Phase-2: Romeo and Juliet 

‘Romeo and Juliet’ series of paintings (Plates VI - VIII) dwell on Cassia tora root patterns and symbolic bright colours. The root forms are depicted with bright colours. The nodes are deemphasized in the composition to lay emphasis on the taproots. The background of the first painting, ‘Romeo and Juliet (i)’ (Plate VI) is made of dark shades of grey and black, while the second painting ‘Romeo and Juliet (ii)’ (Plate VII) is composed of a polychromatic chequered background. However, the third painting ‘Romeo and Juliet (iii)’ (Plate VIII) is more geometric than the first and second paintings as the organic shapes and curvatures of Cassia tora roots are redefined with straight lines.

Despite the disparity in terms of the colour combination and rendition of root forms, there is a thematic consensus that emerges from the series. The common theme is a view of two Cassia tora taproots that intertwine each other. The intertwining is reminiscent to the depth of the power of love that intertwined Romeo and Juliet. The double root units of different colours represent couples from different ethnic region in Nigeria. The background represents the diverse culture and traditions of various ethnic groups in Nigeria. The dual root forms are rendered metaphorically, buttressing the speculative notion that with time the ethnic and religious conflicts affecting the well-being of Nigerians would fade away, paving way for a country that is known for peace, unity and progress.

 

2.1 Romeo and Juliet (i)

 

Plate VI: Romeo and Juliet (i), Gauche on Paper, 80 cm x 100 cm, Stephen Achugwo ©2015

In ‘Romeo and Juliet (i)’, the taproots and branch roots are depicted with bright colours. The nodes are completely eliminated from the composition to lay emphasis on the taproots. The background is made of dark shades of grey and black. On the left side of the picture plane, white Cassia tora taproot is intertwined by another taproot of brown colour. The entwined taproots represent couples from different tribes in Nigeria. The disparity of the taproots colours highlights the disparity in language, culture and tradition in Nigeria. But the intertwining shades light on the notion of unity as time passes by.

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2.2 Romeo and Juliet (ii)

 

Plate VII: Romeo and Juliet (ii), Water Colour on Paper, 91 cm x 124cm, Stephen Achugwo ©2015

‘Romeo and Juliet (ii)’ follows the same compositional format as in the first painting with two Cassia tora taproots roots that entwine each other, reminiscent to the depth of power of love that intertwined Romeo and Juliet. However, there is some modifications in the root forms and background of the second painting. The picture plane is chequered by branch roots emanating from the taproots at the left side of the painting. The couples from different ethnic regions in Nigeria are represented by double root patterns of magenta and yellow hues. The polychromatic chequered background is symbolic of the changeable fortune of Nigerian Nation.

 

2.3 Romeo and Juliet (iii)

 

Plate VIII: Romeo and Juliet (iii), Gauche on Paper, 80 cm x 100 cm, Stephen Achugwo ©2015

‘Romeo and Juliet (iii)’ is rendered with similar metaphorical direction like other artworks in Phase-2 with vibrant colours and the amalgamation of double root units. However, the third painting is more geometric than the preceding paintings. Straight lines are deployed in the composition with a hard-edge technique to transform Cassia tora root forms. The tinted polychromatic background exhibited by the second painting are substituted with enriched tones of warm colours. The enrichening of hues and transformation of Cassia tora root forms in ‘Romeo and Juliet III’, epitomize the transformation of the well-being of Nigerians.