Wildcads

Child Not Bomber

Elizabeth Omolara Adenugba

Nigeria
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Artwork Description

"When l saw the call for artists for the "banality of evil in our daily lives" l felt a strong urge to explore the deliberate act of children's exploitation as "zombie bombers" due to brainwashing. Hannah Arendth's question when she reported for the New Yorker in 1961 in the trial against Adolph Eichmann, "can one do evil without being evil. I remembered an incident that happened in June 2019 in Konduga village in Northern Eastern Borno state Nigeria. Two girls and a boy carried out the bombing outside a video hall. Children are the future leaders of tomorrow, they have the right to education. A child cannot be evil when he or she has not seen the bad in the world. The mind of a child is innocent, playful, open-minded and unrestrained by the inner voice of reason or fear of failure. How can a human being exploit the child-like mind and subject these adorable children to such a banality act?"

Technique Description

Charcoal

Certificate
Elizabeth Omolara Adenugba

Voting Form

Criteria

Score Metric

To evaluate the artwork we use a score metric of 0 (poor/inadequate) to 5 (excellent/exceptional).
The more points, the higher the artwork is ranked.

Craftsmanship

Does the artist master their use of materials?
Is the composition is cohesively unified?
Is the artwork well presented?
Does the artist integrate elements and principles of design?
What is the degree of difficulty?

Interpretation of the Theme

Does the artwork represent and communicate the theme effectively and clearly? The work applies concepts and ideas from other disciplines for ideas such as history, social studies, cross-cultural studies, popular culture, etc. to further illustrate the theme.

Compelling Idea

Does the work challenge the viewer’s mind? Does the work encourage the viewer to exercise his imagination? Does it cause the viewer to bring something to the work itself, to ask questions, to invite an intellectual challenge? In judging artwork, does the piece tend to help “educate,” or somehow engage or promote discussion? Is there something about the work that, despite obvious flaws still captures one’s attention or imagination? Distinctive experimentation with tools and materials. Applies higher order of thinking and creative skills to relay complex ideas.

Creativity / Originality

Is the work original and/or creative? Does the painting have something special about it that is important to note? Does the artist use the medium in an unusual, personal, imaginative, or unique way? In judging artwork, ask yourself if does the work show evidence of a strong personal viewpoint? Is there some aspect of the painting that breaks the mold, or makes it stand out from what might be considered the norm? Is there evidence the work was done “free hand,” without the aid of technological projection (the exception would be the projection of one’s own free hand preliminary work).

Composition

Composition can be accomplished either scholastically or intuitively. Does the viewer’s eye seem to move over the composition in a manner consistent with the overall design of the work? Does the movement throughout the composition have a pleasing or demanding rhythm to it? All the above are items that can be helpful factors in judging artwork.

Communication

Effective communication usually requires the receiver to receive the message in the manner in which it is intended. If the artwork is the message, is the message effectively communicated to the intended audience? If the message is ambiguous is it intentional or accidental? Is the message important or relevant to the audience? These are additional factors to consider when judging the artwork.

Emotional Impact

Is the work engaging, with strong emotional appeal? Is there evidence of passion, of caring deeply about some aspect of the work? Is the piece emotionally challenging, whimsical, surreal, imaginative, or seductive? Does the work have a poetic or spiritual quality about it? These are useful questions to consider when evaluating artwork.

Serendipity / Risk Factor

Does the artist play it safe, or does the artist display a willingness to take a risk, take a chance, or effectively break the rules (transgression). While evaluating the artwork, does it exhibit some form of spontaneity, with or without an attempt at mastery of a medium? Does the artwork somehow seek new ground or show evidence of making good use of a serendipitous event?

Social Significance

Another step in judging artwork is to ask if the piece has cultural, social, or political relevance? If so, does the work choose an approach that is understandable? Is the work accomplished in a manner that easily communicates with its audience? Is the cultural, social or political relevance unique, and/or likely to, in some way stand the test of time?

Design Elements

Some Design Elements to consider in judging artwork might be: Color, Line, Edge, Shape, Space, Texture, and value. Are the chosen elements applied appropriately, and if not, are the reasons consistent with the style and direction of the work?

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