ABSTRACT
Sculpture has evolved from conventional materials like clay (terra-cotta), stone and concrete, especially amongst the realists of the twentieth century. This reality had largely influenced even the painting world as it affects the smoothness and glossiness of painting to the level of replacing bold strokes as can be seen in the works of Van Gough etal. It thus became imperative for visual artists, particularly painters and sculptors to take a leap in their respective areas. In view of this development, a few number of sculptors like Jennifer Maestre, Herb Williams, Chris Weed, Olu Amoda etc, have tried producing sculptures either in the round or in relief though, in a different way. Based on the above assertion, the urge for creative possibilities of pointillised form of sculpture, especially in relief format using primarily steel nails was conceived and through practical studio experiences, translating pointillism from painting to sculpture, though not without setbacks, the persistence and courage employed made it possible for the success of the research. The experiment involved two methods: i. The empirical analysis which entails a conceptualization of perceived forms that laid the basis from which all studio projects benefited. This process involved a massive drill of mental display of ideas. The researcher employed an assemblage of ideas which served as impetus for the researcher's experiences. ii. Ten indoor sculptures were created out of which one larger size was used as the main project for the research. The findings display an array of visual impacts created by the inclusion of physically perceived forms.