ABSTRACT
There have been series of historical and visual documentations on motifs for body decoration in Nigeria like, the Onyyaa body markings of Bekwarra in South- South of Nigeria, Uli forms and patterns of the Igbo in the South-East of Nigeria, Ona Yoruba patterns in the South- Western part of Nigeria and Durbar decorative motifs of Northern Nigeria among others. There are also historical documentations on the Kambari culture, but it appears that there is no known study on Kambari body markings for exploration in painting, a situation that informs the problem of the study. Postmodernist?s minimalists? art concept was adopted as a conceptual framework and studio- practice- led research methodology based on artistic visual interaction with the subject has been employed as a research design. Data was collected through primary and secondary sources. The works produced are shown as plates and grouped into four categories and analyzed. Consequently, the study identified different Kambari body markings for the purpose of exploring in painting. It also transformed Kambari body markings from organic to conceptual stage in painting. This study finds out that the researcher?s paintings at the conceptual stage look like impressionist suggestion of objects in a motion. This appears like a flight. Forms also dissolved into the background leaving empty spaces when emphasis is placed on the motifs. The study concludes that motifs are aesthetically appealing, flexible and possess intrinsic quality for exploration and fusion into postmodern forms in painting.