TRANSFORMATIONS OF THE COMMONPLACE IN EVA OBODO’S SCULPTURES, 1997 – 2015

  • : Ms Word Format
  • : 100 Pages
  • : ₦3000
  • : 1-5 Chapters
  •  
  • Click to DOWNLOAD Materials

TRANSFORMATIONS OF THE COMMONPLACE IN EVA OBODO’S SCULPTURES, 1997 – 2015

ABSTRACT

 

The transformation of commonplace objects into art is a creative strategy popularized in Western art by Marcel Duchamp and explored in different dimensions by artists worldwide. In the art department of the University of Nigeria, Nsukka, this trend was made popular by the Ghanaian artist El Anatsui who taught there for many years. Eva Obodo, a pupil of Anatsui, has constantly transformed commonplace materials into art by multiplying simple elements into a monumental whole. This study attempts to examine his sculptures in terms of how Obodo has succeeded in creating his own personal style from what appears to be a new group style characterizing the works of many younger artists associated with Nsukka today. In doing this, this study adopts a historical and analytical approach in its examination of the development of Eva Obodo’s studio practice from 1990 till date. It finds that Obodo has been restless in his studio inquiry, leading to an ever shifting technique and style, all tied together by his constant use of commonplace materials and his deployment of modular elements for intricately organized works. By studying these developments in the light of the work of a community of artists connected to Nsukka, this study opens discussion on the emergence of a new kind of Nsukka Group outside of the discursive frame adopted by Simon Ottenberg in his examination of the uli aesthetic that once defined much of Nsukka art.

TABLE OF CONTENTS

 

Title Page                                                                    ……………………    i

Approval Page                                                            ……………………    ii

Certification Page                                                       ……………………    iii

Dedication                                                                  ……………………     iv

Acknowledgements                                                    ……………………    v

Table of Contents                                                       …………………..      vi

List of Figures                                                             ……………………     ix

Abstract                                                                      ……………………     xiii

CHAPTER ONE: INTRODUCTION                    ………………….       1

Background of the Study                                            …………………..      1

Statement of the Problem                                            …………………..      3

Objective of the Study                                                …………………..      4

Limitations of the Study                                             …………………..      5

Significance of the Study                                           …………………..      5

Scope of the Study                                                     …………………..      6

Research Methodology                                               …………………..      6

Notes and References                                                 …………………..      8

 

CHAPTER TWO: LITERATURE REVIEW       …………………..      9

Theoretical and Conceptual Literature           …………………..      9

Empirical Literature                                        ………………….       17

Summary                                                         ………………….       34

Notes and References                                     ………………….       36

CHAPTER THREE: TRANSFORMATIONS OF

THE COMMONPLACE IN THE ART OF

NSUKKA ARTISTS                                                 ……………………    40

 

Stylistic Shifts in Nsukka Art                         ……………………    40

 

El Anatsui and the Emergence of New Art Forms

In Nsukka                                                        ……………………    55

 

El Anatsui : Tying African and Global Histories       ……………………    58

 

Nnenna Okore: Transforming Paper, Clay and Fibre ……………………     68

 

Bright Ugochukwu Eke: Water as a Creative Resource…………………… 73

 

Expanding Anatsui’s Stylistic Legacy:

Uche Onyishi, Ekene Anikpe, Alozie Onyirioha

And Teju Olarenwaju                                                ……………………    77

 

CHAPTER FOUR: EVA OBODO AND THE

TRANSFORMATIONS OF THE COMMONPLACE    ……………    86

Early Art Experience                                                  ……………………    87

 

University Education                                                  ……………………    90

 

Working with El Anatsui                                            …………………        95

 

Gathering Pieces of Wood                                          …………………        95

 

Transforming Jute and other Pieces of Fabric            ……………………    106

 

Transforming Jute Fibre                                             ……………………    114

 

The “Line Walk” Series                                              ……………………    114

 

Transforming Charcoal Pieces                                    ……………………    138

 

Summary                                                                     …………………….   145

 

Notes and References                                                 ……………………    147

 

 

CHAPTER FIVE: CONCLUSION                         …………………..…   150

 

BIBLIOGRAPHY                                                    …………………..…  161

 

TRANSFORMATIONS OF THE COMMONPLACE IN EVA OBODO’S SCULPTURES, 1997 – 2015

Sharing is caring!

Leave a Reply