ABSTRACT
This research Conceptualisation of Traditional Gbagyi female form into minimalist painting observes the visual cultural representation as it relates to females. This clearly shows that though artistes have done quite a number of works using traditional Gbagyi female form, they have not exhausted the creative possibilities as the source has no exploratory boundaries. Artists over the years have articulated the Traditional Gbagyi female form showing the visual elements in such a manner that left room for further expansion of the form. In this view therefore, the aim of this study is to create minimalist paintings using aesthetic elements such as lines, colours, and shapes amongst others, that lies within the traditional Gbagyi female form in chalk pastel medium. The objectives of this research are to create visual elements inherent in the traditional Gbagyi female form and its environment in painting, create conceptual paintings using the traditional Gbagyi female form in minimalism, develop minimalist conceptualised paintings using the traditional Gbagyi female form, utilize the medium of chalk pastel as a tool to express the traditional Gbagyi female form on pastel paper as support and use reduction as a vital characteristic in minimalisation of Gbagyi female form. The Action research approach was adapted in the direction of creating over one hundred and fifty works that consists of drawings and paintings. The works were of conceptualised traditional Gbagyi female form in minimalist painting using reduction technique. The study found out that conceptual paintings could be created using traditional Gbagyi female form in minimalism. It also established that visual elements inherent in the traditional Gbagyi female form and its environment could be created in painting. The study discovered that minimalist conceptual painting could be developed using the traditional Gbagyi female form for visual aesthetics and that medium of chalk pastel could be utilised as a tool to express the traditional Gbagyi female form on pastel paper as support. Furthermore, the study established that reduction could be used as a vital characteristic in minimalisation of traditional Gbagyifemale form. The research recommended that researchers should extend creativity using other parts of the female form to further advance exploration in painting and that Nigerian artists/researchers should be encouraged to identify with cultures that are not from their origin while carrying out a research as this would strengthen unity amongst the Nigerian society as well as create awareness about the different ethnic groups and culture. The study also recommended that research should be carried out in the areas of literacy publications, beyond painting as a vital language. The study has contributed to knowledge as it has successfully represented the conceptualised traditional Gbagyi female forms in paintings as metaphor for knowledge.