A Conceptual Exploration Of Nigeria’s Historical Experiences In Clay Form

ABSTRACT

Ceramics is a field of study that has gained usefulness in vital areas of human tasks due to the special qualities of the earthy material (clay) that is usually employed. The sourcing, manipulation and firing of clay items result in ceramics of divergent nature which include, table wares, sanitary wares and conceptual ceramics. This study chose to dwell on the conceptual aspect of ceramics that has the capacity for social commentary through the “construction and deconstruction” of forms. Conceptual ceramics proclaims the modern era in a variety of ways. It produces works that speak about contemporary issues in day to day life, thus offering great conceptual framework upon which academic discussion could be generated. The emphasis on the utilitarian and industrial ceramics especially in Nigeria, no doubt is useful to the society for household and industrial applications, but it narrows the potentials inherent in ceramics, and lacks creative expression of ideas, techniques and style. A potter who engages in the production of tableware or sanitary wares may not require any high level of education to do this, and his works may not carry any subject matter that could trigger discussion or investigation, and as such cannot be a pedagogical tool that may promote learning in some related fields. The conceptual aspect of ceramics which is globally recognised for its interrogational strength in commenting on social, historical and political issues, has been taken for granted in Nigeria. Only a few ceramic artists have taken the style as a practice. These few artists adopt other forms of clay media to represent their research outcomes, however, none to the best of the researcher‟s knowledge has utilised the construction and deconstruction of wares in form of slabs to interrogate Nigeria‟s historical experiences in conceptual style. The aim of this study is to construct and deconstruct clay wares in form of slabs to render in a conceptual manner, some aspects of Nigeria’s historical experiences in tactile form by adopting the frame work as exemplified in the works of renowned ceramic artists like Abbas Ahuwan, Chris Echeta and Ozioma Onuzulike. Their
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style of ceramics is within the confines of conceptual ceramics which this research has adopted. Studio based research approach was adopted for convenience in the actualisation of the aim and objectives of this research through a concept of construction and deconstruction of clay forms. This study has shown that, the uniqueness of conceptual clay forms in this study lends a voice to a variety of historical issues where utilitarian ceramics cannot represent. This study has developed an alternative way of producing conceptual ceramic forms by the process of building baseless cylindrical forms on the potter‟s wheel, cutting open into slabs (constructing and deconstructing) before alteration. This study has also established that while the practice of ceramics such as tableware, sanitary ware and industrial ceramics are well favoured in the Nigeria context for the purposes of household and industrial usage, conceptual ceramics has the power to bring to limelight the creative prowess of a ceramist in commenting on issues of national societal debate.

TABLE OF CONTENTS

Title Page …..……………………………………………………………………………………. i
Declaration …….…………………………………………………………………………….. ii
Certification …………………………………………………………………………………. iii
Dedication…………………………………………………………………………………… iv
Acknowledgements…………………………………………………………………………… v
Abstract ……………………………………………………………………………………… vi
Table of Content ………………………………………………………………………………vi
List of Figures ………………………………………………………………………………xiii
List of Plates …………………………………………………………………………………xiv
1.0 INTRODUCTION
1.1 Background of the Study………………………………………………………………………… 1
1.2 Statement of the Problem……………………………………………….…………………7
1.3 Aim of the Study………………………………………………………………….…………8
1.4 Objective of the Study ……………………………………….………………………….. 8
1.5 Research Question ………………………………………………………………..……… 8
1.6 Justification of the Study…………………………………………………….…………… 9
1.7 Significance of the Study…………………………………………………………………10
1.8 Scope of the Study. ……………………………………………………………………………………………..11
1.9 Conceptual Framework ………………………………………………………………………………………. 11
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2.0 LITERATURE REVIEW
2.1 Introduction ………………………………………………………………………………12
2.2 Clay………………………………………………………………………………….……12
2.3 Conceptual Art……………………………………………….………………………….. 13
2.4 Conceptualism in Ceramics……………………………………………………………… 14
2.5 International Conceptual Ceramic Artists ………..………………….………………….. 15
2.5.1 Bonnie Kemske …… ………………………………………………………….……… 15
2.5.2 Richard Notkins ……….………………………………………………………………17
2.5.3 Mutlu Başkaya Yağcı ……………………………………………………………,….. 18
2.6 Nigerian Conceptual Ceramic Artists ………… …………………………………………. 20
2.6.1 Abbas Magaji Ahuwan ……………………………………………………………..… 21
2.6.2 Chris Echeta ………………………….……………………………………………………24
2.6.3 Ozioma Onuzilike ………………………………………………………………………… 26
3.0 RESEARCH METHODOLOGY
3.1 Introduction ………………………………………………………………………………33
3.2 Preliminary Drawings ………………………………………………………………………. 34
3.3 Materials for the Execution of the Works …………..…………………………………….. 46
3.4 Collecting and Processing of Iron Filings ……………………………….……………… 49
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3.5 Blending Clay and Iron Filings ………………………………………,…………….. 50
3.6 Construction on the Potter‟s Wheel ……………………….…………………………51
3.7 Alteration (deconstruction) of Forms Produced from Throwing ……………………. 52
3.8 Execution of Works ………………………………………………………………….. 56
3.8.1 Generating “Self-Sustenance” (Pre Colonial Era)…………………………………… 57
3.8.2 Generating “Foreign Rulership” …………………………………………………….. 59
3.8.3 Generating “Negotiation into Slavery” ……………………………………………… 60
3.8.4 Generating “Freedom from Oppression” ………………………………………….. 60
3.8.5 Generating “Agro-Economy” ………………………………………………………… 61
3.8.6 Generating “Crude Oil Monster” ………………………………………….…………. 64
3.8.7 Generating “Forceful Leadership” ………………………………………………….. 65
3.8.8 Generating “They Say we are in Democracy” ……………….……………………… 66
3.8.9 Generating “Egocentric Leaders” ……………………………………………………66
3.8.10 Generating “Societal Wreckage” ………………………………………………….. 67
3.8.11 Generating “Societal Uncertainty” ………………………………………………… 69
3.9 Drying of Clay Forms Produced ……………………………………………………….69
3.10 Oxidation Firing of Clay Forms Produced …………………………………………… 70
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4.0 RESULTS AND FINDINGS
4.1 Introduction …………………………………………………………………………… 77
4.2 Result of Thumbnail Sketches …………………………………………………………. 78
4.3 Result of Construction and Deconstruction of Clay Forms …………………….……… 78
4.4 Result of Creating Variance in the Appearance of the Wares ………………………… 79
4.5 Result of Installation of Wares into Compositions to Depict Themes and elements of design ………………………………………………………………………………………. 79
4.6: Result of mounting the works as installations to evoke knowledge and create an intellectual property by Contextual Analyses …..………………………………………….. 84
4. 6. 1 Traditional Pre Colonial Technology ……………………………………………… 85
4.6.2 Foreign Ruler …………………………………………………………………………. 87
4.6.3 Negotiation into Slavery ……………………………………………………………… 89
4.6.4 Freedom from Oppression …………………………………………………………… 91
4.6.5 Agro-Economy ……………………………………………………………………… 93
4.6.6 Crude oil Monster …………………………………………………………………… 95
4.6.7 Forceful Rule …………………………………………………………………….. 97
4.6.8 “They Said we are in Democracy” …………………………………………………. 99
4.6.9 Egocentric Leaders …………………………………………………..…………… 101
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4.6.10 Societal Wreckage ……………………………………………………………… 103
4.6.11 Societal Uncertainty ……………………………………………………………… 105
4.6.12 Formalistic Analyses ……………………………………….……………………… 107
4.7 Findings …………….……………………………………………………………………… 109
5.0 SUMMARY, CONCLUSION AND RECOMMENDATIONS
5.1 Summary …………………………………………………………………………….. 111
5.2 Conclusion ………….…………………………………………………………………. 112
5.3 Recommendations …………………………………………………………………… 113
REFERENCES…………………………………………………………………………… 114
LIST OF FIGURES
Figure 2.1 “White Light” by Kemske ………………………………………………………………………… 16
Figure 2.2 “The Audience” by Kemske ……………………………………………………………………… 16
Figure 2.3 “Passages”, by Richard Notkin ………………………………………………………………….. 18
Figure 2.4 „Umut‟(hope) by Mutlu Başkaya ……………………………………………………………… 19 Figure 2.5 Abbas Ahuwan at work in his local studio at Hunkuyi Village, Zaria………………. 22 Figure 2.6

CHAPTER ONE

INTRODUCTION
1.1 Background of the Study
Ceramics is a field of study that has gained usefulness in vital areas of human tasks due to the special qualities of the earthy material (clay) that is usually employed. The sourcing, manipulation and firing of clay items result in ceramics of divergent nature which include, table wares, sanitary wares and conceptual ceramics. All these have their unique places and functions and are globally recognised. Alkali (2009) describes conceptual ceramics as „non–pot ceramics‟. With bias for traditional (conventional) ceramics, Alkali enumerates the merits of conceptual ceramics to include a high level of intellectual content that brings about a rich confluence of inspirations and subject matters that become exciting sources of information to other aspects of learning. He further states that, this kind of ceramics proclaims the modern era in a variety of ways. It produces works that speak about contemporary issues in day to day life, thus offering great conceptual framework upon which academic discussion could be generated.
This study has chosen to dwell on the conceptual aspect of ceramics that has the capacity of social commentary through the “construction and deconstruction” of forms. According to the Oxford Dictionary (2017), construction is the style or method used in the building of something while deconstruction is breaking something down into smaller parts. This study has appropriated both words to mean throwing on the potter‟s wheel and altering what has been thrown to achieve conceptual ceramics that are interrogative.
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For conceptual ceramics to be interrogative, it should be understood as addressing a particular issue or set of issues. According to Echeta (2013), forms in ceramics production give the clay it’s power to draw attention to itself. An understanding is reached with the material (clay) as a result of handling, which facilitates a thought process. Until the thoughts are downloaded into the physical world, they remain the private and unshared property of the artist and in this case, the ceramic artist. Echeta further opines that for a ceramic artist to be able to make a mark, such artist must have gone „crazy’ with the medium of clay, and some times, in the company of other materials in order to achieve conceptual expressions. Ecoma (2011) observes that in ceramic art there are divergent directions, the traditional as well as the modern which constantly seek new forms and fusions. Ceramics comprises of objects which may be sculptural, decorative, functional or conceptual and may be intended for social use, private pleasure, domestic or public use.
Conceptual ceramics has its root in the modern pottery practices which date back to the 1950s. For the effective understanding of where modern ceramic art started from and where it is today, a brief narrative by Onuzulike (2009) reveals thus:
The first well documented modern pottery in Nigeria is the Abuja Pottery Training Centre established in 1951 by the northern Nigerian government through the instrumentality of the British potter, Michael Cardew, and later Michael O‟Brien. The Abuja Pottery Centre encouraged local potters being trained there to blend traditional pottery forms and techniques with foreign ones. It produced the famous Ladi Kwali who took advantage of the high-fired kilns and glazes to modernise her innovative traditional designs, a successful venture that has been appreciably studied by a number of writers, including the Nigerian ceramist and art historian John Agberia. This synthesis of local forms and techniques with those from outside for the enactment of modern ceramic works in the early 1950s marked an important precursor to events that took place later that decade at the Nigerian College of Arts, Science and Technology (NCAST), Zaria (now Ahmadu Bello University).
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Modern ceramics in Nigeria has a history of developments from one style to another depending on the location and people involved. At the initial level of modern ceramics in Nigeria, efforts were geared towards the achievement of traditional identity reflecting on the wares. This is exemplified by notable ceramic pieces of Ladi Kwali and Abbas Ahuwan. These works can be found in galleries both in Nigeria and abroad. As time went on, the practise of modern ceramics in Nigeria began to take radical dimensions which transcended utilitarian and cultural identity. The likes of Abbas Ahuwan, Chris Echeta, and Ozioma Onuzulike for instance, have executed works through the conceptual approach with the inclusion of other materials and techniques which are not conventional. The inclusion of foreign materials lends more voice to conceptual ceramics and makes the practise more effective in its objective. This is because materials that are not necessarily earthy carry their own qualities which may be complimentary to clay.
Onuzulike (2008) posits that, the role of ceramics in the technological and economic development of many countries has always commanded attention. However, its role in socio-political development has often been taken for granted or ignored. A handful of ceramic artists in Nigeria have created a large body of work that reflects on Nigeria’s tradition, socio-political and economic history. Echeta and Esege (2014) assert that, “it has become clear that a medium like clay, irrespective of the level of derision applied to it, can generate limitless vista of opportunities for social penetration. Clay yields to easy manipulation, but at the same time hardens under elevated heat levels into rock-like products for both functionality and aestheticism. Clay and its products provide answers to social history and documentation”.
Oloidi (2011) points out that no civilised nation plays with, or disregards, the necessity for sculptural adornment, because apart from their appealing environmental aesthetics, such monumental works are a strong statement on the nations’ political, cultural, socio-economic
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and other historic achievements. Oloidi further reveals that Washington D.C. is a typical example of a city with great historic monuments, and this is why it is usually described as a city of monuments. Fine arts products all over civilized world are part of government, corporate or institutional structures. Nigeria has a history of events that cannot be forgotten overnight. Such histories are worthy of artistic interrogation especially in art forms. Ceramics is an area that can comfortably convey this representation in three dimensional conceptual form. It is commonly believed that history presents the glorious past of a country which is replete with unprecedented events and incidents that give the nation its own technological, economic and political identity. The history of Nigeria represents the remarkable incidents that changed and redefined the various aspects of the country. A look at opinions on some Nigeria’s historical experiences availed this study the necessary synergy and inspiration for rendering the themes in sketches and in tactile conceptual ceramic formats.
From the onset, Nigeria had tried to be self-sufficient as an entity. This is evident in the words of Rodney (2009). He reveals that “before even the British came into relation with Nigerians, there existed local technologies, Nigerians were a developed people, having their own institutions and ideas about governance”. As there were different ethnic groups in Nigeria, so the different interests as to what bothers on their welfare. This made the experiences for survival more tasking and of divers phases in Nigeria. Dike (2000) opines that incorporating several ethnic groups into a single political system means bringing together the basic problem of ethnic conflict as well. Nigeria’s short life has been packed with successions of social changes. There has been the shift from regions to states, from rural to cities, and from agriculture to industries”. The historical experiences of Nigeria are in different spheres and are numerous. They have been both gainful and painful. No wonder Joseph and Gillies (2010), observe that “nothing can be more tragic than the present season of uncertainty in which Nigeria has found itself. Indeed, in recent times, the country has
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experienced an extraordinary and often surreal political drama seemingly scripted by a writer of fantasies”.
Conscious attempt has been made to limit the historical experiences to themes this study deems achievable in tactile form and not the rhetoric. This is purely to give credence to conceptual clay forms that were produced and also to be able to achieve the objectives of this research. The historical themes considered for interrogation in conceptual ceramics are, Self-Sustenance (Pre Colonial Era), Foreign Rulership, Negotiation Into Slavery, Freedom From Oppressors, Agro-Economy, Crude Oil Monster, Forceful Leadership, They Said We are in Democracy, Egocentric Leaders, Societal Wreckages and Societal Uncertainty Wilson (2007) expresses his notion about conceptual ceramic thus: I do regret that I could find no place in ceramics as I think, and this might sound arrogant, that ceramics would be a much richer place if the ceramic world not only included but welcomed and enjoyed artists like me who wish to take a broader view. To my mind there seems to be a self-imposed creative restriction that keeps ceramicists working within their comfort zone. The craft and skills involved in ceramics are vital and valid but I feel that the ceramic world is failing to take up the challenge to push beyond this level and use these amazing skills to explore the realms of thought, philosophy, spirituality, physicality, morality, ethnicity, and so much more. In other words, to bring ceramics towards the concerns of the fine artist where there is a wealth of academic criticism that pushes the artists to examine and expand their art. My contention is that ceramicists are working within a comfort zone and they hold a cosy attitude towards their work which not only limits but maintains their work, however skilful and beautiful, as „little sister‟ to the grown-up artists. To my mind, what is needed here is a body of serious critical writing against which the ceramicists can sharpen their perceptions and push their thinking past skill and technique to a realm that will set them among the biggest and best in the entire art world. But where is this body of serious writing and is this an argument that is at last taking place in the public arena?
The motivation to undertake this study is borne out of the likeminded concern that is been shared by Wilson (2007), which is the zeal to move out of the comfort zone of utilitarian and traditional ceramics to interactive form of ceramics that is conceptual and interrogative.
Marshall (2011) observes that critical matters of politics, communication, language, cultural identity, economy and power are volatile issues for many societies. Conceptual ceramics is a
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powerful vehicle for bringing attention to these ideas. Ceramics is accepted to comprise both the design aspect and the conceptual aspect. There is therefore no gain giving less emphasis to the conceptual aspect of ceramics, knowing too well the vital role it is capable of playing in conveying meaning.
The exploit of Ahuwan (2014) with the Hunkuyi-Experiment in ceramic art further validates the idea of this research in the bid to be different. The Hunkuyi-Experiment came about through the quest for identity excellence and enthused by a deep seated passion to make an impact in ceramic art. Ahuwan states that he was challenged to do something outside the norms of contemporary design practise, which he was accustomed to – that is leaving the comfort zone of his standard studio and going to engage in traditional pottery at a village called „Hunkuyi‟. The essence was towards incorporating components of traditional processes into his designs. Ahuwan (2014) concludes that his skills had been enhanced by the Hunkuyi experience with a higher command of creativity, perception, self -confidence and vision in his practice. According to him the experience consolidated all the qualities required to succeed as a creative clay artist. The Hunkuyi-Experiment had a significant impact on the search for Nigerian ceramic identity. Onuzulike (2009) reveals that taking a critical look at the Department of Fine Arts, Ahmadu Bello University, it was in 1974 that ceramics caught up the ‘rebel-effect syndrome’ which brought about critical thinking into clay work.
Alkali and Ahuwan (2014) also reveals that works produced by Ahuwan seem to adopt the ideological posture of the conceptual artist which seeks to accommodate the co-existence of traditional ceramics with its heterogeneous cultural approach. This approach one believes is adopted to keep pace with the revival of cultural activities being projected through art. Alkali further states that Ahuwan‟s pots have a built-in intellectual content contrary to many ceramic artists whose works skew towards commercial and practical purposes. His works
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have tremendously contributed creative thoughts of much depth and have established theoretical framework by which they can be examined.
Majority of ceramic institutions and ceramists in Nigeria, have more preference for utilitarian ceramics than conceptual ceramics. Philosophies of some ceramic schools in Nigeria like the Ceramics Section, Department of Industrial Design, Ahmadu Bello University Zaria, also reflects this preference. Conceptual ceramics thus became alien even among professionals in the field. This attitude affects the presence of ceramics at different competitions and exhibitions available in Nigeria and globally. For conceptual ceramics to be interrogative, it should be portraying an issue. This study has chosen to take a look at Nigeria’s historical experiences to be presented in conceptual tactile form, with clay as medium of execution.
1.2 Statement of the Problem
The emphasis on the utilitarian and industrial ceramics especially in Nigeria, no doubt is gainful to the society for household and industrial usage, but it narrows the limitless nature of ceramics, and lacks creative expression of ideas, techniques and style. Akali (2009) opines that “a potter who engages in the production of tableware or sanitary wares may not require any high level of education to do this, and his works may not carry any subject matter that could trigger discussion or investigation, and as such cannot be a pedagogical tool that may promote learning in some related fields”. It is generally considered that conceptual ceramics which is globally recognised for its interrogational strength in commenting on social, historical and political issues have been taken for granted in Nigeria. Only a few ceramic artists have taken the style as a practice. These few artists adopt other forms of clay media to represent their research focus, however, none to the best of the researcher‟s knowledge has
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utilised the construction and deconstruction of wares in form of slabs to interrogate Nigeria‟s Historical experiences in conceptual style.
1.3 Aim of the Study
The aim of this study is to produce conceptual clay forms that portray Nigeria‟s historical experiences.
1.4 Objectives of the Study
The objectives of this research are:
1. to capture the execution of the ceramic art works in the form of conceptual thumbnail sketches,
2. to construct and deconstruct by throwing and altering clay to produce forms that will possess the characteristics of different selected themes,
3. to create finishing variance in the appearance of wares for visual appeal
4. to make compositions that depict different thematic expressions of historical experiences of Nigeria,
5. to discover and achieve a personal style that will evoke knowledge and create an intellectual property.
1.5 Research Questions
The research questions for this study are:
1. in what manner should the conceptual tactile works be at first captured ?
2. how can construction and deconstruction be used to actualise the works for this study?
3. how can visual appeal be created in the appearance of the works ?
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4. how can works depict the different thematic expressions of historical experiences of Nigeria ?
5. why is it necessary to portray Nigeria‟s historical experiences in conceptual clay forms
1.6 Justification of the Study
Globally, ceramics has come to be accepted as a field of study that embodies design, concept and industry. Therefore, it might be inappropriate to intentionally or unintentionally streamline ceramics to just an aspect. Onuzulike (2009) opines that in spite of clay‟s inherent ability to convey loads of art ideas, its widespread use in the production of utilitarian vessels for domestic use appears to have drawn attention away from its expressive potentials and conceptual qualities. This is as true in Nigeria as it may be elsewhere. This is perhaps why many art historians and writers, until recently, have not paid adequate attention to such works in clay.
Ceramic art practice today can be all inclusive, and at the same time can negate the norm for a more radical approach. That is why Egonwa (2014) asserts that, the production of ceramic wares is beginning to assume a new dimension being influenced by some creative ideologies such as installations and other explorative means, free from the normal utilitarian objects. Oloidi (2011) states that, “works produced in the studio areas of fine arts can serve social, political, religious therapeutic, historical, educative and generally humanistic needs. Works of fine art have made history more historical or factual, alive and convincing through pictorial and sculptural documentation of events or historical as well as notable religious character”.
Oloidi further observes that no serious minded society takes her history for granted. This is because history is what makes a nation. Several literary documentations have been made
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concerning the history of Nigeria. Portraying the same in visual tactile format becomes more meaningful especially in conceptual ceramic format. Such works may be strong statements on the nation‟s political, cultural, socio-economic and historic achievements. This academic enterprise, therefore, becomes essential as it focused on defining new methodologies for conceptualising, articulating, designing, producing, and exhibiting ceramics within the context of modern and contemporary art practice in Nigeria.
1.7 Significance of the Study
The uniqueness of conceptual clay forms in this study lends a voice on a variety of Nigerian historical issues where utilitarian ceramics cannot operate such as; Self-Sustenance (Pre Colonial Era), Foreign Rulership, Negotiation Into Slavery, Freedom From Oppressors, Agro-Economy, Crude Oil Monster, Forceful Leadership, They Said We are in Democracy, Egocentric Leaders, Societal Wreckages and Societal Uncertainty;
it develops an alternative way of producing conceptual ceramics forms by the process of construction and deconstruction of hollow cylindrical forms to interrogate Nigeria‟s historical experiences;
it establishes that while the production of ceramics such as tableware, sanitary ware and industrial ceramics are well preferred in the Nigeria context for the purposes of household and industrial usage, conceptual ceramics has the power to bring to limelight the creative prowess of a ceramist in commenting on issues of national interest such as; Negotiation Into Slavery, F reedom From Oppressors, Agro-Economy, Crude Oil Monster, Forceful Leadership, They Said We are in Democracy, Egocentric Leaders, Societal Wreckages and Societal Uncertainty .
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1.9 Scope of the Study
This research is concerned with conceptual ceramics as a tool for portraying Nigeria’s historical experiences. Eleven of the historical struggles determine the themes or titles suitable for exploration within permissible conceptual limits. They are, Self-Sustenance (Pre Colonial Era), Foreign Rule, Negotiation Into Slavery, Freedom From Oppressors, Agro-Economy, Crude Oil Monster, Forceful rule, They Said We are in Democracy, Egocentric Leaders, Societal Wreckages and Societal Uncertainty. These works were installed according to their historical chronology of occurrence in an exhibition space at the department of Fine arts, Ahmadu Bello University, Zaria.
1.10 Conceptual Framework
This research adopts the frame work as exemplified in the works of renown ceramic artists like Abbas Ahuwan, Chris Echeta and Ozioma Onuzulike due to the fact that the ceramic works of the trio are unique, interrogational, making social commentaries and contributing to issues that invoke national debate. Their style of ceramics is within the confines of conceptual ceramics which this research has adopted.

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