Awka Journal of Fine and Applied Arts (AJOFAA) is devoted to the various aspects of the visual arts, including innovative and experimental researches emanating from artists studios or other areas of study that is of special relevance to the visual arts. The journal also devotes a reasonable space for the publication of research reports, reviews of exhibitions, workshops and published works.
CLAY AND SPIRIT: ANIMIST VALUES IN TANGIBLE POTTERY ARTWORKS OF BENIN CITY
This paper examines the animist values embodied in pottery artworks of Benin City, Nigeria. Pottery, as both a functional and symbolic art form, has historically mediated spiritual beliefs, ritual practices, and communal identity in Benin. Drawing from ethnographic field observations, oral accounts, and secondary literature, this study examines the relationship between clay as material and spirit as meaning. This paper portrays that beyond utility, pottery vessels retain animist qualities expressed in their ritual uses, symbolic forms, and cultural narratives. However, the continuity of these traditions is increasingly challenged by modernization, industrial substitutes, and declining apprenticeship systems. The paper concludes by emphasizing pottery’s role as both a tangible craft and intangible cultural heritage, calling for renewed academic and policy attention to its preservation.
REBUKING THE WRONGDOER AND EXTOLLING THE PRAISEWORTHY: INTORROGATING PROTEST ART IN AFRICA
African artists, since the pre-colonial era, have used Protest art as a means of propagating political education and appropriate political and socio-economic culture. Unfortunately, this aspect of art engagement has not received the scholarly attention it deserves in the African art-historical discourse. The significance of Protest art can never be over- emphasized in Africa; a continent where there is an apparent lack of patriotism amongst the citizenry because of the disconnect between power and responsibility. Power in African States, rather than being a means of empowerment is being applied as an instrument of domination. This study employs a qualitative and an art – historical research methods. Selected works of some African arts, which portrayed moments of protest from the colonial period to the present day were examined and used as examples. It was observed that thematically, most of the protest art produced during the colonial period are based on nationalism and political emancipation, while themes that boarder on social Justice and good governance dominate the post-colonial protest art in Nigeria. The artists selected for this study have no doubt used their works as creative responses to the various socio-Economic and Political problems that be devil their society.
PRODUCTION OF OUTDOOR SCULPTURES USING WATERPROOFED PAPIER-MÂCHÉ AS AN ADVOCACY FOR THE PROTECTION OF ENDANGERED ANIMALS: A STUDY OF IMOKA MONKEYS
This practice-led research in sculpture investigates the potential of waterproofed paper mache as a sustainable and accessible medium for creating durable outdoor public art. The study is grounded in the use of this unconventional material to produce a series of outdoor sculptures as a form of advocacy for the protection of endangered animals. The project focuses on the Imoka monkeys in Awka, Anambra State, a species facing critical threats due to habitat loss and human activity. Through a series of material experiments, the research will develop and refine a waterproofing technique for papier mache that can withstand the tropical climate of Awka. The resulting outdoor sculptures will be strategically placed in public spaces to raise awareness and foster a deeper connection between the local community and the endangered primates. This research contributes to the discourse on sustainable art practices and demonstrates how artistic production can serve as a powerful tool for environmental education and community-based advocacy. By transforming recycled materials into impactful works of public art, the study aims to inspire a sense of stewardship and active participation in the conservation of the Imoka monkeys and their natural habitat
Outdoor sculpture, Waterproofed papier mache, public art, environmental advocacy, Endangered animals, Imoka monkeys, Conservation, Sustainable art
Hilary Chijioke Okoye, Clifford Ezekwe Nwanna, PhD
MBAISE ART IN TRANSITION: A STUDY OF MBARI ART SCHOOL IN MBAISE, IMO STATE
Mbaise Art School, also known as Mbari Art School refers to artists of Mbaise extraction and members of Mbari Art School. The group was very popular after the Nigeria-Biafra civil war in 1970’s and their creativity has spread beyond traditional art media and ideology, hence they were classified as transitional artists, Transitional period in Nigerian art history lies between Traditional and modern period. Despite the popularity and uniqueness of these artists whose work ardon many galleries in Nigeria, Europe and America, not much scholarly work has been written on them. In view of this problem, this study attempts at documenting the works and achievements of this group in order to project them and accord them the rightful place they deserve in the History of Nigeria art. The study employs a qualitative method of research and data were analyzed descriptively. The was revealed that the ideology of the original Mbaise Art school has been kept alive in the works of some contemporary artists of Mbaise extraction, spearheaded by Evarest Ibe. Others include, Bright Eke, Hycent Nguma among many others. The pioneering efforts of the founders of MbaiseArt School now continues in teh works of these Neo--Mbaise artists.
Mbaise Art, Transition, Mbari Art, Neo-Mbaise, Modern period
Evariest Onyewuchi Ibe, Clifford Ezekwe Nwanna Ph.D
COMBATING ENVIRONMENTAL DEGRADATION THROUGH ART: THE USE OF DISCARDED PUBLIC FLEX POSTERS AS SUPPORT FOR PAINTING IN NIGERIA
Environmental degradation is globally getting worse as days go by and it is a truism that environmental problems such as poverty and insecurity provide a fertile breeding ground for social vices. In view of these, the researcher attempts at combating this problem by using art as an advocacy against environmental degradation and also as a means of sharing knowledge on art as a means of financial empowerment. The study employed a qualitative research.it also has a theoretical and practical aspects. The research design is exploratory. Data was gathered through both primary and secondary sources. Primary sources are oral interviews, group discussions and researcher’s observation, while secondary sources are written sources, both published and unpublished. The study also employed descriptive and analytical research methods. The work reveals that art activism is a potent instrument in creating awareness about societal ills and environmental degradation. Also the use of discarded waste public posters as support for painting contributes to environmental management by getting rid of waste ubiquitous flex posters that deface Nigeria’s environment, especially the urban centres.
ACCELERATING CREATIVITY IN EDUCATION FOR POVERTY ERADICATION IN NIGERIA THROUGH EXPLORATION OF FIBRE AND FABRICS FOR CHILD’S EDUCTIONAL DEVELOPMENT: A CASE STUDY SELECTED SCHOOLS IN AWKA SOUTH L.G.A OF ANAMBRA STATE
The issue of poverty eradication in Nigeria should not be treated with kids’ gloves as this situation demands an aggressive, and result-oriented approach. Most at times the ignorance of how to solve the problem at the right time becomes the biggest challenge. It is on this premise that creative innovations need to be made knows especially in this era. Applied Arts Education is not left out, due to its richness in the potentials of accelerating creativity, skill acquisitions in education for effective usage and its innovative potentials in total. Eradication of poverty and wealth creation. This paper therefore reveals the innovative skills in Visual Arts most especially in the areas and branches of Applied Arts Education. Many techniques and approaches were discussed and creatives skills were detailed for inculcation and imparting of vital knowledge for wealth creation and poverty eradication in our society. This will aid the vital education stakeholders with effective strategies for mentoring and supporting teachers across diverse educational settings especially in the basic public schools. Based on the findings, the researcher made recommendations to harness and embrace certain educational opportunities in the power of play and child-centered approaches to build a brighter future for our children. The key words here are creativity, education, poverty eradication and wealth creation through applied arts education. This can ensure that every child in Nigeria receives the quality of education they deserve, setting them on a path to lifelong learning and success.
Mary Ogochukwu Emodi-Nnoruka, Clifford Ezekwe Nwanna, PhD
AWKA JOURNAL OF FINE AND APPLIED ARTS, VOL 11 NO 2, 2025
AJELLS is a journal that is entirely commited to the advancement of research in Language and Literary Studies. As a rule, the articles are subjected to constructive criticism/peer reviews and editing prior to acceptance and publication. Adequate attention is also given to originality, language level and appropriate organization of facts. Articles submitted to AJELLS should not have been either submitted or being considered for publication elsewhere. Nevertheless, the authors are totally responsible for the ideas, facts and opinions contained in their articles. The journal also accepts book reviews.
Employing Glass wastes in mixed media Sculpture exploration
Wastes result from utilization of resources within the ecosystem. The natural environment within the pre-industrial era was able to recycle almost all wastes generated. Through biodiversity and inter-dependability nature serviced and wastes itself. Industrialization presented man with the problem of waste glut. Not all wastes present can be recycled or easily disposed. In Nigeria, most metallic wastes and many aspects of plastic wastes are recycled or exported for recycling but glass wastes remain a problem. Thus the need arises for research and exploration into possible ways through which glass wastes can be reused. Art particularly sculpture is versatile both in media and technique. This research is therefore aimed at finding avenues that can render glass wastes employable as sculptural medium. The experiment is necessity be free with regards to concept media mix and combination. This affords the research ample scope and freedom. The results are in free standing relief forms and installations. Some are functional utilitarian or just aesthetic or both. The projects have provided means of reducing the mammoth of glass wastes clogging and degrading the environment and ecosystem. It also opened new trends and causeways in art and industry generally. Keywords: Waste, Glass waste, Mix media Sculpture, exploration
Folklorization, Contemporaneity and Emotionality in the Sculptural Furniture of Tony Akudinobi
This research aims at the exposition of the sculptural-furniture forms overwhelmingly evident in Tony Akudinobi’s art furniture works. This genre of art is rather obscure though with a high-end creative artistic production path which should be explored. Thus the objective is to examine this artistic sphere and its creative production ways, and to present a concise biography of Tony Chidi George Akudinobi, documenting his works and production methods. The project employs qualitative and biographical methods. The findings thus presented in this research highlights the urgent currency at which modern designers/artists hybridize designs and forms to actualize aesthetic utilitarianisms as it is particularly observed in Akudinobi’s works. The anticipation thus, is that this project will tender an impactful source that X-rays unending possibilities in the sphere of creative utilitarianisms that budding artists and researchers could harness as an invaluable exposé.
A Modification of Indigenous Nigerian Technology: The Production of Akwa Ocha
The significance of Akwa-ocha to the socio-economic lives of Anioma people in Delta State is overwhelming. Akwa-ocha industry also contributes immensely toward the sustainable development of Nigeria. Unfortunately modern scientific and technological innovations remain a constant threat to this age-long traditional industry that could go into extinction if left in its original mode of operation. In view of this problem, the researcher modified the woven structure, size and aesthetics of this fabric on a hand loom. The success of this research has solved some key problems in the structure of Igbo traditional handcrafted fabrics by exploring the various advanced woven structures and adapting it in the traditional cloth, it became possible to effect some modification in the system. This research has contributed immensely in making Akwa Ocha contemporarily useful. It could now be used in our contemporary fashion industry for the production of hats, dresses, and souvenirs. This study hopes to encourage more researchers that will help in rescuing our traditional technologies from being relegated to museum objects and artifacts.
A Sculptural Concept of Iphri as a Symbol of Niger Delta Struggle for Resource Control
The imposition of western culture and apparent abandonment of African Justice Value system has no doubt brought about the high level of injustice in our society today. This situation could be corrected by a revival of our cultural values which could be best professed through the medium of art evocation of appropriate traditional institution. Art is still the most effective means of communication since it could be understood by both literate and illiterate persons. This means that the artist uses any medium with which he / she feels can express his / her inner thoughts to create perceptible objects or things. In view of this problem, the research aims at using metals and fibre glass which is a by-product of petroleum to create abstracted sculpture of Iphri. Iphri is a traditional Urhobo sculpture used as a symbol of moderation. When one is very aggressive or too weak to face life challenges, Iphri would be produced for the individual. Iphri is a force that exist in the cosmic world which assists man to take control of his environment in order to succeed in life. Apart from Iphri, there are other naturalistic and semi-naturalistic sculptures produced which are relevant to the research. This project hopes to create awareness about modern usage of direct metal construction because of its importance to modern art / technology. Both metal and fibre glass are closely related to the oil producing industry.
Prospects and Challenges in the Teaching of Art Education: A Nigerian Experience
The standard of teaching and learning of Fine Arts in Nigeria is still low compared to most developed countries across the globe. This problem has been attributed to in effective methods and learning of art. In view of this problem it is the aim of this study to make an in-depth research of what could serve as the most effective method of art teaching, since art teachers and other stakeholders in arts are of the opinion that a lot more need to be done. In every field of study, teachers are the main vehicle through which qualitative education is delivered. Qualitative and descriptive methods were employed in the study, while sources of data include both primary and secondary sources. Through this research approach, the study attempts at outlining the trends of arguments, suggestions and the challenges facing the implementation of suggested National Curriculum content. The work reveals that the objectives of the curriculum are yet to be met and urge government, teachers and other stake holders to work fervently towards full implementation of the National Curriculum content.
Production of Nigeria Mannequins for Fashion Display and Sculpture
The Nigerian fashion industry generally depends on expensive imported Western-styled mannequins that do not in any way complement our natural physique and our cultural dress forms. This is most unfortunate since there are enough trained sculptors and an abundance of materials that can be utilized in producing befitting beautiful and cheaper mannequins. This research not only shows the production procedure of sawdust-reinforced-plastic mannequins: supplementing fibre matt with wood sawdust, it asserts Nigeria’s socio-cultural identity and at the same time expanding the job market for our sculptors. The study equally finds a good use for the abundant sawdust that was considered an environmental waste and health hazard. The research is a product of both literary and studio efforts utilizing information from primary and secondary sources, personal interviews and extensive studio work involving posing, sketching, modeling, mould making, casting and painting. Meeting the expectations of those in the fashion industry, performance art and film industry, of having mannequins with appropriate physique for their purposes. And the discovery that sawdust actually makes the mannequins stronger and cheaper are gladdening justifications for this experiment. This project is expected to immensely influence the hitherto skewed mentality of some Nigerians in favour of Western acculturation and inversely stimulate further experimentations in favour of our own natural endowments, styles, skills and productions not only in arts, fashion and culture, but even in the other areas such as pharmacy, medicine, cosmetics, architecture, science, agriculture, economics, education, music, religion and politics.
Visuality and Representation in Traditional Igbo Uli Body and Mud wall Paintings
Igbo Uli art is a popular creative idiom in southeastern Nigeria. It serves as a decorative, ritual and cosmetic art. It does not exhibit any paradox because it has been considered as art that is aesthetically pleasing. Uli art is practiced purely by the womenfolk on human body and mud wall and based on linear configurations. The intention of Uli painting is not to create an illusionistic representation of reality. However, it is dependent on both conceptual and perceptual, which results in abstract and non- figurative representations. Uli women painters have produced a voluminous body of work widely distributed throughout Igbo land. However, there is a dearth of literature on the corpus of Uli art, hence it requires a continuous investigation and scrutiny. This study therefore provides an insight into the nature and social context of Uli body and mud wall paintings or decorations as well as their processes of execution as women community art project.
Exploration of Waste Material in Sculpture Using Crown Corks
aste constitute major environmental problem in Nigeria today. Some of these wastes are locally generated while others, mainly e-waste, are deliberately imported by Nigerians out of ignorance. Our culture of consumerism is another factor that contributes to increase in waste found in our country. This situation calls for effective management from various experts. Visual artists were not left out in the attempt to deal with the hydra-headed problem. Their approach, known as “waste to wealth” philosophy do not only help to combat waste but has also made people to see beauty/ aesthetics in waste, in line with Martin Heidegger’s theory on perception and phenomenology, basically, any object exist as a perception of the mind. Given the dynamic nature of waste recycling/exploration, the researcher focused on the exploration of crown corks. The researcher undertook a lot of literary research, covering both published and unpublished works. He also embarked on several sculptural experimentation which in the end yielded new styles, media and techniques. Other information gathered from both primary (oral) and secondary sources contributed immensely to the success of the project. The work reveals that waste to wealth philosophy could also be extended beyond visual arts to areas such as architecture and engineering, this will open more fronts in the war against waste.
Towards a Modernist Main Streaming-Oral Tradition: A Tool for Art Historical reconstruction
The un availability of data and good historical sequence of all traditional art (South of the Sahara) have not only made it impossible to establish true origins of African art traditions but also militated against the emergence of a suitable art historical methodology which will establish a perfect historical sequence of all African art. The popular approach to the study of traditional art is anthropological (not art historical) with emphases on cultural extra-aesthetic functions of the objects. This approach places these African art objects lower than its Euro-American counterparts. This study therefore advocates for an indigenous art historical approach based on oral tradition in order to fill the existing gap in written evidence and chronology of these works of art. The work observes that the indigenization of African art was caused by the western powers viewing African Art through the prism of Euro-American methodology. The paper therefore challenges the African historians to evolve more art historical methodologies that can fill the existing gap mentioned above.
Simulating the Costume Elements of the Daughters’ Lineage into Contemporary Textile Designs to Promote Anioma heritage of the Delta People of Nigeria
Culture has been generally regarded as the totality of a people’s way of life and people are identified by their culture. Unfortunately, in Africa, people are fast losing their identity to the strong wave of globalization which continues to sweep across the African continent like a hurricane. This situation will get worse if something is not done to arrest it. The study employs an art historical methodology. The research also carried out some studio projects in textile using mainly weaving and knitting methods. Sources of information for the study include, primary and secondary sources. The research finding identifies the important values in the indigenous arts and culture of the Delta North Area of Delta State, Nigeria. The Study among other things highlighted the importance of indigenous textile to the preservation and propagation of indigenous cultures in Africa.
The Artist and His responsibility to His Society: Mufu Onifade and the Emergence of Araism
A lot of Artists in this modern time loose sight of the fact that the artist owes a social responsibility to his society. This attitude has led some members of the society to view art as mere entertainment without much social commitment, in view of this problem, the study examines the life and works of Mufu Onifide as an example of a contemporary Nigerian artist who has lived up to this societal expectation. This paper establishes that the artist is a product of a society to which he is responsible to. Using Araism Art Movement. The work captures the moral role of artists, first, to themselves and secondly to their society.
Towards Improving the Teaching and Learning of Fine and Applied Arts in Nigerian Tertiary Institutions: An Emphasis on SIWES
Fine and Applied Arts are important cultural elements when considering economic empowerment. In fact, graduates of Technical and Vocational institutions are expected to competently fit into industrial productions as well as display entrepreneurial abilities. Unfortunately, the teaching and learning on these areas have become too theoretical and less practical that graduates skills and capabilities to competently meet the demands of the industry or becoming self-reliant are not emphasized. However this problem could be checked by emphasizing students’ industrial training as part of their curriculum. The study employs a qualitative research approach with sources of data from both primary and secondary sources. The Repetitive Training Theory was relied on for Proper grounding of the work. The study observes that emphasis are no longer placed on industrial training as part of the curriculum and where it is done there are no proper feedback/follow up services after students industrial training. Efforts should be made by government and other stakeholders such that training and practice of Fine and Applied Arts remains a sure road to economic empowerment.
Art and Its Personifying Functional Power: The Okpenshi example
Over time, the value of art has shifted with age and culture. The meaning or significance of some art objects have also either shifted or has become obliterated. The Okpenshi of Awka-Igbo cosmology, a highly significant visual expressive medium of the people, has not only shifted in value, but has also become obsolete in function, to the peril of its rich cultural paternity. This paper examines the Okpenshi in the light of its cultural value among the Awka-Igbo people in order to highlight its personifying functional power. The study employs oral interviews, library and ethnographic studies. It observes in Okpenshi, that art which has been produced by a certain generation need to survive in order to be appreciated in the context of its cultural value and to be available for future generations to study. The study recommends that for culture and artistic traditions to be preserved, the local environment should not be destructive to artworks either by omission or commission, while the use of durable materials of production by the artists should be encouraged.
Protest Metaphors: A Reading of Some Contemporary Nigerian Artists
Humans, mostly those in authority have continuously done terrible things to other humans, and several instances of injustice have given rise to protests which spurred many contemporary Nigerian artists in narrating the events through their works. However, this phenomenon has been largely unexamined in the art historical literature. It is as a result of this shortcoming that the present study is looking at the art works, which portrayed moments of protest from the colonial period to the present day Nigeria. The study focuses on contents, styles and techniques. It was discovered that these vibrant expressions by these artists oscillate between naturalism, semi-abstract and pure abstract images.
Exploring Adobe Photoshop and CorelDraw Applications in enhancing Imagery for Screen Printing on T-Shirts
Accurate print registration always poses a problem when an artist tries to achieve full process colour prints with Serigraph technique. This is so because the steps and printing process is by hand or mechanical. Consequently, artists who employ Serigraph printing technique resort to the use of spot colour and two colours in printing their jobs. This study documents the possibilities of using filter effects on Adobe Photoshop Application and tracing effects on CorelDraw to ameliorate this situation by creating and enhancing colour layers for shades, mid-tones and highlights, respectively, for full colour serigraph or screen printing art. The study aims at achieving accurate print registration of Designs carefully laid out and prepared for printing on five model T-Shirts.
Chidiebere Onwuekwe; Uchechukwu Ezeemo & Benjamin Ike Nnoli
Copyright (c) 2018 AWKA JOURNAL OF FINE AND APPLIED ARTS
Textile and Fashion Designs as tools for Personality Cult in Nigeria: Issues and Problems
The modern mechanized textile industry in Nigeria is in very poor condition. Most of the fabrics in Nigerian markets today are smuggled into the country creating serious competition between the local textile industries in Nigeria and their foreign counterparts. The foreign fabrics smuggled into the country outnumber those locally produced. Most of Nigerian indigenes prefer the foreign fabrics to the locally woven fabrics. The result is that Nigerian textile industries lose patronage. The patrons that modern mechanized textile industry in Nigeria rely on to remain in business include politicians and religious associations. Images of politicians and designs relating to religious associations are printed for them on fabrics by local textile industries that they commissioned to do so. Party supporters wear the fabrics as campaign strategy for the politicians. This can result to creating cult of personality out of some political figures in the society. The religious organisations dress in their customized designs to project their models, associations and events. This can also create personality cult of religious figures and events. Against this background, this study moved to discuss textile and fashion designs as media capable of building personality cult in the society. It advises that the Nigerian society should be careful not to become victims of the mishaps which could emanate from the present Nigerian society that is very conscious of featuring in uniforms. The study also disclosed personality cult as means capable of developing and generating business for the textile and fashion design industry in Nigeria.
Production of Mosaiculture and Topiary Art for Environmental Management and Aesthetics in Nigeria
The deplorable state of our urban environment and the continuous disappearance of green areas in our Nigerian cities have become worrisome, also the ravaging effects of erosion has become a challenge to the government and policy makers This phenomenon has gotten to an alarming rate recently, following the devastating effects of climate change as experienced world over. The crux of this research lies in exploring the art of sculpture produced through the techniques of mosaiculture and horticulture with a view to contributing to the solution of managing climate change. The study established that various traditional media of sculptural expressions can be combined with flowers and green plants to create works of art. The project makes use of John Dewey’s aesthetic theory and the others such as Ivan Pavlov’s conditioning theory as the foundations for the research postulations. The methodology employed is studio experimental approach and the results were presented and analyzed through qualitative and descriptive methods. At the end, the postulations made in the research were subjected to public scrutiny using the medium of questionnaire, after which the data collected were subjected to simple descriptive statistical analysis. The study reveals that plants and flowers could be manipulated to become sculptures; also, it established that with the right policies and awareness, the general population could come to imbibe the habit of protecting and nurturing sustainable environment. The research therefore, serves as a new vista for creative possibilities in using plants and flowers for environmental aesthetics and management.
Towards Continuity and Change in African Art: An Adaptation of Mbaise Art Style into Modern Sculpture using Various Sculpture Media
This study explores the ways of adapting Mbaise art style and history of Mbaise school of arts. The issue of identity in contemporary African Art still remains a point of controversy. Most western art critics and scholars dismiss the idea of identity and authenticity. To them, African contemporary art is a mere imitation of western art currents. This western opinion is misleading and wrong because there are evidences that contemporary African art is a continuation of African traditional art. This research is on working towards continuity and change in African Art by adapting the Mbaise art style into modern sculpture using various sculptural media. The purposes of the study include:To explore the ways of adopting Mbaise art style in this present era, to enlighten contemporary sculptors on the need to adopt indigenous art style, to create more awareness on the Mbaise art style and document the history of Mbaise art school. The study employs an explorative method of research. The work also adopted the method of studio art research which is problem solving and art production oriented. Data were sourced from both primary (oral) and secondary (written) sources. The area of the study is Mbaise in Imo State, of Nigeria. A total of 90 respondents were used for the research which comprised sculptors, painters, graphic designers, ceramists, textile designers, art historians and art critics. The instrument for data collection was a set of structured questionnaire developed by the researcher under the guidance of his supervisor and validated by Dr. F.L. Ulo rand Dr. J.N. Anyanwu of the Department of Measurement and Evaluation, Alvan Ikoku Federal College of Education, Owerri. The data were analyzed using weighted mean. Creative production processes were also involved in the production of the work for the study. The sculpture media for the productions of art works for this study included wood, metals, plasters, plastics, polyester among others. . The art works produced during this study were qualitatively analyzed while the data collected were quantitatively analyzed. The findings were; Mbaise Art Style can be adapted using other sculpture media and techniques, social change in Igbo society influenced the continuity of Mbaise Art Style. This study poses some implications to studio art practice in general which include 1. Much can be achieved in art production by adapting the mbaise art style.2. sculptors are now aware of the contribution expected of them in improving and increasing the production of sculpture with various sculpture media.
Production of Sculpture Using Waste Materials; a Tool for Addressing Environmental Degradation in Onitsha, Anambra State Nigeria
Industrial and domestic activities generate dumpsites everywhere, so the streets and the immediate environments are littered with all sorts of waste materials. It has been noted that increasing urbanization and industrialization have greatly contributed to environmental degradation with its problems, with regards to Onitsha, Anambra State. According to Bazunu and Okwuosa (2013), the habit of littering appears to have been engraved in the life style of many Nigerians living in cities and suburbs. As a result, ‘pure water’ sachets, other polythene bags, plastic bottles and metal cans have become characteristic of Nigerian cities. Discussing the waste problem in Nigeria, Ezike (2016) observes that waste constitute the major environmental problem in Nigeria today. Some of these wastes are locally generated while others, mainly e-waste, are deliberately imported by Nigerians out of ignorance. Wastes are of different categories and classifications, and are from different sources: industrial and domestic. Wastes are generated every day and everywhere. Wastes are majorly classified into biodegradables and non-biodegradables. The degradable are mostly organic, food, paper and textile materials, while non-degradable are plastic, metal, glass, wood and bone. Their degradation time varies according to the materials and conditions of exposure to atmosphere.
Revisiting Realism for the Study of Indigenous Occupation in Awka
Painting goes beyond objective expression of the subject, which involves enlightening the viewer on the features, nature and any other factor that identify with realistic or naturalistic representation of the subject only. In this context, with reference to indigenous occupation in Awka, this study aims at extending the frontier of visual representation to that which expresses the subject beyond its literal or conventional interpretation. Hence the quest to transform the genre imagery from one built on superficial knowledge and understanding to that which is subliminal. For vivid and effective communication of the content, realistic style of painting is employed as the ideal medium for the expression because it poses no problem to the viewer’s intellectual and aesthetic appraisal of visual experience. Furthermore, its fusion with futuristic elements seeks expression in the curiousity and imaginative response of the viewer. Generally the contents of the imageries focus on the aim to trigger and configure the imaginations of the viewer to align with the ideas and principles the subject connotes or conveys. The relevant materials for the study are sourced from textbooks, journals, internet and studio experience. Related literatures are reviewed and the outcome of the results forms the basis for the execution of the study. Analysis of the imageries reveals a studio experience whereby the subject finds expression in the evolution of human intellect. However, this study tends to offer the spectator an insightful knowledge of indigenous occupation as a reality and as a concept. Recommendation are: that indigenous occupation should be studied and interpreted based on metaphysical values. It should be studied and interpreted with reference to colour language. Further futuristic traditional painting of the subject should aim at reflecting man’s quest for interplanetary colonization.
An Adaptation of Tropical Plant Leaves as Motif for Sculptural Furniture Production in Nigeria
The study investigated the prospect of plucking plant leaves from the vast tropical rain forests of south-eastern Nigeria, then drawing their natural features artistically into stylized motifs. The motifs which are research drawings or designs were subsequently produced via sculptural process to become sculptural furniture pieces with the anticipation of countering the foreign furniture importation calculus. The setback of not emphasizing local content, innovation and technology in the production of furniture in Nigeria which affects the Nigerian economy adversely is a challenge which this research project examined. The research interrogated the possibility of these research designs being functional, and if the research designs could incorporate cultural identity/input and add value to the national drive for inclusion of local content for cultural development and economic gains. The research methodology used for this project involved both qualitative and quantitative research methods. The substantive findings of this research study indicated that the research designs/productions for sculptural furniture are acceptable as artistic production. Local content is expressed in these research productions and cultural identities are inputted in the research productions. The research designs are functional and fit as utilitarian works to challenge the imported artistic productions of the Orients and the Westerners. In conclusion, the study proved that tropical plant leaves could be adapted as motif for sculptural furniture and consequently significant and recommended that the research gains could impact sculptors, add value to Nigeria's gross domestic product (GPD), as the national wealth base could be broadened and economic expansion stimulated by the encouragement and support of this genre of creative arts.
Engaging the third Dimension: Uli transmutation to Modern Realities of Synthesis
Insufficient appraisal trails the harvest of the ‘Zarianists’ quest for the synthesis of tradition with new influences to post independence art in Nigeria. The oversight is unhealthy to the search for adequate historiography, deeper understanding and appreciation of the stylistic differentials in modern Nigerian art. The purpose of this paper is to report the transverse of traditionally sinuous two dimensional forms of Igbo Uli in transmutation to modern realities of volumes by the engagement of the third dimension. The study employed primary and secondary sources of information which included oral interviews, studio experiments with materials and forms, and library studies. It observed that the quest for synthesis of tradition with modern approaches have been met in the third dimension, a new platform that depicts Uli, traditionally a two dimensional art, that now transverses tradition and modernity. The study concluded that study and appraisal of the development of Nigerian art, in dire need of art historical and scholarly expositions, are crucial to national development. It calls for departure from ahistorical approaches to Nigerian art, and the continuation of the harvest of the pre independent indigenous quest for freedom of visual expression and celebration of culture in Nigeria.