DEPARTMENT OF FINE AND APPLIED ARTS

Kennedy Jude Eweka

Email Address
[email protected]
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Area Of Specialization
Ceramics
Name Prefix
Dr
Position
Senior Lecturer
ORCID
ORCID Number: 0009-0009-0986-8301

Publications

  • Evaluating the potentials of Ovia clay for sustainable tile production
  • CERAMIC TECHNOLOGY AS A CATALYST FOR ECONOMIC GROWTH AND DIVERSIFICATION IN NIGERIA
  • CLAY AND SPIRIT: ANIMIST VALUES IN TANGIBLE POTTERY ARTWORKS OF BENIN CITY
  • Ceramic Tile Misapplication in Institutional Buildings: Safety, Durability, and Aesthetic Implications
  • THE INNOVATIVE IMPACT OF THE 5TH INDUSTRIAL REVOLUTION ON CERAMIC ARTS
  • . EWEKA K. J. (2018) THE SPILL (Annual Staff Exhibition) DATE: 18th – 22nd June 2018 Auchi Polytechnic, Auchi.
  • Daniel Nosakhare Osariyekemwen., Kennedy Jude Eweka (2016) ‘Contemporary Traditional Pottery of the Okabere, Nigeria’. Published in CPAN: Journal of Ceramics. (Craft Potters Association of Nigeria) Department of Fine and Applied Arts, University of Nigeria, Nsukka, Nigeria. Vol. 6, 2016. Page 86 – 92.
  • EWEKA K. J. (2006) INTERNATIONAL MUSEUM DAY ART EXHIBITION: Date: 18TH - 25TH MAY 2006. Venue: National Museum Benin, Edo State.
  • EWEKA K. J. (2008) IMAGES OF VALUE (An Art Exhibition of the 3rd National Symposium on Art) Date: 29TH- 31ST July 2008. Venue: Department of Fine/Applied Arts, University of Benin.
  • EWEKA K. J. (2011) VISUALS OF THE ANCIENT BENIN KINGDOM Date: 19TH – 30TH DECEMBER, 2011. Venue: Oba Akenzua Cultural Centre, Benin City.
  • EWEKA K. J. (2014) INTERNATIONAL MUSEUM DAY CELEBRATION Date: 19TH -24TH MAY, 2014. Venue: National Museum, Benin City, Edo State, Nigeria.
  • Eweka K. J. ‘My Country, My Culture, My Alma Mata’. Date: 29th - Eweka K. J. 2nd May, 2018. Venue: Department of Fine/Applied Arts, Faculty of Arts, University of Benin, Ekenwan Campus, Benin City.
  • Eweka K. J. ‘CERAMICS: A TOOL FOR SOCIAL INTERFACE’. Date: 4TH – 8TH June, 2015. Venue: Department of Fine/Applied Arts, Faculty of Arts, University of Benin, Ekenwan Campus, Benin City.
  • Eweka K. J. ‘CERAMICS KILN FURNITURE’. Date: 18TH MAY, 2015. Venue: Department of Fine and Applied Arts, Delta State University, Abraka.
  • Eweka K. J. (2009) ‘Fabrication of Waste Engine Oil Burner: Trends and Challenges in Nigeria Pottery Industry’. Published in Ashakwu: Journal of Ceramics. (Professional Association of the Ceramic Researchers Association of Nigeria) Department of Industrial Design, Ahmadu Bello University, Zaria, Nigeria. Vol. 6, 2009. Page 48 – 56.
  • Eweka K. J. (2011) ‘Trends and Development in Policy Implementation in Nigeria: Fresh Ceramic Graduates Any Hope of Survival?’ Published in Ashakwu: Journal of Ceramics. (Professional Association of the Ceramic Researchers Association of Nigeria) Department of Industrial Design, Ahmadu Bello University, Zaria, Nigeria. Vol. 8, 2011. Page 78 – 83.
  • Eweka K. J. (2015) ‘Made in Nigeria Ceramic Kiln Furniture Using Kaolin And Ball Clay From Afowa In Etsako West Local Government Area, Edo State’. Published in Emotan: A Journal of the Arts. (Department of Fine/Applied Arts, Faculty of Arts, University of Benin, Nigeria).Vol. 8 No 1, December 2015. Page 105 – 111.
  • Eweka K. J. (2015) “Made in Nigeria Ceramic Kiln Furniture Using Kaolin And Ball Clay From Afowa In Etsako West Local Government Area, Edo State”. Published in the 1st University of Benin Annual Research Day (UBARD) Conference Book of Proceedings pp. 29 -34.
  • Ikeneri J.O., Ukweku S.O., Eweka K.J., Ebeigbe S.U.: (2012) “Advocacy for Sustainable Environment in Nigeria: Recycling of Ceramic Pottery Shards”. Ashakwu: Journal of Ceramics. (Professional Association of the Ceramic Researchers Association of Nigeria) Department of Industrial Design, Ahmadu Bello University, Zaria, Nigeria. Vol. 9, 2012. Page 10 – 20.
Scopus ID
986-8301
Google Scholar Link
https://scholar.google.com/citations?hl=en&user=r8jBYMMAAAAJ&view_op=list_works…
Office Address
Department of Fine and Applied Arts, Faculty of Environmental Sciences, Ekenwan Campus, University of Benin.

AN AWARENESS CAMPAIGN ON THE MENACE OF SINGLE PARENTHOOD IN NIGERIA: A GRAPHIC APPROACH

Submitted by Nosa Igho-Osagie on
Author(s)
REQUEST OSAMWENTOHAN OLODIPE
Faculty
FACULTY OF ARTS
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
Single Parenthood Family Structure Child Development Socio economic Challenges Nigeria Family Welfare Parenting Social Support Poverty Child Well being
upload
Unconfirmed 370306.pdf
Publication Type
Undergraduate Project
Abstract
Single parenthood has become an increasingly significant social issue in Nigeria, reshaping the traditional family structure and influencing the well-being of children, parents, and society. This study examines the causes, prevalence, and socio-economic implications of single parenthood in the Nigerian context. It explores the factors contributing to the rise of single-parent families, including divorce, separation, death of a spouse, non-marital births, and economic challenges. The study further investigates the effects of single parenthood on children's educational attainment, emotional development, and social adjustment, as well as the economic and psychological burdens experienced by single parents. Relying on existing literature and relevant statistical evidence, the study highlights how limited financial resources, inadequate social support, and societal stigma continue to affect single-parent households. The findings reveal that while many single parents demonstrate resilience in raising their children, they often face significant challenges that hinder family stability and child development. The study concludes that strengthening social welfare policies, improving access to economic opportunities, and promoting community and institutional support systems are essential for enhancing the welfare of single-parent families and mitigating the adverse effects associated with single parenthood in Nigeria.
Supervisor(s)
Kennette Dikens Nwabuoku
co-supervisor
NIL

FURA DA NONO; A PROBE INTO THE FULANI LIVELIHOOD

Submitted by Erhabor Harry on
Author(s)
LOKONA MICHAEL OLUWAGBENGA
Faculty
FACULTY OF ENVIRONMENTAL SCIENCE
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
FURA DA NONO
PROBE
FULANI LIVELIHOOD
upload
Lokona's undergrad project.pdf
Publication Type
Undergraduate Project
Abstract
This study examines Fura da Nono a traditional fermented milk and millet delicacy as a lens for exploring the Fulani people’s livelihood, political governance, socio-economic impacts, and the controversies surrounding their cultural and political roles in Nigeria., The research situates Fura da Nono not only as a nutritional staple but also as a socio-cultural marker of identity, migration patterns, and economic exchange among the Fulani. The work further probes the intricate structures of Fulani political governance, including traditional leadership systems, and assesses the socio-political impacts both positive and contentious of their presence in multi- ethnic Nigerian society. The study reveals that while Fura da Nono represents a unifying cultural symbol, issues such as herder-farmer conflicts, land use debates, and national integration challenges continue to generate public discourse and controversy. Findings contribute to broader discussions on cultural preservation, conflict resolution, and socio-economic development. The research concludes with recommendations for strengthening inter-ethnic harmony, supporting Fulani livelihood sustainability, and fostering inclusive governance frameworks. Using sculpture as a medium to convey the message, this project explores the rich cultural heritage of the Fulani people through the lens of Fura da Nono, using sculpture as a powerful medium to communicate their livelihood, political governance, impacts, and controversies in Nigeria.The sculptural representation captures the intricate process of marketing fura da Nono; a traditional fermented milk and millet delicacy highlighting the role of Fulani women in preserving this cultural practice and sustaining household economies. Beyond aesthetics, the sculpture embodies the broader socio-political narratives of the Fulani, reflecting their traditional governance systems and the contemporary challenges they face, including land disputes and ethnic tensions. Through form, texture, and symbolism, the artwork invites viewers to engage empathetically with Fulani identity, fostering cultural appreciation and dialogue. This artistic inquiry underscores the capacity of sculpture not only to preserve intangible heritage but also to provoke critical reflection on socio-economic realities and promote peaceful coexistence in Nigeria’s diverse society
Supervisor(s)
FRANKLYN CHU EGWALI
co-supervisor
KENNETH .I. NJOKU

EXPLORATION OF CAMEL AND COW BONES AS AN ALTERNATIVE MEDIUM OF EXPRESSION IN SCULPTURE

Submitted by Prudence on
Author(s)
OLUWASEUN OPEYEMI OSIBOYE
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2026
Keyword
EXPLORATION OF CAMEL AND COW BONES
upload
Jesusheunfunmi.pdf
Publication Type
Thesis
Abstract
Material exploration has become a fixture in art production, particularly in sculpture. Artist derives academic and research satisfaction from the intentional pursuit of novel materials for sculptural piece, drawing inspiration from diverse philosophical perspectives within their immediate environment. However, the researcher has observed that much exploration seems not be observed in animal bone assemblage. In effect the study was an attempt to adopt a procedure for maceration of skull and techniques for modeling the skull into low relief, high relief, and sculpture in the round, and mix-media sculptures. Methods used in this study is studio exploration methodology. The creative use of animal skulls specifically camel and cow skull and components employed to produce variety sculpture images. The woks are both in the round and relief forms. It focused on the use of the unique anatomical structures, textural characteristics and inherent aesthetic potentials of these skulls. The study revealed that animal skull can be clinically treated and used as a medium of expression in sculpture through carving techniques such as cutting/slicing, engraving drilling and assemblage. It was observed that during the study technique and method employed were able to produce sculptural works like “Motherhood passion”, “Exodus”, “Political Thieves”, “Awon
Amuludun”. It was therefore recommended that other animal skull bones and bone parts should be explored to produce sculptural artworks based on the unique inherent qualities observed in the skull of camel and cow. It was also envisaged that this study would serve as a source of references to scholars and a source of inspiration to other artists and art critics.
Supervisor(s)
EFEMENA I. ONONEME
co-supervisor
NIL

SURFACE FINISHING OF OUTDOOR POLYSTYRENE SCULPTURES; EXPLORATION OF INTEGRAL COLOURING AND WAX PROTOCOL.

Submitted by Prudence on
Author(s)
JOHN OSHOKE ANABUI
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2026
Keyword
EXPLORATION OF INTEGRAL COLOURING AND WAX PROTOCOL
upload
My Final THESIS 115 (Dr. John Oshoke).pdf
Publication Type
Thesis
Abstract
Over time, outdoor sculptures have often succumbed to the harsh weather conditions. Hence, the dire need to safeguard these sculptures from continued degradation. This research is premised on the observed deterioration of the outdoor polystyrene sculptures on Ekenhuan Campus, executed by John Oshoke Anabui in 2014. After nine years of exposure to harsh weather conditions, the sculpture has shown significant signs of wear. The paint coating originally applied to enhance its appearance and protect it from damage has begun to peel, and the surface texture has progressively degraded, despite a restoration effort carried out in 2015 and 2023. This research explored the use of integral colour and wax finishing techniques as an alternative to conventional surface finishing methods. The process involves mixing water-based paints with sawdust, which is then sun-dried. Additionally, natural materials such as charcoal, eggshells, and wood ash were experimented with and utilized as integral pigments in combination with sawdust. The coloured sawdust was mixed thoroughly with polystyrene that was dissolved in PMS (Premium Motor Spirit) resulting in a sticky, paste-like consistency. This mixture was then transformed into a solid form using the modelling and casting technique. The initial layer of cast carried the colour, design, and patterns that defined the final appearance. The entire cast had a thickness of approximately half a centimeter. To enhance durability and to preserve both the colour and surface texture, a protective polish using beeswax and paraffin wax was applied, serving as a barrier against humidity and surface abrasion. However, after eight months of simulated outdoor exposure, it was observed that the treated samples exhibited significantly greater colour retention than painted controls and there was no abrasion on the surface texture. In addition, the liquid soap used as a release agent between the cast and the mould was found to react with PMS and visible stains on the surface of the cast in the special project, making the surface look dull and faded but after applying the wax polish, the final outlook was enhanced with no tract of the liquid soap stain.
Supervisor(s)
Efemena Isaiah Ononeme
co-supervisor
NIL

A PORTRAIT OF AN OLUWO OF THE OGBONI SOCIETY

Submitted by Erhabor Harry on
Author(s)
HAPPINESS OLUWABUKUNMI OYEBADEJO
Faculty
FACULTY OF ENVIRONMENTAL SCIENCE
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
PORTRAIT
OLUWO
OGBONI SOCIETY
upload
happy main project.pdf
Publication Type
Undergraduate Project
Abstract
This project explores “The portraiture of an Oluwo of the Ogboni Society”, focusing on the visual and symbolic representation of Yoruba traditional authority and spirituality through painting. The study examines how portraiture serves as a medium for preserving cultural identity, transmitting moral values, and expressing the sacred power associated with leadership within Yoruba society. This study was aimed to examine the historical and contemporary significance of the Ogboni society in Yoruba culture and to translate its spiritual and political identity into visual representations through painting. The research combines practical studio production with theoretical analysis, referencing notable Nigerian portrait painters such as Aina Onabolu, Ben Enwonwu, Yusuf Grillo, and Kolade Oshinowo. Their approaches to composition, symbolism, and realism influenced the conceptual and stylistic direction of the artwork. The painting depicts the Oluwo seated in regal attire, surrounded by ancestral symbols and spiritual emblems that communicate wisdom, justice, and divine authority. Through the use of colour, form, and cultural motifs, the artwork celebrates the continuity between the living and the ancestral world, portraying the Oluwo as a custodian of tradition and moral order. This study reveals that portraiture can effectively represent spiritual and cultural values by merging realism with symbolic abstraction, allowing the artist to convey both the physical likeness and the inner essence of the subject. The work also shows that the careful selection of colours, traditional symbols, and compositional balance enhances the spiritual depth and cultural relevance of the painting.The project concludes that portraiture remains a powerful visual language for cultural documentation and the reaffirmation of African identity. It recommends that artists continue to explore traditional themes in contemporary art practice to strengthen cultural preservation and education.
Supervisor(s)
Esther Esosa Esizimetor
co-supervisor
NIL

EXPLORING PUNCH NEEDLE HAND EMBROIDERY WORKS FOR INTERIOR DECORATION

Submitted by Erhabor Harry on
Author(s)
CHIOMA PECULIAR NWANERI
Faculty
FACULTY OF ARTS
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
PUNCH NEEDLE
HAND EMBROIDERY
INTERIOR DECORATION
upload
tbe best final corrected version of my project.pdf
Publication Type
PGD Project
Abstract
The aspect of textile design concept of hand decoration commonly referred to as the punch needle embroidery technique is relatively unpopular. This is because most textile designers particularly in Nigeria dwell mostly on dyeing and printing of fabrics. This also is attributable to the fact that fabric surface embellishment is basically restricted to the manual or mechanical process of decorating fabric surfaces popularly known as embroidery; these are being exploited at the expense of the punch needle embroidery technique. Despite, the upsurge in technological exploration of diverse methods and materials, the use of punch needle embroidery technique by most textile designers seem not to have been fully integrated into the realm of fabric decoration and embellishment, hence this identified gap, is the thrust of this research. The aim of this research therefore is exploring punch needle technique of hand embroidery works for interior decoration. In carrying out this research, the researcher adopted the exploratory method in attaining its aim and objectives In the execution of the practical aspect of this research, it was observed that punch needle hand embroidery has several potentials that are yet to be harnessed by textile designers in Nigeria. Furthermore, the research has revealed that punch needle technique of hand embroidery can make textile design have both utilitarian and aesthetic values. The research is significant because it has exposed the materials, tools and procedure in carrying out the punching technique. Punch needle technique of hand embroidery is an interesting aspect of textile Design and it is hoped that this research would be a useful reference materials to textiles students, fashion designers, art lovers and textile collectors
Supervisor(s)
THERESA UVBI OSAIGBOVO
co-supervisor
NIL

THE PLIGHT OF THE UNDERPRIVILEGED IN OUR SOCIETY, NIGERIA

Submitted by Williams on
Author(s)
PAUL IGHODAHO EHIZELE
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
THE PLIGHT, UNDERPRIVILEGED, OUR SOCIETY, NIGERIA
upload
PAUL'S PROJECT LEVEL.pdf
Publication Type
Undergraduate Project
Abstract
Sincere gratitude goes to The Almighty God for his immeasurable support and provision for the success of this project. My deepest gratitude also goes to my Supervisors, Dr. El-Dragg Okwoju and Prof. E. Imonikebe for their continuous guidance and expertise during the course of this project. Their valuable insights and feedback have been instrumental in shaping the direction of this research. I am also grateful to the Head of Department of Fine and Applied Art, Dr. Daniel .N. Osariyekemwen and the course adviser, Dr. Paul Aikhionbare. Sincere gratitude also goes to my head of Section, Mrs. Esther Esizimetor, for her advice and encouragement during this project. And to my lecturers who have also in time past helped build and train me academically, morally and otherwise, I say thank you. Sincere and utmost thanks also goes to my wonderful family, my parents, Mr and Mrs Ehizele and my siblings, Mr. Godsent, Mrs. Paula and Mrs. Phill, for their support and encouragement.
Supervisor(s)
EL-DRAGG OKWOJU
co-supervisor
NIL

VISUAL EXPRESSION OF UNITY IN DIVERSITY IN NIGERIA

Submitted by Williams on
Author(s)
GRACE OLUWATOBI OYESODE
Faculty
FACULTY OF ENVIRONMENTAL SCIENCE
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
VISUAL EXPRESSION
UNITY IN DIVERSITY IN NIGERIA
upload
grace project 2.pdf
Publication Type
Undergraduate Project
Abstract
Nigeria's rich mix of ethnicities, religions, and cultures has sometimes led to division, tension, and instability, making national unity difficult to achieve. The main issue that have hindered this ideal of unity in diversity include: Ethnic tensions and conflicts, corrupt leadership, Regionalism, social and political instability. The study is aimed to promote harmony, mutual understanding, and cooperation among all groups, turning diversity into a strength for building a peaceful and united nation. How my project was carried out: The project compels pieces that reflect Nigeria’s cultural richness. These artworks portrayed various ethnic groups and traditions, symbols and motifs that represent unity across Nigeria’s regions, aiming to highlight the beauty of unity through diversity. A documentary was developed to tell the stories behind the art, It included interviews and personal narratives that emphasized the importance of national unity and cultural understanding. The final stage featured public exhibitions and cultural events. These gatherings brought people together to enjoy performances, storytelling, and interactive activities that celebrated Nigeria’s shared identity and promoted social harmony. This project helped audiences better understand and appreciate the country’s diverse ethnic backgrounds, The project revealed that visual art can effectively unite people by showcasing Nigeria’s cultural richness. The initiative confirmed that creative expression especially through visual storytelling is a powerful tool for fostering unity in a diverse society. It demonstrated that celebrating cultural differences can build empathy and reduce social divisions. Introduce unity-in-diversity themes into school programs through art and civic education. Encourage partnerships between government, NGOs, and artists to expand similar projects.
Supervisor(s)
NIL
co-supervisor
NIL

CRAFTING OF STUDIO WORKSHOP FOR GRAPHIC DESIGN AND COMMUNICATION SECTION

Submitted by Aikoroje Anthony on
Author(s)
ALAO DANIEL
Faculty
FACULTY OF ENVIRONMENTAL SCIENCE
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2022
Keyword
Graphic Design Education
Creative Exploration
Traditional Graphic Techniques
Graphic Design Facilities
upload
tony work.pdf
Publication Type
Undergraduate Project
Abstract
This report embodies an attempt to provide a permanent solution to a preexisting problem. The in-availability of a well suited environment for the exploration and learning of the manual and traditional aspects of Graphics. Unable to be fully exposed to all corners and curves of the discipline the students would rely too much on computers therefore sabotaging their very own creativity. The major cause of this problem which will be further explored in this paper is the lack of necessary facilities imperative to the practice of manual graphic design which is still very relevant in this 21st century. This document reports in crystal clear articulation and lucid imagery the entire process of crafting a studio workshop for Graphics Design and communication section in the University Of Benin
Supervisor(s)
Kennette D. Nwabuoku
co-supervisor
NIL
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