fetch water from the village stream with a clay pot on each person's head. The stream is more than three kilometers from the village, going through thick bushes and hilly roads called by different names like “Oke Yodi”, Oke Jewo Ese” and so on. One or more adult must lead the youth for security. Sometimes the younger ones who are not familiar with the terrain got their pot broken, losing their water and perhaps got beaten for such huge miscalculation and mistake. Often time, the young one went the stream to wash their cloth and swim before fetching the water home. This bonded pile technique translated this vivid childhood experience into reality with three women and the two younger ones accompanying them to the stream. The sky and the stream takes prominence in the use of various shades of blue colours especially in the use of shadow in the foreground. The use of eight colours showing the background in relation to the Plate: 6 A village stream scene Technique: Non-woven bonded pile foreground and the elements are awesome experience brought Size: 36”x 24” alive for the younger generation to admire and appreciate the Photographs: Olumide Olufowobi Colours: Eight colours development in the community. Date: August, 2017

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Conclusion The paper focused on application of non-woven acrylic yarn as a medium of visual expression of textile imagery in textile parlance and as a paradigm shift from the usual print and resist methods of producing textiles. This new technique is to further enhance the inherent ability and capability of the textile artist to compete favorably with other professionals especially when exhibition is staged. The format and technique employed gave the textile designer a strong ground to produce works for exhibition which could be framed or hanged and can also be easily moved or packaged without losing its aesthetics because of the format employed. The colours of the acrylic yarns and the subtleness of the yarn gave special effect to the non-woven technique. This study looks at the non-woven techniques as a complementary medium of textile expression which is not popular among institutions offering arts in Nigeria. The non-existence of non-woven technique in the curricular of tertiary institutions in Nigeria and lack of the knowledge of graduates in the application of non-woven techniques as a medium of expressing textile imagery prompted and led to this research. The findings revealed that aside from the adhesive bond, the RTV Silicone Sealant was discovered and can be used as a better alternative bond for the study. Also it was discovered that other yarns like wool and silk could also be introduced to produce effect especially when subduing an area of a composition. This technique bridges the gap between works displayed by other artists and a paradigm shift from the usual display of textile works by textile designers.

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