Gerald Chukwuma is a prolific Nigerian artist whose creative adaptation and use of media tend to deviate from common practice. This essay draws on his several avant-garde works on display at the Nnamdi Azikiwe Library and at the administrative building of the University of Nigeria Nsukka. These artworks are referred to as ‘paintaglio’ in this essay owing to the convergence of painting, and engraving (or intaglio) processes. This study therefore identifies, critically interprets and analyzes Chukwuma’s artistic inclinations—style, spirit, forms, materials, and techniques. This is in order to lay bare the formal and conceptual properties that foreground the artist’s recent paintaglio experiments. The study relies on personal interviews, literature, and images of Chukwuma’s works as data. Such experimental works which clearly express influences of ‘natural synthesis’ ideology are here examined against the backdrop of their epistemic themes.
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