Ta-Coumba Arken - Research Paper Example

Ta-Coumba Arken Ta-Coumba Arken is an artist who specializes in mural art paintings that are characterized by directpainting on walls, ceilings and/or large surfaces that are permanent. The surface or background upon which a mural painting is created has a significant influence on the nature of the painting. This is in the sense that space and ambience of the structure holding the wall or permanent structure for the painting has to be incorporated into the painting. There are variations to mural types because some can be pseudo-murals in the sense that the pictures or paintings are created on another medium other than the wall then attached or pasted onto the permanent surface. Murals are regarded s the earliest art forms as illustrated by cave paintings of hunting scenes by cave men and those found in Egyptian and Mayan pyramids. Murals can be created using material as witnessed in paintings on cave walls that may have used plant extracts, animal oil to modern synthetic oil or water based paints and pigments. Murals can also be create through the incorporation of other artistic techniques including collage and mosaic where these are embossed onto a wall or permanent surface to create one whole image or representation. This paper seeks to discuss mural art by Ta-Coumba Arken by analysing and offering detailed description of one of his works titled Alum Hungi-I 1991. Ta-Coumba Aiken is a renowned public works art painter whose base of operations is located in Minnesota. Some of his notable works of art in the city include the Jax/Gillette Children’s Hospital mural, the north side’s Pilot City murals project and the Minneapolis Central Library tile fireplace (Millet 110). A trademark characteristic of Ta-Coumba’s artwork is the resulting variety of contrasting colors and tone that gives his works of art an eye-catching property. This is his style and perspective that is incorporated into his murals, which he starts creating from a white and black outline inwards giving the outline figures ‘meat’ or substance. The outlines set the ground for his process of shape building and coloration, which he describes as ‘spirit writing’. Murals created by Ta-Coumba are characterized by the usage of repeating rhythm patterns through imagery as stylistic devise of bringing out the resultant artistic effect of his art. The artist attributes the inspiration behind his artwork to African masks and dance whose aspects, quality and substance he tries to replicate and bring to life in his paintings. The Alum Hungi-I 1991 by Ta-Coumba is a canvas painting illustrating 9 African or dark skinned figures involved in various stages activity ranging from drum and flute playing, fishing, spear throwing and dance. This is consistent with Ta-Cuomba’s line of inspiration that comes from African dance and music. The outline of the painting is made out of a black background to achieve the maximum degree of contrast that is also characteristic with Ta-Coumba’s work. The use of color is unlimited, and the level of expression in the figures is accentuated by the rhythm that seems to come from the various poses of the figures in the painting. A notable aspect about the painting is the use of a black outline for each shape a quality that can also be seen in the frame that holds the artwork. Each figure in the artwork is made-up of more than one color a style that gives the painting a warm contrast and rhythm, which works to bring out the theme of the painting. The use of a range of bright colors makes the art work very eye catching. The use of color the blue is used in various shades and intensities, an aspect that can be construed to represent the artist’s perspective on happiness and joy. The theme of music and dance is brought by the depiction of drums and dancing figures playing the musical instruments. The use of more than one color in the background makes the painting look abstract and distracting to the viewer, which adds to eye-catching quality. The empty spaces in the painting could have been used to add more dancing figures or musical instruments to enhance the festive mood being portrayed by the painting. The space in the painting could be the artist’s way of indicating that there is always more room for more joy and happiness available to people. The artist utilizes the shades of light and dark especially on the outline of the painting and the inside, which is in bright primary and secondary colors. This accentuates the feel of the theme, which is lively and festive compared to the perceptual rough texture of the painting. The texture of the painting is brought out to give a feeling of roughness due to the use of dot-like color application and painting technique. The viewer of this painting is led to believe that it made up of tiny pieces of material in a collage or mosaic like manner, but upon further evaluation, it becomes clear that the painting is pigment creation. The social context of the mural illustrates a gender bias because there is only one woman in the painting compared to the rest of the figures in the painting being men. It is an exemplary depiction of the African society that Ta-Coumba seeks to reflect in his artwork. The vigor brought in the mural is figurative in the sense that it illustrates different stages of cultural appreciation and African heritage. The artist uses light in a manner the optimally portrays the level and intensity of the activities taking place in the painting. The figures’ excited is not diminished by the dark brown color of their bare topless men or their faces because these are contrasted to their bright primary and secondary colors of their clothes. Ta-Coumba’s murals are good examples of how color, texture, the use of light and dark shades can be used to add rhythm and contrast in a work of art. His murals are an inspired by African culture and dance which is characterized by the use of bright contrasting colors to bring out the mood in the mood and theme of the murals. Work Cited Millet, L. AIA Guide to Downtown St. Paul. Minnesota: Minnesota Historical Society. 2010. Print. Read More