Pa ge 1 Pa ge 11 0 American Journal of Arts and Human Science (AJAHS) Masks Unmasked: The Charm of Material Hybridization Cyril S. Kpodo1* Volume 4 Issue 3, Year 2025 ISSN: 2832-451X (Online) DOI: https://doi.org/10.54536/ajahs.v4i3.4032 https://journals.e-palli.com/home/index.php/ajahs Article Information ABSTRACT Received: November 16, 2024 Accepted: December 21, 2024 Published: August 05, 2025 Contemporary Visual Masks have often been appreciated for their physical attributes and evaluated through the lens of established elements and principles of artistic practice and analysis. Seldom are they considered for their semiotic qualities. It is imperative that masks, which were originally not made for their aesthetic appeal but rather functional attributes, be looked at both aesthetically and semiologically. The aim of this study was to employ the technique of assemblage and construction in sculpture to combine elements of various signs to form new composite symbols. In addition, the study was intended to explore semiology in visual perception through the masks produced as graphic communication. The study employed a qualitative research paradigm, utilizing a descriptive research design to provide a detailed description of selected masks produced by the researcher. The researcher’s conceptual framework involved personal experiential knowledge, existing theory and research, and exploratory research, making the researcher the principal instrument for the research. The findings discussed the general characteristics of the masks, including their size, names, materials used, and the concepts behind their production. The study recommends encouraging the study and utilization of semiotics in art institutions and universities to appreciate art better. This approach would complement aesthetics and enhance the overall experience and appreciation of visual masks. Keywords Found Objects, Masks, Material Syncretism, Sculpture, Semiotics 1 University of Education, Winneba, Ghana * Corresponding author’s email: sirkpo2@gmail.com INTRODUCTION The human face is capable of transmitting multiple types of signals to communicate various messages. Hence, in an effort to interpret the emotional messages conveyed by the face, it’s possible to focus on the wrong signal or fail to clearly distinguish the emotional message from the other information being expressed through the face. In the early stages of life, people’s facial expressions tend to more directly reflect their underlying emotional state. Young children’s faces, for instance, often serve as an unfiltered window into their genuine feelings - when they are happy, their faces will openly convey that with a grin, and when they are sad, their sullen expression transparently communicates that emotion. Arguably, the face is the principal indicator that shows sentiments. We may interpret such sentiments or emotions, based upon impressions carved on the face (albeit fleetingly), we perceive, wrongly or correctly. This is because we do not innately possess the knowledge and skills needed to interpret facial expressions and their associated meanings. Rather, the ability to accurately read and understand the messages conveyed by faces is something that is learned over time. According to Kress and Van- Leeuwen (2006), “things we see are, in reality, what we construct or are made to see through the frameworks and filters established by our society and personal histories. Seeing is, of course, a normal biological procedure, but interpretation and reception of visual elements are not; they are determined by a variety of considerations such as our cultural context, history, the context in which we are looking, what we already know about the world, what our own tastes, preferences, and behavioural patterns make a person more susceptible to see, and so on”. The human face has the ability to obscure or conceal a person’s genuine, underlying emotions and inner psychological state. Stated differently, facial expressions can mask one’s true inner feelings and sentiments. Solso (2003) noted that people sometimes adopt “face-saving” techniques to hide their flaws, while others strive to conceal more significant personal transgressions. Nonetheless, to perceive anyone’s emotional state, it is the face we usually contemplate for clues. It is widely understood that the face and head region of the human figure tend to provide the most informative and revealing cues about a person – it is the seat of four of the five senses of mentation and response. Early child development research, as explored by scholars like Lowenfeld and Brittain, has shown that young children’s initial depictions of the human figure often take the form of “head-feet” or “tadpole” drawings. In these simplified renderings, the head is represented as a disproportionately large component, sitting atop the limbs. This reflects how, to a young child, the head is considered the most important and salient part of the body - it is through the head that we see, speak, and eat. This ideological emphasis on the primacy of the head is manifest throughout the stages of a child’s graphic development, from their earliest scribbles to more schematic representations of the human form. Masks have always been a part of life in African indigenous societies (Willett, 1985; Phillips, 1996). It is therefore not surprising that almost every culture represents human faces in some kind of mask. In fact, masks and concealments are a recurring theme in antiquity and the arts. Traditional African mask designs Pa ge 11 1 https://journals.e-palli.com/home/index.php/ajahs Am. J. Arts Hum. Sci. 4(3) 110-116, 2025 often featured highly expressive and exaggerated facial elements which are representational in nature, designed based on anthropomorphic or zoological characteristics. The researcher’s practical experiences, as a portrait artist and a teacher of portraiture in sculpture in the University, are often confronted with questions of subjectivity, semblance and resemblance, character and physiognomy – all masked through the infinite kaleidoscope of visual perception. Thoughts may be masked or unmasked through expressions of speech, sign language or graphic communication (visual arts). However, these expressions are sometimes misconstrued by the signified due to perceptions that could be a result of personal or cultural experiences and/or influence. Visual Images are fluid and can be interpreted or misinterpreted in various ways. This paper, therefore, focused on the material compositions of some of the researcher’s masks, the meticulous production processes, how these materials are consciously nuanced to create composite symbols that highlight and unmasks the socio-political perceptions of Ghanaian society, and how the symbolic connotations of the masks under consideration add layers of meaning to the artworks. LITERATURE REVIEW Theoretical Framework This research is based on Material Syncretism. Generally speaking, ‘syncretism’ would refer to the attempt to unite together elements which do not agree (Gehman, 2001). The theory of material syncretism is a defining characteristic of much African art and material culture. It refers to the blending and integration of diverse physical elements and components into the creation of a single artistic object or artifact – such that at least one, if not both, of the physical elements loses basic structure and identity. This practice of combining a variety of natural and man-made materials reflects the dynamic, adaptive nature of many African artistic traditions, which readily incorporate new resources and techniques over time. At the heart of material syncretism is the juxtaposition and synthesis of different materialities. An African mask, ritual figure, or decorative object may incorporate a range of elements, such as carved wood, woven textiles, metal attachments, beads, shells, feathers, and other naturalistic components. The resulting work is a composite creation, embodying a visual and tactile interplay of distinct material sources and methods of production. This material ‘hybridity’ speaks to the fluidity and openness of African artistic expression, which does not restrict itself to the exclusive use of traditional or “pure” materials. Beyond mere decorative blending, material syncretism in African art also serves important symbolic functions (Bravmann, 1974). The incorporation of certain natural materials like wood, stone, animal parts, or precious metals may imbue an object with sacred or ritual significance, drawing upon the inherent spiritual properties associated with those elements. Ultimately, material syncretism represents an aesthetic sensibility and creative ethos that embraces the coexistence and synthesis of diverse material forms – a testament to the ingenuity, adaptability, and expressive versatility that characterize many African artistic traditions, which evolve through the incorporation of new materials, techniques, and cultural elements over time. The resulting artworks exemplify a material hybridity that is both visually compelling and symbolically potent. Concept of Masks The word “mask” is believed to have its origins in the French term ‘masque,’ which refers to a type of elaborate facial covering or disguise worn for theatrical performances or festivities. This French term may have also been influenced by the similar Italian word ‘maschera’ and the Spanish word ‘mascara,’ which all referred to facial coverings or disguises. The use of masks has a long history, dating back to ancient civilizations, where they were used for religious rituals, theatrical performances, and social events. The word “mask” evolved from these earlier cultural traditions and the various European language terms that described the practice of covering or disguising one’s face. The origins of the word “mask” may have even broader roots, beyond just the French, Italian, and Spanish terms. Some other potential linguistic forebears include: Hebrew – ‘masekhah’ – mask; Arabic – ‘maskharah’ – jester or man in masquerade, ‘maskhara’ – he ridiculed or he mocked, or ‘masakha’ – he changed. Seemingly, the etymology of mask has diversified meanings in different cultures but generally alludes to transformation, mockery, and mystery. According to Schechner (2013), the concept of mask has a deep and multifaceted history across diverse cultures and civilizations. Masks have been used for a variety of purposes, including religious rituals, theatrical performances, social celebrations, and even warfare, Schechner intimated. In ancient traditions, masks were often imbued with supernatural or spiritual significance. For instance, in many African cultures, masks were believed to channel the power of ancestral spirits or deities (Nunley & McCarty, 1999). Similarly, in ancient Greece, masks were integral to the performances of Greek tragedies, allowing actors to embody the divine and mythological characters they portrayed (Wiles, 2007). The use of masks in these ritual and performative contexts suggests that they served as a means of transformation, allowing the wearer to transcend their individual identity and take on a new persona (Schechner, 2013). Beyond their ritual and theatrical applications, however, masks have also been used for practical purposes, such as in warfare or in occupations that required concealment of the face, like executioners or thieves (Sifakis, 1992). In these contexts, masks served to disguise the individual’s identity, enabling them to carry out their roles without fear of personal consequences or recognition (Nunley & McCarty, 1999). Schehner (2013) opined that this functional aspect of masks highlights their role in the construction and Pa ge 11 2 https://journals.e-palli.com/home/index.php/ajahs Am. J. Arts Hum. Sci. 4(3) 110-116, 2025 negotiation of identity, as well as their potential for both empowerment and deception. According to Bodjawah (2017), a mask, as a picture or symbol, carries conventional implications of replication, seriality, or repetition. These implications are expressed theoretically in Baudrillard’s “Sacramental Order” and “Order of Malfeasance”. Bodjawah goes on to assert that mask can serve as a “substitution,” “replacement,” “camouflage,” “cloak,” “veil,” “visor,” “shield,” “artificiality,” “façade,” screen, shield, semblance, veneer, countenance, colouring, gloss,” and so on. Clearly, the mask’s area is technically a paradoxical place that is neither within nor outside of what it covers, or its surroundings. Its power and symbolism extend beyond physical form, as it can also represent broader concepts of transformation, duality, and the blurring of boundaries between the individual and the collective (Stoichita, 1997). Given what has been said, the mask can be seen as a tool for exploring the fluidity of identity and the multiplicity of the self, challenging the notion of a fixed or singular self (Wilcox, 2022). The enduring fascination with masks across cultures and time periods speaks to their ability to capture the complexities of human experience and the human condition (Tseëlon, 2001). MATERIALS AND METHODS Approach/Design The study employed the qualitative research paradigm, using descriptive research design to provide a detailed description of selected masks produced by the researcher. Consistently, visual and interpretive analysis tools under the qualitative research approach were employed. Qualitative approaches are characteristically used to discover fresh phenomena and to capture individuals’ thoughts, feelings, or understandings of connotation and procedure (Given, 2008). The researcher’s conceptual framework involves his own experiential knowledge, existing theory and research, and ‘thought experiments’ with a pilot and exploratory research. As such, the researcher is the principal instrument for the research. The study discusses the general characteristics – including the size, names of the masks, tools and materials used in their production, techniques used, and the concepts behind their production, distortions and exaggerations, unity of contrast, internal structure, verticality, and the predominately non-representational or abstract nature of traditional Ghanaian culture and sculptural forms. The study, therefore, followed an examination of these sculptural qualities with an appreciation of the masks for a better understanding of these characteristics. Forged in Flux: An Exploratory Phase of Production The process of creation generally begins with the discovery of wood that assumes the nature of being worked and transformed into the semblance of a face or head. Initially, the choice of wood was often informed by abandoned ones that the researcher chanced upon. Eventually, the interest shifted to those stockpiled by woodcarvers along the Aburi highway in the Akuapim South Municipal District of the Eastern Region of south Ghana. Predictably, such woods were chanced upon many a time, during journeys through the town – famous for its botanical gardens and wood-carving centres dotted along the highway. This became necessary since some of the woods chanced upon elsewhere turned out not to be ideal for the intended purpose. The habit, or style as one may choose to define it, of nailing, screwing or drilling other found metal objects into wood eventually informed the choice of wood, which needed to be solid enough to accept, contain and endure the barrage of all manner of metal objects forced into them. Another consideration is the aesthetic quality of the found wood, which should be preferably worked on by nature, for example, termites and sometimes, scarred by fire but spared enough of its uniquely grained naturalness. Additionally, some found wood, especially from broken canoes, already have relief geometrical carvings, remnants of paint and patches of resin, adding to their individual characteristics and uniqueness. In the final analysis, the researcher settled for discarded and seemingly abandoned wood from inoperative, retired and cannibalized canoes along the shores of Winneba, Central Region – Ghana, where he resides and works. As earlier indicated, the process of work begins when any wood of interest is discovered. At which point the researcher begins to visualize what could emerge from it by mentally removing unwanted parts and adding metal to certain critically inviting areas. Metal parts were originally collected at random – mainly from the “mechanics” workshop. They comprised mainly of bolts and nuts and other discarded metal contraptions of interest. The genesis of using such contraptions began when discarded parts of an old vehicle were amassed. Beauty was seen in the uniquely well-crafted forms, and eventually they were incorporated into the sculptures (masks). The researcher later discovered more variety of discarded metals at the depots of scavengers who go round picking them. The wood is relocated to the studio and for weeks or months, it is propped up, seemingly abandoned again. Occasionally, visits are made to evaluate and ascertain the appropriateness of mental images conjured during lingering periods of contemplative conceptual analysis of forms that could emanate from the salvaged woods. Sometimes, the perceived images are discarded and new forms are captured in the mind’s eye. In all these, some of the ideas remain a mirage because as the work begins, the researcher succumbs to the dictates of the tools and the resilience and pliability of the wood. Traditional carving tools such as gouges and chisels are employed, along with power-driven ones such as the angle-grinder, chainsaw and drill. After weeks or sometimes months of seasoning the wood by keeping it in a shaded, dry and airy place, visual exploration begins. Concepts for the work continue subconsciously even as the salvaged woods are left seemingly abandoned. When motivated to work, a piece of chalk is used to mark out certain portions of the Pa ge 11 3 https://journals.e-palli.com/home/index.php/ajahs Am. J. Arts Hum. Sci. 4(3) 110-116, 2025 wood that require receding or gouging. The portable angle grinder fitted with a cutting disc is used simultaneously to define the marked out areas. This is usually followed by using the “adze” to gouge chunks of wood off the intended areas. The traditional gouges are then employed to achieve a desired recession. By doing so, certain zones get projected and gradually, the envisioned images take form. After this process, the collection of discarded metals is cleaned and painstakingly selected for fixing into pre-determined portions of the wood. Sometimes, as pertaining to the bolts and nuts, especially, an electric drill is used to make holes to accommodate them. The choice of finishing is wax polish. This is preceded by applying a sanding sealant to the work. The sealant seals the pores of the wood and allows minimum absorption of the wax polish into the wood. It enhances a relatively smooth and subtle gloss look after buffing, compared to lacquer which has the tendency to distort the surface quality of wooden sculptures due to its high reflective nature. In hindsight, the researcher began with wood sourced from the hills and concluded with wood from the coast. Consequently, the initial collection of works is aptly titled ‘Descendants from the Hills,’ while the subsequent collection is named ‘Descendants from the Coast.’ RESULTS AND DISCUSSIONS Suppressed Sentiment: A Mask of Constrained Expression Size The sculptural form extends an impressive 79 centimeters in length, while measuring a graceful 26 centimeters in width. Stately towering at a height of 1.65 meters, the work commands a powerful presence in space. Material Composition The natural warmth and texture of wood is juxtaposed against the cool, rigid lines of metal, creating a captivating visual tension that draws the eye and imagination of the observer. Description “Restraint” is a rectangular wooden form, when viewed frontally. From this same view, the top portion has a horizontal line that descends to both sides and expands towards the base. This undulating expansion is more prominent to the left, in contrast to the right, whose expansion is less and relatively straight. The base is scalloped, precisely in three areas. The general outlook could be described as an “A” shape. The top surface exudes a projected zone akin to a symmetrical image of the number ‘7’with cracks of fleeting lines and irregularly shaped holes of various depths. Just below the top end to the right, an indention emanates and spreads out downwards, expanding to the left. In between this expanse and just below the tail end of the projected symmetrical 7 image, there is a rounded swelling, parted unevenly with the lower partition being the smaller. The line of partition turns sharply downwards to the lower left end. On top of all these are visible circular metal objects connected with a strip of rectangular shaped metal situated to the upper half of the figure. The metal construction to the left has a dark shaped solid one embedded with a ringed chrome coloured one that extends beyond the boundaries of the wood as its support. The thin metal strip extends to connect another circular metal shape that is bigger in circumference and is resplendent with shades and tints of chrome. It is also punched with precisely positioned holes around the rim and within. The lower half just below the tail end of the ‘7” and on the circular swelling has a splatter of small metallic objects. Figure 1: Restraint Source: Author Figure 2: Left side view Figure 3: Right side view Pa ge 11 4 https://journals.e-palli.com/home/index.php/ajahs Am. J. Arts Hum. Sci. 4(3) 110-116, 2025 The Dynamics of Association The Figure depicts a mask that encapsulates a complex blend of emotions. It captures the moment when an individual, regardless of their social standing, is perplexed and desires to make a declaration, yet is constrained or gagged by their circumstances or position. This reflects situations where individuals are prohibited from any form of expression, verbal or otherwise, due to ingrained institutional expectations and cultural norms that have become deeply embedded within the society. Within Ghana’s political arena, the notion of a ‘culture of silence’ is prominently featured in the rhetoric of politicians and media personalities. The perception is that the general populace has been cowed into refraining from vocal dissent, even when circumstances are problematic, due to the fear of persecution. Additionally, in Ghana and more broadly across Africa, it is traditionally unacceptable for younger individuals to openly challenge or disagree with their elders in society – even in the face of obvious suppression or mistreatment, the expectation is that one must remain silent and preferably display a remorseful or submissive demeanor. That moment, when many explanations or reasoning are agitating to spew out of the gates of one’s mouth but the visible and sometimes invincible forces of dominance are threatening, there is this expression of suppression of thoughts and everything else which fleetingly may show such as captured in the figure titled “Restraint”. Whispers Muffled, Stories Untold Size This sculptural piece extends 122 centimeters in length, while measuring a graceful 40 centimeters in width. Stately towering at a height of 1.55 meters, the work commands a powerful presence in space. Material Composition The inherent warmth and texture of wood is juxtaposed against the rigid lines of metal, creating a captivating visual tension that draws the eye and imagination of the observer. Description The above image is conical in shape and exudes a sense of stability considering that the base looks wider than the pointed top end. Around the upper region are projections of regular and irregular forms that seem banded with a semi-circular metal object. Below these is a straight line descending to the right which suddenly scallops to the base juxtaposed with one that narrows from the top and gently flares out to the base. Between these, a phallic form extends from the banded forms above and seems to rest on a mounded form with serrated lines at the bottom part. A cavity of no definite shape separates the above from another projected but smaller mound. Around these are an incised curved line to the left and a relatively straight one to the right. The posterior view is relatively rectangular in shape. The pyramid-looking top is flanked by definite and indefinite forms. A lone metal band encrusted within a “C” form appears to shield a spherical form. Further down, a dark vertical undefined and yawning gap descends all the way to the base. To the right side of this gap a phallic form projects, in contrast to the left side which has an undefined projection to the lower bottom. This figure can generally be described as smooth albeit with some rough portions. The Dynamics of Association When we are suddenly and unexpectedly confronted with something unsettling, our involuntary reactions can reveal the intense emotions we were otherwise concealing. In our modern age of ubiquitous information, we are exposed to Figure 4: News Source: Author Figure 6: Posterior view Figure 5: Side view Pa ge 11 5 https://journals.e-palli.com/home/index.php/ajahs Am. J. Arts Hum. Sci. 4(3) 110-116, 2025 many perplexing and unsettling experiences that can leave us psychologically overwhelmed. As we grapple to make sense of the seemingly nonsensical, the turmoil we feel may become physically evident in our facial expressions and demeanor. The face at that fleeting moment arrests all such emotions, resulting in the expression of amazement, astonishment, bewilderment and so on. In a typical situation as described, the eyes may open wider, as though to make more visible the object or scene of surprise. The lips may be partly opened to let out a stifled scream or unprintable gagged words. In this figure, the spherical form representing eyes are portrayed to depict a wide opened eye in awe, and the form of the lips capturing that partially open, expressive quality. This image is intentioned as a statement about what we are confronted with on a very regular basis through social media. Images and videos and sound bites and text confront us in a rather militant and disturbing nature to the extent that one is sometimes caught unawares of what he may have wished not to see, hear or read. In a typical professional broadcasting institution, viewers or listeners or readers, so to speak, are cautioned in advance of disturbing visuals or audio. It remains one’s choice to continue watching or otherwise. Curious by nature as most humans are though, few people may actually abide by such warnings. It seems impractical to shut one’s eyes or cover the ears in such moments so we may unwillingly watch, listen and read. With social media however, cautioning is almost non- existent. Sometimes one is left very unsettled for weeks or more unending by what he has seen, heard or read. It could be anything from heinous crimes to pornography. The political landscape is a central element in this new real-life drama. At times, it resembles a television serial, with one political party intensely competing against the other. This competition manifests through a barrage of accusations, insults, and blame-shifting. It is as if the political parties believe that by engaging in such tactics, the spectators or audience (the general public) will support them by voting for their respective “theatres” (parties). All of these and more are the motivation for the mask (sculptural form) entitled “News”. Restless Ambition, Steady Flame Maintained Size The sculptural piece is 28 centimeters long and 4 centimeters wide, maintaining a graceful height of 1.63 meters. Material Composition The cozy, natural feel of the found wood is contrasted with glass, creating an interesting visual effect that catches the viewer’s attention and gets them thinking. Description This phallic-looking wooden figure retains much of its natural surface colour of grey with brown and ochre showing through where cuts have been made. In addition, it has an uneven surface texture that comprises of undulations, cracks and pock marks. The right side of the top end however is distinctly smooth. This zone is embellished with a reflective dome-shaped glass object. There is a distinct contrast of the right and left sides of the zone described, the other side being rough. A ridge is directed towards the right but has a gentle sweep back, towards the left, creating a circular visual movement. The ridge as described has three segments made up of a pyramid form on top and a dome-like form which is, again, separated with a convex line. This line converges with two other lines running downwards from the top ridge. They both end abruptly almost below the lower mound but create the illusion of continuity due to the Figure 7: Awake in Sleep Source: Author Figure 8: Right Side View Figure 9: ¾ Anterior View Pa ge 11 6 https://journals.e-palli.com/home/index.php/ajahs Am. J. Arts Hum. Sci. 4(3) 110-116, 2025 natural stream of lines around the region. This leads the eyes to a crevice to the otherwise smooth right side. The rest of the figure seems unscathed by the sculptor’s tools except the near mid-section that has lines racing from the right side aiming towards the left. The bottom end is boxy and smoothened, thus creating an intentioned separation from the figure and assuming the role of a support. The posterior view, in contrast to the anterior is flat, smooth and plain, except for a couple of blotches. The Dynamics of Association The statue represents a figure that is seemingly at rest, considering the position of a line to its right that simulates an arm with prominent hand resting at the mid-section. The curvy linear mark to the top left end characterizes a closed eye in conjunction with an upturned nose and mouth, an expression of disdain. The other eye, represented by a bicycle lamp denotes a wide- awaken and alert person in contrast to the closed one. The perception of someone aloof is that of indifference but in this instance, the figure is highly alert despite the closing of one eye. “Awake in Sleep” is motivated by the idea to be vigilante even in sleep. We are living in very strange times and as such one must be watchful of events. It has become the norm to make extra effort at securing one’s economic future. There is no more guarantee of a job after graduation and majority of the youth are resorting to various means for survival. This struggle for survival has now even gone beyond the struggle for job and economic security. One must now make extra effort at securing what he has struggled to acquire and even protection for life. We fall asleep, yet, are simultaneously wide awake due to haunted dreams of survival. CONCLUSION In this hypothetical discourse, the intent is to codify experiences; firstly as a human living within a culture shaped by politics, religion, and economics, and secondly, as a sculptor, synthesizing these experiences and influences into images. Predominantly, found materials, which are themselves symbols, were synthesized to create new symbolic sculptures that relate perceptions on the occupations and consumptions of thoughts as a citizen of the world residing in Ghana, Africa. Contextually, “masks” served as the primary forms of abode for deliberations during the discourse, exploring concepts of visual perception, subjectivity, semiotics, and signs, among others. In the words of Berger, images do not come into existence of their own volition. They are generally created and mediated - meant to be seen and read and to have a specific function and impact. Similarly, Picasso was fond of saying he “did not search, he found”. Such a notion suggests an approach to art-making that is compatible with the idea that artists do not invent art, but rather find expressions of reality that align with the basic structures of the human mind. Recommendations It is recommended that the study and utilization of semiotics be encouraged in art institutions and universities to appreciate art. This would foster and establish a secondary, personal approach to confronting visual masks, culminating in a total and satisfactory experience in their presence. Semiotics, as a complement to aesthetics, will enhance the appreciation of masks. 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