No abstract

No abstract

Art works especially mural paintings, like all other scientific, historical and educational products of importance must enjoy a prolonged lifetime of aesthetic and functional benefit to society. Unfortunately, the life span of outdoor murals displayed on public buildings in Ghana have been shortened by the ravages of weather, public interaction with them as well as deterioration over years of neglect. Many of such works especially those embedded in the walls of buildings come under severe defacement in the hands of building contractors who either smear them with wall paints or rip them off completely as irrelevant things when such edifices come under extensive renovation. Those that survive the test of time sadly end up with cracks. There seem to be the general lack of professional conservators with the right acumen for addressing the conservation needs of the country. This paper therefore throws a searchlight on preservation and retouching challenges and employs the descriptive method to discuss the researcher's experience in retouching five mural paintings at the Great Hall of KNUST, which had deteriorated and lost their aesthetic values over years of neglect.

In nature, everything has a form, occupies a space, and is susceptible to change in a matter of time. Nature, form, space and time could well be classified as theoretical and the problem of intangibility of the said terms is addressed with the application of colour to visually represent them through paintings. Through application of colour, this article pulls the said incorporeities from their abstract realm for visual perception. Methodology of Observation was applied to observe some scenes at the same time, but a particular scene or spot was studied at four different periods of the day namely; morning, afternoon, evening and night. Participatory methodology was utilized to capture the scenes with a camera and, through the application of colour, painted the captured scenes on canvasses. Analyses of the painted scenes were finally made to result in conceptually representing nature, form and space with painted objects. Four of the scenes visually present the four periods or time of the day which are morning, afternoon, evening and night. The analyses have subsequently resulted in visually bringing about the concept of nature, form, space and time. In conclusion, if the intangibilities of nature, form, space and time could be concretized for visual conception, then any theory could be practically materialized.