DEPARTMENT OF FINE AND APPLIED ARTS

This project titled “Commemorating the Postgraduate Painting Studio Space in honour of Professor Manasseh Emamoke Imonikebe” was conceived as a creative and commemorative design project aimed at honouring the artistic and pedagogical contributions of Professor Imonikebe, a distinguished Nigerian painter and educator. This study’s practical aspect sought to design and produce an illuminated acrylic board signage that would serve both as a functional marker and as a symbolic artefact of institutional memory within the Department of Fine and Applied Arts, University of Benin. The research adopted a practice-based methodology, combining theoretical investigation, material experimentation, and studio production. Various literatures on commemoration, graphic design practice, typography, and material innovations were reviewed to establish a conceptual framework. The practical component involved the design and fabrication of an illuminated acrylic signage integrating laser-cut lettering and LED lighting, chosen for their aesthetic appeal, durability, and contemporary relevance. The outcome demonstrated that acrylic and lighting technologies can effectively enhance commemorative design by improving visibility, durability, and symbolic value. The completed signage achieved a harmonious balance between innovation and tradition, reflecting both the academic spirit of the institution and the creative legacy of Professor Imonikebe. The study concludes that creative experimentation with modern materials in commemorative contexts enriches design pedagogy and expands the boundaries of graphic design practice in Nigerian higher institutions. It recommends that universities adopt innovative and sustainable approaches to commemoration, merging heritage, technology, and design as tools for preserving academic legacies.

The study “Exploring Twine in Visual Representation of the New Yam Festival in Ikere, Ekiti State. New Yam Festival is a significant cultural celebration in many West African scommunities, marking the start of the harvest season. It blends religious and social traditions, emphasizing gratitude for the yam harvest and reinforcing community identity. Precisely, the innovative use of twine as a structural and conceptual tool in mixed-media painting, emphasizing its role in achieving depth, and texture. The study investigated how twine can serve as a medium to enhance the thematic and conceptual underpinnings of mixed-media paintings, emphasizing its symbolic significance. It also examined various techniques for incorporating twine into mixed-media works, focusing on how it can create texture, and depth, in visual composition, and demonstrated how twine can be used effectively with other materials to depict the cultural aesthetics New Yam Festival in Ikere-Ekiti. Over the years, artists who work in mixed-media technique have not extensively explored the symbolic and aesthetic roles other materials play like twine in the mixed-media expression associated with culture of Ekiti people. The special project was practically carried out in seven (7) stages which include: The canvas was stretched on the stretcher of 5ft by 7ft, the canvas was primed with white glue top bond to cover some holes in the canvas; making of outlines on the stretched canvas from sketch pad; the researcher gummed twine on the outlines using glue; application of sawdust on the drawing to make it tactile; the researcher created an image by extending paints on the already drawing. The study reveals that twine is a viable and meaningful material in mixed-media painting. Its tactile qualities enhance the visual impact of artworks, while its cultural associations strengthen the symbolic representation of indigenous festivals such as the New Yam Festival. The research demonstrated that indigenous materials can serve as bridges between traditional heritage and contemporary artistic innovation.

Osogbo art, which previously stood at the forefront of Nigeria artistic heritage, has gradually been relegated to the background. These is, however, a pressing need to re-project it within present and contemporary artistic practice. Despite the rich artistic and cultural significance of Osogbo art style, there exists a notable gap in research regarding the specific intersection of the elements of impasto technique in painting. While impasto techniques have been extensively studied in Western art traditions, their application within the context of Osogbo art style remains largely unaccessed. The aim of the study was to produce paintings that depict the interplay of texture and alternative display of the Osogbo art style in contemporary painting. The design of the study was exploratory and studio-based to produce paintings in Osogbo art style in a contemporary format using impasto texture to be display on alternative diagonal placement using oil colour as medium painted on canvas. The materials used include oil colour, palette knives, canvas, and linseed oil using studio procedures. The procedure involved six main stages include: stretching, sizing, priming, sketching, painting, and finishing. Impasto technique. executed primarily with palette knives, was applied to create texture and are visually analyzed. The finding of the study are the following: Use of Impasto: Impasto introduced tactile qualities to Osogbo inspired paintings, adding depth, rhythm, and material presence that enhanced their symbolic and narrative strength, Cultural Relevance: The paintings successfully expressed themes rooted in Yoruba culture, such as maternal love (Donkeys in the Groove), social reflection (Sober Reflection), and memory of the past (In the 90s), while simultaneously addressing contemporary concerns, Aesthetic Enrichment: The interplay of texture expanded the expressive vocabulary of Osogbo art, allowing it to remain vibrant and adaptable to modern artistic practice. Therefore, it has established that impasto can be effectively integrated into Osogbo art, enhancing its tactile and expressive qualities, thus adding dynamism and novelty to art appreciation.

This research explored the concept of vengeance and justice through the cultural and spiritual representation of Sango, the Yoruba god of thunder and fire. The study addressed the problem of increasing moral decline, betrayal, and the erosion of integrity in today’s society, which have contributed to the breakdown of traditional values and social harmony. The study aimed to reinterpret Sango as a symbol of justice, power, and moral equilibrium, using visual art to illustrate the effects of betrayal and the importance of restoring truth and righteousness within human relationships and the larger community. The project was developed through a series of creative stages. It commenced with a conceptual and contextual study of Yoruba mythology, symbolism, and the spiritual significance of Sango as a divine figure of strength and retribution. This was followed by the creation of sketches and compositional designs to establish visual rhythm, balance, and narrative expression. The painting process utilized the realistic technique, involving meticulous layering, blending, and tonal gradation to produce naturalistic forms and dynamic energy that embody Sango’s fiery presence. The final phase included refinement, critical evaluation, and presentation to ensure both visual unity and thematic clarity. The study discovered that traditional deities like Sango remain relevant as symbolic channels for confronting moral, social, and political challenges in modern times. It concluded that visual art serves as an effective means of cultural preservation, ethical reflection, and social commentary. The study therefore recommends that artists continue to draw inspiration from indigenous myths and symbols to interpret contemporary realities, foster moral awareness, and promote cultural identity through creative expression

This project delves into the rich cultural influences that shape the artistic expressions of Pius Waritimi, a prominent sculptor from the Niger Delta region of Nigeria. Waritimi, often referred to as "The Master Carver of the Niger Delta," has made significant contributions to the field of sculpture, blending traditional techniques with contemporary themes. This exploration focuses on seven of his notable works, each reflecting distinct cultural narratives and artistic philosophies.As an academic, Waritimi has influenced a generation of artists, integrating cultural narratives into art education, thereby ensuring the continuity of cultural practices. The first chapter talks about the background, statement of problem, research problem, aims and objectives and the scope of the study. The second is a review of literature text of Waritimi. The methodology used in this research project which was a one-on-one interaction with artist Waritimi as regards to his works. The findings talks about exposition of some of his works such as; The Fisherman's Palour, Executive Stool, (S)hell, The Lumbering Man, Traditional War Canoe, Traditional Couple and The Seat of Activism. Conclusively, through this exploration, the project aims to illuminate how Waritimi's works not only serve as artistic expressions but also as cultural commentaries that engage with themes of identity, tradition, and innovation. By analyzing these seven works, the study will contribute to a deeper understanding of the role of cultural influences in shaping contemporary African art

The artistic performances by Jelili Atiku have been locally and internationally commended for its strong messages and unique approach toward the treatment of social issues. In his works, Atiku uses symbolic gestures, costumes, and props (objects of art) as visual language in dealing with cultural heritage and contemporary issues with which individuals and communities are faced. The study is set out to fill observable gaps in the comprehensive analysis of the cultural symbolisms in Jelili Atiku's performances. His work has garnered attention for its provocative stance, visual impact and thematic depth. However, there is a need to delve deeper into the cultural references and symbolisms embedded in his art. Thus, decoding their real meanings. This study aimed to investigate the imbedded meanings of the cultural symbolism that Atiku features in his artistic displays/performances. The specific objectives include: to clearly identify who Jelili Atiku is, to assess the cultural symbolisms present in Jelili Atiku's artistic performances, to clearly state the meanings/references of these symbolisms in provoking social and political commentaries, to determine Jelili Atiku’s performance philosophy and techniques, to assess the impact of his performances on his audience perceptions/interpretation.The study employed a qualitative means of analyzing the performances/artworks of Atiku, using iconography, participant observation and contextual analytic methods within an art historical approach. A review of critical and scholarly literature on his works, together with multiple interviews with the artist himself were utilized. The findings of this study includes discovering the actual references and contextual meanings of cultural symbols used by Jelili Atiku in some of his performances and also pinpointing that Atiku’s performances incorporate symbols from various indigenous cultures , nations and language all over the world into his works. Especially the indigenous culture of his subject matters. The researcher recommends that Performance art be academically infused into the visual art curriculum in Nigeria’s Tertiary education offered by various art schools and fine Art teaching Universities/institutions.

Cultism remains a persistent challenge in Nigeria universities, contributing to violence, substance abuse, and disruption in academic environments. Despite numerous anti- cultism campaigns, many students continue to engage in cult-related activities. This study explores the use of cartoon characters as an illustrative medium to raise awareness about the dangers of cultism. Through engaging visuals narrative, cartoons have the potential to communicate complex social issues effectively, especially to young audience. The study employs a mixed method approach, combining survey and interviews with university students to accesses their perceptions of cultism and the impact of cartoon –based messaging. Findings suggest that cartoons can serve as an effective alternative to traditional anti-cultism strategies, offering relatable and visually compelling messages that resonate with students. The concludes that incorporation cartoons into awareness campaign could enhance student engagement and contribute to reducing cultism in Nigeria universities.

This research focuses on the redesigning of traditional Agbada garment into modern clothing ,suitable for contemporary use . The African Agbada is an important cultural garment that represents the identity and heritage of the west African society . In which mostly this style is usually vominionus in size and structure . Which is used in
attendance of a ceremony or occasion. The study examined how the key features such as it's patterns, style and structure can be adopted into modern fashion designs while retaining it's cultural value. Whereby through the used of pattern making and garment a new designs developed and produced. The results of this research shows that traditional Agbada elements can be successful transformed into stylish, comfortable functional contemporary outfits while preserving it's cultural identity through modern fashion invention.

Fashion has developed over the years and as we grow and continue to develop we make use of so many equipment in the fashion studio in clothing construction and many other things; however, the term used for the workroom of a fashion designer is called a Fashion studio. Generally, human beings’ use energy and skills to systematically carry out fashion activities but thrive better with the use of simple tools and equipment in the fashion studio for a well finished product. The scholars in their journal of the Textile Institute Transactions, (1930) Taylor & Francis wrote on the “handle” of cloth as measurable quantity. Saying in judging the feel or handle of a material, use is made of such sensation as stiffness or limpness, hardness or softness and roughness or smoothness.

The current 300 level graphics design studio in the department of fine and applied arts, university of Benin, lacks the necessities required for an effective graphic design study and delivery. It is on the note that the 2020/2021 graduating students, decided to brand the studio to make it more conducive for effective learning. This was done by providing the studio with the required materials such as polished furniture, ceiling fans, projector, electrical fittings, chairs, repainting, etc. it is this researcher’s hope that when these materials are installed, they will inspire the present and future graphic design students in the Department to express as well as maximize their full artistic potentials.