This document discusses the paradigm shift in the Nsukka Art School in Nigeria towards using local materials like clay, earth pigments, and local pots in painting. It notes that the school emphasized exploring the local environment as a source of ideas, forms, and materials. This led artists to begin using clay pots as painting supports and clay/earth pigments as grounds or media for painting. The document examines how this represented a conceptual shift away from conventional painting materials, driven by a spirit of experimentation. It suggests this approach made art production highly innovative while also being cheaper than traditional materials. Examples of works using these local materials will be discussed to demonstrate their usage.
Merging Traditional "Uli" Painting Techniques/Symbols and Computer Graphicsikennaaghanya
For many in the South Eastern part of Nigeria, Digital Art is rapidly becoming the preferred medium to produce poster designs and digital paintings. With a mouse, appropriate software and hardware, monitor, a scanner and a laser printer, one can control a project from start to finish. Traditional “Uli” Body Painting techniques/symbols at the same time, are visual media, which the writer describes as static media (i.e. it can only show snapshots), but it can be enhanced by stylistic elements of a metalanguage to produce the visual impression of dynamics. The viewer's imagination is asked to interpret these symbols and to change the meaning of objects actually shown. “Uli” is an expression of the Ibo people’s capacity for creative body design, which is firmly rooted in their myths and their experience of life in the past, present and future. At its best, it is an expression of their synthetic present, the epic of their search for a new order in the contemporary world. Unfortunately, the “Uli” Traditional Body Painting technique is gradually fading away, as well as the use of the Uli symbols. The emphasis of this paper is to identify the advantages in merging the use of Digital Arts and “Uli” Traditional Body Painting techniques/symbols in producing social awareness themed painting/poster designs and sculptural pieces in Nigeria, with particular reference to the Ibo people of the South Eastern Region of Nigeria. This way, the poster/painting will not just serve as a communicative medium but also as a work of Art (in terms of its aesthetic qualities) and the Uli symbols can as well be preserved.
Graphic Design study of symbols across culture. Focus on the symbolic style of Aboriginal Art and their cultural example of living in harmony with Nature. Students researched 10 ways to change our lifestyles to respect the Earth and designed symbols for modern practices in Aboriginal graphic styles. They transferred their designs onto possum skin cloaks - which was the practice of Aboriginal clans of New Sotuh Wales. They etched designs of natural surroundings and important life events into possum skin cloaks that they kept for all of their lives. We imported Australian possum skins from New Zealand (an invasive species on that island) and used the pelts to replicate the possum skin cloajs project at the Melbourne Museum. The modern cloak that we sewed represents the practices with which we need to wrap around our lives to respsct and preserve our planet.
How to Be an Excellent Artist by Norman Brodeur
Truly becoming a superb expert takes more than just raw capabilities and capabilities. Attempt and developing an individual style are in the middle of being a superb expert, but the great thing is that anyone can do their best.
Norman Brodeur, A Spanish painter born on June 6, 1972 is the leading artist of the state of Minnesota. He is an individual artist who depicted a number of paintings of historical and cultural significance culminating in the production of his masterpiece Las Meninas.
Norman Brodeur Norman J Brodeur, A Spanish painter born on June 6, 1972 is the leading artist of the state of Minnesota. He is an individual artist who depicted a number of paintings of historical and cultural significance culminating in the production of his masterpiece Las Meninas. From the first quarter of twentieth century, artwork of Norman J Brodeur is being a model for realist and impressionist painters.
Norman Brodeur Various Tool to draw Digitally
It goes without saying that you need to have an capabilities if you want to take part in displaying electronically. It is not simple needs some kind of studying. First of all, to be able to get Norman Brodeur electronically you need the right electronic art system.
Photoshop : This electronic system will allow you to get electronically. It has many resources that will allow you to get, shade, remove and create kinds. Get began initially with typical kinds like a rectangle-shaped, group. You can complicated on these kinds and desire to develop up pictures. You can start getting flowers, plants and other simple pictures. As you enhancement you will also be able to get pictures and other complicated factors. norman j brodeur
Norman J Brodeur is a Spanish Impasto Acrylic oil painter and film producer. Norman Brodeur is a leading artist whose artwork is a model for the realist and impressionist painters. Norman J Brodeur reminds us that every time period, civilization and society have a different way of expressing themselves. From the beginning of humankind to the contemporary era, the artists created a unique set of characteristics that influence the new unique artistic ideas that are surfacing and still will. He was also one of the Executive Producers of the movie The Lookalike shown in 2014 . Norman Brodeur has had an illustrious career famous for his Spanish Royal family paintings on display in Spain. His birthplace is Barcelona Spain April 9th 1952.
This article aims to understand the place of the tempera technique in art history, which is thought to be encountered for the first time by art education undergraduate students, and to determine the effects on the participants after the application. The study consists of the findings and results of the first and second research questions in the master thesis “Tempera technique and its use in the course of painting courses on undergraduate level.” In this study the “case study” pattern was used, and is one of the qualitative research approaches. The participants of the research are eight students studying in Bursa Uludag University, Faculty of Education, Department of Fine Arts Education in the 2018-2019 academic year. The data collection tools of literature review and two interview forms interview were used. The findings obtained were evaluated by thematic analysis technique. According to the findings obtained in the research, it was observed that the participants did not have prior knowledge about the tempera technique before oral presentation and application. It was concluded that there were differences in the levels of interest and knowledge after the teaching process, and that there were positive changes in their opinions regarding the technique.
A selection of integrated experiential art workshops developed and taught by teaching artist, Sarah Stone, at middle and high schools in the San Fernando and Conejo Valleys, Los Angeles metro area.
Merging Traditional "Uli" Painting Techniques/Symbols and Computer Graphicsikennaaghanya
For many in the South Eastern part of Nigeria, Digital Art is rapidly becoming the preferred medium to produce poster designs and digital paintings. With a mouse, appropriate software and hardware, monitor, a scanner and a laser printer, one can control a project from start to finish. Traditional “Uli” Body Painting techniques/symbols at the same time, are visual media, which the writer describes as static media (i.e. it can only show snapshots), but it can be enhanced by stylistic elements of a metalanguage to produce the visual impression of dynamics. The viewer's imagination is asked to interpret these symbols and to change the meaning of objects actually shown. “Uli” is an expression of the Ibo people’s capacity for creative body design, which is firmly rooted in their myths and their experience of life in the past, present and future. At its best, it is an expression of their synthetic present, the epic of their search for a new order in the contemporary world. Unfortunately, the “Uli” Traditional Body Painting technique is gradually fading away, as well as the use of the Uli symbols. The emphasis of this paper is to identify the advantages in merging the use of Digital Arts and “Uli” Traditional Body Painting techniques/symbols in producing social awareness themed painting/poster designs and sculptural pieces in Nigeria, with particular reference to the Ibo people of the South Eastern Region of Nigeria. This way, the poster/painting will not just serve as a communicative medium but also as a work of Art (in terms of its aesthetic qualities) and the Uli symbols can as well be preserved.
Graphic Design study of symbols across culture. Focus on the symbolic style of Aboriginal Art and their cultural example of living in harmony with Nature. Students researched 10 ways to change our lifestyles to respect the Earth and designed symbols for modern practices in Aboriginal graphic styles. They transferred their designs onto possum skin cloaks - which was the practice of Aboriginal clans of New Sotuh Wales. They etched designs of natural surroundings and important life events into possum skin cloaks that they kept for all of their lives. We imported Australian possum skins from New Zealand (an invasive species on that island) and used the pelts to replicate the possum skin cloajs project at the Melbourne Museum. The modern cloak that we sewed represents the practices with which we need to wrap around our lives to respsct and preserve our planet.
How to Be an Excellent Artist by Norman Brodeur
Truly becoming a superb expert takes more than just raw capabilities and capabilities. Attempt and developing an individual style are in the middle of being a superb expert, but the great thing is that anyone can do their best.
Norman Brodeur, A Spanish painter born on June 6, 1972 is the leading artist of the state of Minnesota. He is an individual artist who depicted a number of paintings of historical and cultural significance culminating in the production of his masterpiece Las Meninas.
Norman Brodeur Norman J Brodeur, A Spanish painter born on June 6, 1972 is the leading artist of the state of Minnesota. He is an individual artist who depicted a number of paintings of historical and cultural significance culminating in the production of his masterpiece Las Meninas. From the first quarter of twentieth century, artwork of Norman J Brodeur is being a model for realist and impressionist painters.
Norman Brodeur Various Tool to draw Digitally
It goes without saying that you need to have an capabilities if you want to take part in displaying electronically. It is not simple needs some kind of studying. First of all, to be able to get Norman Brodeur electronically you need the right electronic art system.
Photoshop : This electronic system will allow you to get electronically. It has many resources that will allow you to get, shade, remove and create kinds. Get began initially with typical kinds like a rectangle-shaped, group. You can complicated on these kinds and desire to develop up pictures. You can start getting flowers, plants and other simple pictures. As you enhancement you will also be able to get pictures and other complicated factors. norman j brodeur
Norman J Brodeur is a Spanish Impasto Acrylic oil painter and film producer. Norman Brodeur is a leading artist whose artwork is a model for the realist and impressionist painters. Norman J Brodeur reminds us that every time period, civilization and society have a different way of expressing themselves. From the beginning of humankind to the contemporary era, the artists created a unique set of characteristics that influence the new unique artistic ideas that are surfacing and still will. He was also one of the Executive Producers of the movie The Lookalike shown in 2014 . Norman Brodeur has had an illustrious career famous for his Spanish Royal family paintings on display in Spain. His birthplace is Barcelona Spain April 9th 1952.
This article aims to understand the place of the tempera technique in art history, which is thought to be encountered for the first time by art education undergraduate students, and to determine the effects on the participants after the application. The study consists of the findings and results of the first and second research questions in the master thesis “Tempera technique and its use in the course of painting courses on undergraduate level.” In this study the “case study” pattern was used, and is one of the qualitative research approaches. The participants of the research are eight students studying in Bursa Uludag University, Faculty of Education, Department of Fine Arts Education in the 2018-2019 academic year. The data collection tools of literature review and two interview forms interview were used. The findings obtained were evaluated by thematic analysis technique. According to the findings obtained in the research, it was observed that the participants did not have prior knowledge about the tempera technique before oral presentation and application. It was concluded that there were differences in the levels of interest and knowledge after the teaching process, and that there were positive changes in their opinions regarding the technique.
A selection of integrated experiential art workshops developed and taught by teaching artist, Sarah Stone, at middle and high schools in the San Fernando and Conejo Valleys, Los Angeles metro area.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
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Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
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Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
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Paradigm shift local pots and earth pigments as supports, grounds and media for painting in nsukka art school, nigeria
1. Arts and Design Studies www.iiste.org
ISSN 2224-6061 (Paper) ISSN 2225-059X (Online)
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Paradigm Shift: Local Pots and Earth Pigments as Supports,
Grounds and Media for Painting in Nsukka Art School, Nigeria
Okoro, Martins N.
E-mail: ttinso@yahoo.com
Phone: +234 803 4942 063
Department of Fine and Applied Arts, University of Nigeria, Nsukka
Abstract
It has been noted that the creative ideology of Nsukka Art School lays much emphasis on the exploration of the
environment as potent creative sources of ideas, materials and forms, which has in no small measures
contributed and also resulted in the appropriation of culture based art forms as viable creative resources. It is this
exploration that permeates the various areas of art in the school. For instance, in the area of painting, the use of
clay, other earth pigments and local pots for media, ground and supports are clearly the resultant effects and the
gain of this restless search for down - to - earth materials for painting. Therefore, this paper sets to review the
conventional paradigm and then underscore the paradigm shift to ascertain what gave rise to their usage, origin,
as well as their advantages and disadvantages over the conventional ground, supports and media. Examples of
works rendered in this manner will be used as visuals for easier comprehension. However, it has been found that
the use of earth pigments and clay pots for supports, ground and media is aesthetically appealing, highly
innovative and far cheaper to acquire than conventional painting materials.
Keywords: Earth pigments, Local pots, Grounds, Supports and Media and Nsukka Art School.
1. Introduction
In art production, most especially ceramic and sculpture clay is extensively used as an artistic medium in the
execution of cups, mugs, bursts and so on.
To support the above assertion, Zubairu (2008:1) agrees thus: clay is the most important material needed for
ceramic production, whether traditional or modern.
There is one aspect of painting that earth pigments including clay soil and local pots are being used as
media, as grounds, and as supports. This aspect is known as, and called “Exploration of Indigenous Ideas, Forms
and Materials in Painting” as contained in the Department of Fine and Applied Arts, University of Nigeria
curriculum (Oloidi & Akwanya, eds., 2004– 2006:328). It reflected a creative ideology that has been consistently
driven by the exploration and appropriation of culture-based art forms as viable creative resource. It also
emphasized exploration on the environment as potent sources of ideas, materials and forms which offered a
creative pathway that energized the creative spirit of the staff and students in Nsukka
Art School.
Clay is used to make local pots. And these locally made clay pots have come to serve as support bases
for painting. Clay is also used alongside other earth pigments for painting. How possible is it that locally made
fragile clay pots and clay as a pigment could serve as both support bases and as grounds for painting? And how
possible again, is it that clay could serve as a medium for painting? The answers to these thought provoking
questions can be provided using the works produced by some Nsukka Art School painters and that of the Uli
women painters of eastern Nigeria.
At this juncture, therefore, it is of importance that some common place definitions of the key terms that
are central to this topic are given for a better understanding of our subject matter. These are grounds, supports,
and media. Grounds are substances that are used by a painter for preparing and priming the painting surfaces
before the actual painting is executed. They are the underlying surfaces that have been prepared for the execution
of painting proper. They therefore, mean suitable surfaces that have been prepared to receive colours. Media
describe the types of painting materials used by a painter to produce his/her paintings. Examples are tube oil
colour, watercolour, gouache, and oil and chalk pastel, and others. Media is the plural of medium. Supports refer
to the different surfaces or materials for painting that include, canvas, masonite, board, paper, wall, and so on.
So, given the above definitions, we can now proceed to discuss how grounds, media and supports have
come to bear on our subject matter. For the benefit of doubt, in Uli wall painting the pigments Aja Oto (mud slip)
is used to cover the cracks and crevices created by age, insect and atmospheric factors. Aja nwa Mmuo, a reddish
brown earth pigments is used in the manner of primer or size to produce layer of ground on which the initial
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layer design, is established (Ikwuemesi, 2005:8). What is deducible here is that the earth pigments known as Aja
oto and Aja nwa mmou serve as grounds for uli wall painting respectively.
2. The Paradigm Shift
The Department of Fine and Applied Arts, University of Nigeria, Nsukka is known as “Nsukka Art School” for
its crusading influences and contributions to art and national development. It is an art school known for Uli –
body and wall paintings of delightful aesthetic qualities. Nsukka Art
School is a movement with global manifestations. (For more clarifications on Nsukka Art School, see Simon
Ottenberg, 1997, New Traditions from Nigeria, Seven Artists of the Nsukka Group. Washington, DC:
Smithsonian Press).
According to the brief history of the Department of Fine and Applied
Arts of the University of Nigeria, Nsukka, (as contained in the revised undergraduate academic programme,
2011), after the Nigerian civil war (1967-1970), students and faculty members reassembled and resolved that the
art programme of the department had to be reconstructed to meet the demand of the new Nigerian society and it
is from this period that a new culture of exploration and experimentation of the local environment in teaching
and learning dominated art activities of the school. Staff and students searched deeply into the nature and
purpose of art and design in their communities as well as applying the proceeds of these intellectual and artistic
endeavours into social and technological development. The content of the art programme made room for the
incorporation of indigenous ideas, motifs, designs and styles into art learning and production.
In the discourse of modern Nigerian art, the Nsukka Art School clearly typifies the conscious and
radical transformation of conventional ways of art production. The creative antecedents of Nsukka Art School
reveal a radical transformation of common place materials to create works that are stylistic and highly
conceptual. On these notes, it has been noted that the creative philosophy of the Art School laid emphasis on
experimentation, and intellectualization and also gave added impetus to exploration and experimentation (Odoh,
2011:29).
The artists from Nsukka Art School have embraced this creative spirit in the areas of painting, sculpture,
ceramics and textiles. They have as matter of search for appropriate mediums with which to make art that would
be engaging and most telling, “waded into the thick forest of conceptualization, exploration, experimentation and
daring improvisation” (Onuzulike, 2001:8).
There is this aspect in Nsukka Art School known as exploration of indigenous ideas, forms and material
that reflect a creative ideology that has been consistently driven by the exploration and appropriation of culture –
based art form as a viable creative resource. This aspect also emphasizes exploration on the environment as a
potent source of ideas, materials and forms which offered a creative pathway that energizes the creative spirit of
the Nsukka artists (Odoh, 2011:29). It is this apparent shift in the grounding of the content of this aspect,
particularly, that radically changed the direction of the Nsukka artists. They have cultivated a highly conceptual
approach that took its base on the powerful influence of Professor El Antsui supported firmly by the intellectual
art tutelage of Professors Chike Aniakor and Ola Oloidi. It is this extent that the boundaries of painting, sculpture,
ceramics and textiles in Nsukka Art School have “increasing thinned out living, where they exists at all, only a
lean thread of demarcation” (Onuzulike, 2001:17).
It is interesting to note that “a good number of artists of Nsukka Art School have transgressed all known
boundaries and frontiers associated with art through a vehement questioning of a long held notion about them”
(Onuzulike, 2001: 8). It is this intense creative experiments and the restless search for down-to-earth materials
that provoked the high powered conceptualization and articulation of thoughts and ideas.
Aniakor (1991:8) recalling what transpired in early 70s when he took up teaching appointment at the
Department of Fine and Applied Arts, University of Nigeria Nsukka says:
One begins to remember, recall, to reflect – the intense creative
experiments in the studios (especially painting) and classroom – the
discussions and debates in African arts, the restless search for ideas and
materials in mixed media, the reappraisal of the ‘laws’ of painting
composition.
From the foregoing, it is clear that it is the spirit of “experimentation and intellectualization that gave
rise to exploration, experimentation and interrogation and synthesis of this creative resource” (Odoh, 2011:29). It
is again the radical and potent appropriation of a traditional language in creative resource to create works that are
stylistically and conceptually different. It is this creative shift in the consciousness of Nsukka artists in search of
down – to – earth materials which the living environment provides for the execution of their art that the use of
local pots and other earth pigments became a potent creative resource.
For the Nsukka artists, the use of unconventional media and materials for creating works that are both
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stylistically and conceptually quite unique in modern Nigerian art and beyond looms very large. In this regard
Ikwuemesi (1998:13) supports that “art should be made and propagated on our own terms, that is, on African
terms…” So to rely on local pots and earth pigments as grounds, supports and media for painting is ideal
especially now that the politics of identity is on.
One of the painting courses “Exploration of Indigenous Ideas, Forms and Materials offered in the
Department of Fine and Applied Arts, University of Nigeria Nsukka has in no small measures contributed to
making the students, and lecturers alike to use (and are still using) earth pigments including clay to produce
paintings. These students and their lecturers seem to be asking this thought provoking question: Do colours
reside only in tubes and tins? They have come to the know that earth pigments can be used in the places of oil
colours and so on and therefore, have incorporated and skillfully used these earth pigments for their paintings.
Traditional clay pots which have undergone born firing stage are being in use for several purposes to the
Nsukka artists. For example, they serve as support bases for painting. Other earth pigments serve as painting
media. Through exploring the clay medium, and pushing its possibilities and frontiers the ceramists and sculptors
have manipulated (and are still doing so) it to create different forms that range from cups, mugs, jugs, pots, and
bursts to marquette.
In the traditional settings like Nrobo, Inyi and some other places in southeastern Nigeria, traditional potters rely
heavily on the use of clay soil to make earthen pots. The Uli woman painters of eastern Nigeria have also used
clay particles and other earth pigments colours to produce breath-taking wall paintings for which a good example
is the Iyi Azi shrine wall located at Nri in Anambra state of Nigeria (see plate one).
Plate 1 Uli wall painting of Iyi Azi shrine. Photo: C. Krydz Ikwuemesi.
In paintings executed on canvas and board, clay and other earth pigments are used in the places of oil and acrylic
colours (see plate two).1 This painting was rendered in earth pigments colours of brown (mud), ash (clay), white
(ground chalk) and black (charcoal) by a young third year student-painter who was undergoing artistic tendering
at the professional altar of creative tutelage in the Department of Fine and Applied Arts, University of Nigeria,
Nsukka in 2005, for the requirement of the painting course known then as “Exploration of Indigenous, Idea,
Forms and Materials” mentioned above.
Another good example is the work done by Ikechukwu Onyekwe for the same purpose in 2004 (see plate three).
4. Arts and Design Studies www.iiste.org
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Plate Photo from Footprint 5 catalogue
Plate 3 Photo: Itiav Vershima
Locally made clay pots and earth pigments, in the last two decades found their creative manifestations
in the works of Nsukka artists and have been serving as support bases, as media and as grounds for painting in
Nsukka Art School, and some painters that have explored and exploited these locally made pots and earth
pigments for painting are Chukwuemeka Okpara, Krydz Ikwuemesi, Obinna Amoke, Ifeanyi Ezugwu, Martins
Okoro, Stanley Ezeh to mention a few. For Aniakor (2011: 85), “this is like a creative return to the archaeology
of knowledge”.
To buttress our points very succinctly, we will use some of the works of some of these painters
mentioned above.
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Plate 7 Photo: Itiav Vershima
Plate 8 Photo: Itiav Vershima
C. Krydz Ikwuemesi’s “Pot with Uli patterns,” is a painting done on a locally made pot as a support
base (see plate four). Martins Okoro’s work titled “Ite Ike” - hard pot is also rendered with some earth pigments
colours combined with gouache, feathers, rope and seeds on a pot as support base. In this work, he segmented
the surface of the pot to form colour zones to reflect
Uli patterns (see plate five). Plate six, contains painting titled “Africa story 1” and “Decorative pots” done by
Chukwuemeka Okpara while he was demonstrating and exploring into African painting forms, design motifs and
symbols on traditional clay pots as support bases. Stanly Ezeh’s work came about through “Abstract and
Conceptual” painting course in the Department of Fine and Applied Arts, University of Nigeria, Nsukka. In this
work, he used big and small sizes of local pots to skillfully show that painting support bases can be local pots
instead of the conventional canvas. On the surface of the pots are brown, black, yellow ochre and white zones of
uli patterns (see plate seven). Plate eight is triplets local pots turned upside down and painted on, as support
7. Arts and Design Studies www.iiste.org
ISSN 2224-6061 (Paper) ISSN 2225-059X (Online)
Vol.9, 2013
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bases with colour contrasts between brown and yellow with sharp lines demarcating the first and the third pots at
the center respectively, while the center pot itself is rendered in blends of black and brown colours.
There are of course other works produced by Nsukka Art School painters on local pots which would
have been used to buttress more our points, but for the reason that on the course of writing this paper, these
works were not readily available.
3. Conclusion
Conclusively, therefore, this concise paper has proven that there are ceramic elements in painting and that such
elements have in no small measures been helping painters of Nsukka Art School to providing answer to the
question on whether colours reside only in tubes and tins; that unusual and fragile traditionally locally made pots
can serve as painting support bases, which in the words of Okpara (2010:74) is therefore an encouragement to
contemporary African painters to explore similar African traditional objects in making visual statements.
Note
1. See Nnaemeka Asogwa (2005). “Daughters of dust”, in Footprints 5: New
Painters from the University of Nigeria exhibition catalogue, Enugu:
Alliance Francaise.
References
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Contestations”, in Sam Onuigbo (ed). Indigenous Knowledge and Global Changesa in Africa: History, Concepts
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Ayuba, Zubairu (2008). “Adaptation of Aspects of Gari Bah Traditional Pottery in Contemporary Ceramics”,
Seminar Paper delivered in the department of Fine and Applied Arts, University of Nigeria, Nsukka for the
course FAA 500, on the 7th of May.
Ikwuemesi, Krydz (2005). “The Uli Woman Painters of Nri”, in Ikwuemesi and Agbayi (eds). The Rediscovery
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Pathways”, in Forward to the Past IV: Uli and the
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Okpara, Chukwuemeka (2010). “Exploration of African Indigenous Painting
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