Chapter 2:
Theoretical framework and methodology
A. Exposition of theoretical framework
a. Creative Dynamics in the Artistic Processes of Wenger and Maltwood
The conception of cocreative agency is particularly appropriate for understanding the imaginative processes that emerge through the manner in which Wenger and Maltwood develop their responses to the landscapes they develop. With reference to the manner in which they both work, their methods suggest a mode of working in which there emerges an interactive proves between intersubjective realities, subjective reality and the forms of the physical world.

Wenger describes her creative processes as inspired by her responses to the landscapes on which she works. She describes herself as acclimatising herself to the physical space through sleeping at the place as well as meditating there. Through these processes of tactile and metal engagement, ideas begin to form in her head as to the sculptures she eventually erects on those sites with the aid of her assistants.

At the same time, however, her sculptures are expressions of her own conceptions of the mythic forms traditional to the cosmology of the Yoruba, where the Oshun Foest, where Wenger works, is to be found. Her sculptures, therefore, represent expressions of Wenger’s own encounters with the landscape, as mediated and transmuted through her own distinctive responses to the cosmology traditional to the physical locations where she works.

In her work, therefore, we observe a synergistic relationship between the physical forms represented by the landscape constituted by the Oshun Forest, the metal world constituted by her won ideas, which continue to grow as an Austrian intellectual and artist, well grounded in ideas related to comparative spirituality and art, and the ideas she has assimilated through her interactions with the cosmology of the traditional Yoruba as mediated through her relationships with the people she interacts with in the more than forty years she has spent as Osogbo.