STYLE

Market places are visually dynamic spaces that offer a rich tapestry of colour, movement, and cultural interactions that have long inspired artists, especially painters. However, within the sub-genre of market scene painting, a field largely dominated by male artists, the portrayal of women has been problematic. Women have been frequently depicted according to prevailing artistic norms and objectified roles, while their economic agency and diverse market-related occupations have also been portrayed from a male-centered perspective. This study therefore, aimed to draw from the framework of Feminist Visual Culture interrogated the traditional ways of ‘seeing’ and challenged the male-dominated gaze that has historically shaped visual representation of women in market scene paintings. This study employed an exploratory design guided by critical theory and the MulveyHooks visual culture framework, which examined how women are represented in visual culture and how they can resist objectification. Combining visual analysis with contextual critique, the research examined stylistic paintings of women’s activities in market places in order to explore how gender roles and economic labour should be depicted and understood in the imagery of Benin City’s market places. The study revealed that it is possible to produce paintings that foreground women’s economic agency and depict them in dignified roles as human beings whose contributions cannot be trivialized. It also showed that the textured effects achieved through the palette knife technique can enhance the meaning and context of the artwork. The research advocates for more gender-balanced paintings that highlight women’s vital contributions to the economic and social development of the nation.

Osogbo art, which previously stood at the forefront of Nigeria artistic heritage, has gradually been relegated to the background. These is, however, a pressing need to re-project it within present and contemporary artistic practice. Despite the rich artistic and cultural significance of Osogbo art style, there exists a notable gap in research regarding the specific intersection of the elements of impasto technique in painting. While impasto techniques have been extensively studied in Western art traditions, their application within the context of Osogbo art style remains largely unaccessed. The aim of the study was to produce paintings that depict the interplay of texture and alternative display of the Osogbo art style in contemporary painting. The design of the study was exploratory and studio-based to produce paintings in Osogbo art style in a contemporary format using impasto texture to be display on alternative diagonal placement using oil colour as medium painted on canvas. The materials used include oil colour, palette knives, canvas, and linseed oil using studio procedures. The procedure involved six main stages include: stretching, sizing, priming, sketching, painting, and finishing. Impasto technique. executed primarily with palette knives, was applied to create texture and are visually analyzed. The finding of the study are the following: Use of Impasto: Impasto introduced tactile qualities to Osogbo inspired paintings, adding depth, rhythm, and material presence that enhanced their symbolic and narrative strength, Cultural Relevance: The paintings successfully expressed themes rooted in Yoruba culture, such as maternal love (Donkeys in the Groove), social reflection (Sober Reflection), and memory of the past (In the 90s), while simultaneously addressing contemporary concerns, Aesthetic Enrichment: The interplay of texture expanded the expressive vocabulary of Osogbo art, allowing it to remain vibrant and adaptable to modern artistic practice. Therefore, it has established that impasto can be effectively integrated into Osogbo art, enhancing its tactile and expressive qualities, thus adding dynamism and novelty to art appreciation.