Creative Engagement with the Effects of Climate Change on Craft Practices in Nigeria

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2018-09-24 Creative Engagement with the Effects of Climate Change on Craft Practices in Nigeria

Ohiozebau, Diana

Ohiozebau, D. (2018). Creative Engagement with the Effects of Climate Change on Craft Practices in Nigeria (Unpublished master’s thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/33143 http://hdl.handle.net/1880/108792 master thesis

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Creative Engagement with the Effects of Climate Change on Craft Practices in Nigeria by

Diana Ohiozebau

A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS

GRADUATE PROGRAM IN ART

CALGARY, ALBERTA

SEPTEMBER 2018

Abstract

My art explores identity, femininity, vulnerability, and place with a focus on the effects of climate change on the craft and cultural practices in some rural communities in Nigeria. To do this, I incorporate traditional Nigerian fabrics including aso-oke fabric and techniques such as unravelling, scratching, cutting, bleaching and dying to represent the change and alteration in crafts and cultural practices of rural communities in Nigeria. This thesis is a compilation of the works I have done in my MFA program. It was inspired by my one-year National Youth Service experience in a rural community in Delta State, Nigeria. My focus on women is largely hinged on my experience while I was in that community. I observed that majority of the women in that community make the economy thrive because they are more involved in agriculture. In many rural communities in Nigeria, the majority of people are fully engaged in the agricultural sector for food and other means of livelihood, which includes cultural practices and crafts. Therefore, any challenge in the environment as a result of climate change poses a threat to the people. My creative research is focused on showing the effects of climate change on cultural practices (such as pottery, body markings, basket weaving, tie-dying and fabric weaving), in some rural communities in Nigeria.

Acknowledgment

I would like to thank my supervisor, Dr. Susan Cahill, who invested many hours to mentor and inspire me to give my best throughout this program. I am also grateful to Gerald Hushlak who served in my committee and for his immerse support, and to my External Examiner Professor

Kelly-Frère Mackenzie.

My thanks go to the administrative staff: Biljana Arnautovic, Denise West-Spencer, Samira

Jaffer, Brian Rusted, Nicole Ethier. Dona Schwartz. All my MFA colleagues and friends, with special thanks to the Department of Art technicians: Rick Calkins, Steven Nunoda, Anthony

Reimer, Kevin Jordan. Nickle Galleries staff and technicians: Christine Sowiak, John Hails,

Doug McColl.

My undergraduate supervisor and mentors; Monday Imumorin and Sam Ovriati, my graduate

Instructors: Susan Cahill, Jean Rene Leblanc, Dona Schwartz, Kim Huynh. University of

Calgary’s financial support and to my friend, Dr. Annie Udofia for her encouragement and inspiration through this program. My family- my husband, Dr. Ehimai Ohiozebau and my daughters, Aye and Egho, and my parents, Prof and Mrs P.A Umoru and siblings for all your kind and warm supports along this path.

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Dedication

To my husband, Dr. Ehimai Ohiozebau, for his sacrificial commitment and support throughout

this program.

Table of Content Abstract ...... i Acknowledgment ...... iii Dedication ...... iv List of Figures ...... vii Chapter One: Introduction ...... 1 1.1 Research Focus ...... 1 1.2 Social Context ...... 2 1.3 Artistic Context ...... 2 1.4 Materials and Methodology ...... 4 1.5 Project Outline ...... 7 Chapter Two: Vulnerability ...... 9 2.1 Description of work ...... 9 2.2 Social Context ...... 11 2.2 Artistic Context ...... 12 2.3 Reflections and Conclusions ...... 14 Chapter Three: Displaced Bodies ...... 15 Transitional Phase ...... 15 3.1 Description ...... 15 3.2 Social Context ...... 17 3.2 Artistic Context ...... 18 3.3 Reflections and Conclusion ...... 20 Chapter Four: Unravelling Aso-Oke I ...... 21 4.1 Description ...... 21 4.2 Social Context ...... 23 4.3 Artistic Context ...... 26 5.1 Description ...... 29 5.2 Social Context ...... 30 5.2 Artistic Context ...... 32 Chapter Six: Resilience ...... 35 Thesis Exhibition ...... 35 6.1 Description ...... 35 6.2 Social Context ...... 37

6.2 Artistic Context ...... 40 6.3 Reflections and Conclusions ...... 42 Chapter Seven: Theoretical and Concluding Reflections ...... 43 Bibliography ...... 45 Images ...... 49

List of Figures

Figure 1: Njideka Akunyili Crosby, Mimetic Gestures, oil, printed paper collage and lace canvas. 83 ½ x

67 in. 2010 ...... 49

Figure 2: Diana Ohiozebau, Vulnerability Installation Image, 2017, The Little Gallery, University of

Calgary, Alberta ...... 50

Figure 3: Amanda Mc Cavour, Untitled Woman, Thread Machine Embroidery, 2009, at the Common

Thread International Juried Exhibition Part 1, Joshua Creek Heritage Arts Centre, Oakville, Ontario,

Canada...... 51

Figure 4: Orly Cogan. Sugar n Spice n Everything nice. Handstitched embroidery and paint on vintage bed linen, 95x80 inches ...... 52

Figure 5: Diana Ohiozebau, Health Vulnerability I &II, Acrylic and Oil paint on canvas. 2ft. x 6ft, 2017

...... 53

Figure 6: Diana Ohiozebau, Physical Vulnerability I & II, Acrylic and Oil paint on canvas. 2ft.x 6ft, 2017

...... 54

Figure 7: Diana Ohiozebau, Collective Pain I &II, Acrylic and Oil paint on canvas. 2ft. x 6ft, 2017 ...... 55

Figure 8: Oscar T. Salita, Ceramic Makers, Oil on Canvas, 1995 ...... 56

Figure 9 Amy Sherald, What’s different about Alice is that she has the most incisive way of telling the truth, oil on canvas, 2017, Collection of the Columbus Museum, Columbus, Ga ...... 56

Figure 10: Kerry James, Marshall Pink Towel, oil on canvas, 2014 ...... 57

Figure 11: Diana Ohiozebau, Displacement I&II, Acrylic and Fabrics on wood panel 8ft x 4ft. 2017...... 58

Figure 12: Diana Ohiozebau, Drowning I &II, Acrylic on Tie-dyed cotton fabric, 3ft.x12ft. 2017 ...... 59

Figure 13: Diana Ohiozebau Nostalgia, Acrylic on Burlap. 5ft.x 5ft.2017 ...... 59

Figure 14: Yinka Shonibare, Gay Victorians, Sculpted African Fabrics, 6ft.x 3ft. 1999 ...... 60

Figure 15: Abdoulaye Konatè, Les Marcheurs (The Walkers). Textile, 6.10m x 2.66m. 2006 ...... 60

vii

Figure 16: Diana Ohiozebau, Unravelling Aso-oke I, Installation Image, 2017, The Little Gallery,

University of Calgary, Alberta ...... 61

Figure 17: Diana Ohiozebau Lali, Thread and textile ink on Aso-oke Fabric 3ft.x 15ft. 2017 ...... 61

Figure 18: Diana Ohiozebau Remnant, Thread and textile ink on Aso-oke Fabric 3ft.x 15ft. 2017 ...... 61

Figure 19: Diana Ohiozebau Once Upon A Time, Thread and textile ink on Aso-oke Fabric 3ft.x 15ft.

2017 ...... 62

Figure 20: Jacin Giordano Unravel 2 Acrylic, yarn and tree branches. 79in. x 46in. 2012 ...... 62

Figure 21: Meghan Willis, Multiple layers, Embroidery on canvas, 2014 ...... 63

Figure 22: Aiko Tezuka Rewoven Installation View, Michael Janssen, Berlin 2013 ...... 63

Figure 23: Diana Ohiozebau, Unravelling Aso-oke I, Installation Image, 2017, Gallery 621, University of

Calgary, Alberta ...... 64

Figure 24 Mary Grisey, Shrouds Handwoven and hand dyed linen, horsehair and bleach 8' x 6' x 4' (2014)

...... 64

Figure 25: Agnes Cecile, Untitled, watercolor, acrylic and pen on paper 60 cm x 45 cm.2016 ...... 65

Figure 26: Diana Ohiozebau, Resilience, Installation Image,( Horizontal view) 2018, The Nickle Gallery,

University of Calgary ...... 65

Figure 27: Diana Ohiozebau, Resilience, Installation Image,( Vertical view) 2018, The Nickle Gallery,

University of Calgary ...... 66

Figure 28:Nigeria Veritable Dutch real wax Hollandis 100% cotton African printed fabric ...... 67

Figure 29: Megan Willis Staying Afloat Embroidery on canvas 15in.x 20in. 2016 ...... 67

Figure 30: Debbie Smyth, In Full Swing, Installation Image 2011 ...... 68

Figure 31: A detail of Jae Ko's site-specific installation "Flow," which is on view at the Contemporary

Arts Museum Houston through September 2016 ...... 68

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Chapter One: Introduction

We intend to communicate through artworks our understanding of the changing climate on a human scale, so that our individual lives can have meaning in what is a global problem.1

1.1 Research Focus

My research is a studio-based practice that is focused on the direct and indirect impact of climate change on craft and cultural practices in rural Nigerian communities. Cultural practices embody values and are the basis of the good mental health of any society. These practices help contribute to an individual and collective sense of identity and citizenship. Artworks, including craft and design, enable people to form and develop their identity. Nigeria is a multi-ethnic region that attributes high value to different types of crafts—dying, ivory carving, basket weaving, wood carving, calabash, pottery, painting, glass and metal works, and cloth weaving (textile production)—for economic and cultural purposes.

One of the major factors that affects the survival and continued practice of many of these crafts forced migration due to devastating flood and other natural disasters. In such cases, people leave original places of community to find better habitable communities. The process of relocation creates loss as cultural practices are left behind or not accepted in the new community.

The loss of one's social structure and culture can cause grief as migration involves the loss of the familiar, including language (especially colloquial and dialect), attitudes, values, social structures and support networks.2

1 Miles, M. (2010). Representing nature: art and climate change. Cultural Geographies, 17(1): 19-35. 2 Bhugra Dinesh and Becker A. Matthew. “Migration, cultural bereavement and cultural identity.” World Psychiatry, volume 4(1) (London 2005):18-24.

This paper is a chronological compilation of the series of work I have done in my MFA program. . The series began with making works that highlights the challenges women living in rural communities in Nigeria face due to changing weather conditions.

1.2 Social Context

In many rural communities in Nigeria, most of the people are fully engaged in the agricultural sector for food and other means of livelihood that comes from craft and cultural practices.3

Hence, any challenge in the environment poses a threat to the income and sustenance of the people because they largely depend on the land and weather conditions.4 My interest in this research area was inspired by my twelve-months National Youth Service in a rural community in

Delta State Nigeria. There, I saw some of the effects of climate change in the lives of the people living in that community especially on the most vulnerable, including women and children.

Climate change has become widespread with corresponding global consequences including sea level rise, flooded communities, alteration of rainfall patterns, and drought that gradually lead to the degradation of the environment. The adverse effects of these events are already felt in many sectors including, agriculture and food security, water resources, human health, housing, craft and cultural practices, and migration patterns.

1.3 Artistic Context

The first series of works I made were paintings with acrylics and oil on canvas. This phase of work was largely influenced by Los Angeles based Nigerian artist Nnjideka Akunyili Crosby.

Her practice is focused on mixed media techniques. Her technique involves combining collage,

3 Uyigue, E., & Agho, M. (2007). Coping with climate change and environmental degradation in the Niger Delta of southern Nigeria. Community Research and Development Centre Nigeria (CREDC), 19-20. 4 Nwaiwu, I. U. O., Ohaijanya, D. O., Orebiyi, J. S., Ibekwe, U. C., Lemchi, J. I., Onyeaguocha, S. U. O., & Tasie, C. M. (2014). “Climate Change Trend and Appropriate Mitigation and Adaptation Strategies in South-East Nigeria.” Global Journal of Biology, Agriculture and Health sciences. Vol.3(1):120-125.

drawing, painting, printmaking, and photo transfers. The scale and detail of her compositions are admirable large. (See Figure 1) In creating Vulnerability series (See Figure 2), I was inspired by

Crosby’s works and included paper, text and fabric on the canvas surfaces to replicate mixed media elements within my paintings. The reason for adding elements of mixed media in my work was my strategy to draw the attention of my viewer in a way that invites a closer engagement.

Over the course of my MFA program, my search for materials with Nigerian traditional elements led me to explore aso-oke fabric. Aso-oke fabric is a significant material in my work because it is a prominent traditional handwoven fabric that has its origin from the western part of

Nigeria. Using this fabric has enabled me to more fully unite the form and content of my work.

As my work evolved into using fabrics, I became more interested in incorporating thread, stitching and sewing into my practice. In the process of experimenting with stitching and sewing techniques, the works and techniques by Megan Willis and Amanda McCavour, Orly Cogan influenced and informed my creation process. They also informed how I made connections between the materials qualities, studio process and my research context. While McCavour’s studio practice inspired me to include the elements of thread and stitching in my work, the concept of her practice is in close parallel with my research. Her works is focused on vulnerability of thread in relation to the home and thread's ability to hold things together.

In my work, I use thread to represent the vulnerability and fragility of women as they experience the difficulties associated with living in climate change related disasters. McCavour’s works can be described as drawings that are made from thread. I find interesting the way her figures seem to float and look disconnected from a place. In her stitching technique, the fabric becomes the skin of the figure. Also, the way she leaves some portion of her work empty or missing and the idea of things unraveling and falling apart creates a ghostly representation of

absence and presence of bodies in a changing world. Similarly, in my work, fabric not only holds the thread but also serves as skin for the bodies in my work. I left out some portions of the body to represent the idea of absence, loss and changing craft and cultural practices.

Orly Cogan’s studio practice also influenced my studio process. Her textile works are very is influenced by personal mythologies. She works with vintage, printed fabrics and found embroideries made by women of previous and more modest eras. (See figure 4). She modernizes the traditional work of stitching and updates the content of vintage embroidery to incorporate ideas about contemporary women; their struggles and the stereotypes which they must overcome in the society. Her subject matter also touches upon story telling concerning fertility, power plays in relationships, sexuality, self image, isolation, vulnerability and beauty. Ultimately, she tells stories about the role of women in an everchanging society through her works. As with Cogan’s practice, my work is focused on women in rural communities, their role in a changing world and their vulnerabilities. Some intriguing elements about her work is her use of colour that portrays blackness and the strong contrasts she creates between her subject and their background. Also, the colourful clothing she gives her characters adds vibrancy to her paintings and makes her characters stand out.

1.4 Materials and Methodology

Over the course of my MFA research, I have combined a literature-based methodology and studio-based practice. Climate change and cultural practices in Nigeria are the main areas I have explored with the multiple series of work I produced over the course of my program. Concepts such as femininity, vulnerabilities, identity, place and culture are other areas I have also explored in my studio practice and research. My goal is to use my art to stir empathy from my Western audience about the effects of climate change on craft and cultural practices in Nigeria. Also, to

contributes to the ongoing scientific conversation about climate change from an artistic and

Nigerian cultural perspective.

My research creation begins with acquiring a literature-based information. While climate change as a research topic is not entirely new, one of the challenges I encountered during this research was finding sufficient literature to buttress the focus of my research– the impact of climate change on craft practices in rural communities in Nigeria. Many of such available literature on climate change in Nigeria was focused on agriculture and weather patterns and contained very little about the effects of climate change on craft and cultural practice. Hence, my thesis is one of the ways I can begin a conversation from a Nigerian craft and cultural perspective.

A large part of my practice involves unravelling. Unravelling in my practice is a symbolic expression for addressing the changing cultural practice of the craft of textile weaving and other traditional crafts. Unravelling in my work is manually inclined and requires a needle. I work on the floor and unravel until I achieve the unravelled length. Usually, before I begin unravelling, I have a specific length I want to create; most times, unravelling takes days. As unravelling is spontaneous and intuitive, I get lost in my thoughts as I work to achieve a specific length and texture. My studio practice also involves hand stitching techniques. While my studio practice largely hinges on unravelling, it also includes drawing with thread (sewing, stitching) as a contemplative process. In my work, unravelling is a reverse sequence of the process of waving

Hand stitching in my practice offers metaphors for the process of joining and collaboration for a group of people. The way I stitch in my practice can be likened to drawing with thread where I make preliminary drawings and stitch along the marks with thread.

To begin a work series, I start by sketching and developing thumbnail and juxtaposed sketches.

As my studio practice is process based, I begin making work based on my sketches and then gradually allow the process of creating work lead me in an intuitive direction. This process enables me to see many sided perspectives of the idea I am working on. I further generate multiple ideas from one piece of sketch. I enjoy the freedom that comes with process-based studio creation as I am not restricted or constrained by my sketch. My works show women living in rural communities in difficult environmental situations. I then take photographs of myself portraying women in such situations that become my reference for the series of work.

The first series of the works, Vulnerability, 2017(figure 2) were acrylic paintings on canvas in dark skin tones. However, I will discuss in subsequent chapters how my medium gradually changed from using oil and acrylic on canvas to using Nigerian woven and printed fabrics - aso-oke and ankara. My literature and studio research influenced my shift from painting on canvas to using Nigerian fabrics to create the presence of Nigerian cultural elements and signifiers in my work. The process of working with fabric is very engaging in my practice. My intention is to let the material quality of the fabric in my work speak on social and cultural levels.

My interest in fabrics became a key influence in my practice because everyone can relate to fabric. Also, fabric will serve as an entry point for my viewers because we all make daily interactions with fabrics and it is a universal way to communicate with the world around us. For instance, in an exhibition set-up, as people move around a work created with fabric, it moves in response to the bodies of the viewers around it, thereby creating an activated space. This unique interaction is rarely experienced with painting on canvas. Canvas creates a distance away from the viewers while fabrics draws the viewer into the work to be engaged physically and mentally.

For my research, using fabric as opposed to canvas offers more possibilities for exploration. By researching into studio practices of Orly Cogan and Megan Willis and being influenced by their practice, I detached myself from my restrictive understanding of traditional painting on canvas to embracing more contemporary techniques in making works with materials that have cultural elements that harmonises well with the context of my research.

1.5 Thesis Support Paper Outline

Through this paper I will discuss five main projects (Vulnerability, Displaced Bodies, Unravelling

Aso-oke I and II, and my thesis exhibition, Resilience) developed over the course of my MFA and how these works address themes of identity, culture, loss, land and femininity. Chapter two and three of this paper is focused on series of works showing the health challenges associated with climate change, displacement, migration. It also touches on women, their vulnerabilities, and coping strategies. Chapter three outlines my transition from painting on stretched canvas to using more culturally inclined materials largely because with stretched canvas paintings, there is a strong tie to a Eurocentric reference that does not add to the context of my research.

Chapter three will also highlight my gradual move into works that extended off the wall into the gallery space as a subtle invitation to my viewers to engage with the installed work.

Chapter four and five address similar themes on aso-oke fabric. However, both chapters are different in terms of studio process, techniques and style. Chapter four of this paper gives a detailed account on how I began unravelling aso-oke fabric as a symbolic expression to show changing cultural practices, loss, identity and vulnerability. Chapter five have detailed description of my art works highlighting the effects of climate change on cultural practices including pottery, basket weaving, tie-dying, fabric weaving. Chapter five also outlines techniques and process of alteration

that includes unravelling as well as bleaching, dying, cutting and scratching away the surface of aso-oke fabric to tell stories, history, identity and culture of people in Nigeria. Chapter six is focused on the resilience of the practice of the craft of making aso-oke within threatening environmental changing situations, the new ways traditional weavers make aso-oke fabric and the turn to contemporary vibrant and colourful printed ankara fabrics.

Chapter Two: Vulnerability

2.1 Description of work

In the Winter of 2017, I made the first body of work in my studio practice titled Vulnerability

(2017). This series of acrylic paintings on stretched canvas are focused on the health challenges of climate change on rural Nigerian women, (See figure 2). Comprising of four 2ft. x 6ft. sized canvases and two 6ft x 4ft sized canvases, this series of work was exhibited in January 2017 at

The Little Gallery, Department of Art -University of Calgary. I shaped the 2ft. x 6ft. painting like the average height of the body with the intention of creating bodily interactions between my viewers and my work.

The four 2ft. x 6ft.painting are focused on health and physical vulnerabilities. (See Figure

5 and 6). Health Vulnerability I and II is centered on the idea about the health challenges women experience in harmful weather conditions. Health Vulnerability I and II are two separate paintings of women in dark skin tone against a background of multiple bright coloured squares and rectangular shapes with skin condition of women in a scratching gesticulation. Physical

Vulnerability I and II addresses the physical hardships associated with climate change effects including drought and famine. These paintings depict two women seated on a rock in an imbalanced uncomfortable posture. The seated position is aimed to symbolize the uncomfortable situations of hardship inflicted by drought, flooding and other environmentally related disasters.

On some parts of their bodies are cut-out text placed to reference band-aids that further express ill-health as a result of living in poor environmental conditions.

The two 6ft. x 4ft sized canvas titled Collective Pain I and II (See Figure 7) address the many-sided pain of many women in many rural communities. I painted many women in different

heights, body sizes and skin complexation headless, feetless and faceless in a juxtaposed position. I added cut out from Nigerian fabrics to stand as cultural signifiers to my viewers. The clothing style of this series – a single wrap cloth across the chest describes the poor living conditions of women living in communities affected by climate change who can only afford minimal covering for the body.

2.2 Social Context

This body of work is a representation of the discomfort and the unpleasant situation of climate change in some rural communities in Nigeria. It is in reference to Egor and Ogida communities in Edo State – Nigeria where several houses have been abandoned by the owners due to flood.

Occupants of some of the affected houses who are unable to relocate for financial reasons find it difficult to cope with the situation.5 This situation makes them vulnerable to different kinds of water-related disease such as malaria, dysentery, cholera, and diarrhea. The trauma resulting from these ailments can further lead to non-pathogenic diseases such as hypertension and diabetes. In this series of work, Health Vulnerabilities I and II depict the health challenges of women in rural communities (See Figure 5 and 6)

The main factors that place women in vulnerable positions includes social status, gender, poverty, and inability to access available resources.6 Gender-based economic differences, access to loans and treatment by markets and formal institutions constrain women’s opportunities in many parts of developing countries. Compared to men, women face huge challenges in accessing all levels of policy and decision-making processes largely because a number of these women lack formal western education. These conditions render them less able to influence policies, programs and decisions that could improve their lives. Socio-cultural norms can also limit women from acquiring the information and skills necessary to escape or avoid hazards (e.g. swimming and climbing trees to escape rising water levels). Similarly, cultural dress codes imposed on women can restrict their mobility in times of disaster, as can their responsibility for

5 Uyigue, E., & Agho, M. (2007). Coping with climate change and environmental degradation in the Niger Delta of southern Nigeria. Community Research and Development Centre Nigeria (CREDC), 10. 6 McMichael, Anthony J., Rosalie E. Woodruff, and Simon Hales. "Climate change and human health: present and future risks." The Lancet 367, no. 9513 (2006): 859-869.

small children who cannot swim or run in dangerous situations.7 Women who have lost clothing in disasters may also be less likely to access food and medical aid because they are unable to enter public areas.

Some other factors that place women in a more vulnerable position include industrialization leading to increased male out-migration to urban centers with the promises of economic gain and wages returned to the family – these promises are not always fulfilled. In the short-term, and possibly long-term, male out-migration means more women are left behind with additional agricultural and household duties.8 The women left with the burden of household and domestic responsibilities often have even fewer resources to cope with the seasonal and episodic weather and natural disasters. The process of fetching wood, getting water and general fending for the family, often make them vulnerable to health challenges especially skin related diseases

Also, women are fourteen times more likely to die than men during a disaster. This is a disturbing demography, because 68 per cent of all disasters are related to climate change. This supports the contention that climate change affects women more, when broken down into demographic factors.9

2.2 Artistic Context

This body of works is a first experimentational attempt to engage my viewers visually about the broad context of climate change effects in Nigeria, its related consequences and how minority groups in distant places away from North America are affected. This phase of making this series

7Apostolopoulos, Yiorgos. (2001) Women as producers and consumers of tourism in developing regions. Greenwood Publishing Group. 8Palmer, Ingrid. (1985)."The impact of male out-migration on women in farming." 9 Adebayo, C. (2017, October 25). The Guardian. The Female Face of Climate Change. Retrieved from: https://guardian.ng/opinion/the-female-face-of-climate-change/ 12

of work hinges on ideas on visual representations of paintings on canvas. Through my undergraduate studies, I was influenced by traditional Western standard of art history and painting. The most compelling visual qualities of this body of work is the headless and facelessness of the female figures in dark silhouette in different uncomfortable gestures. While headless and facelessness makes the figures anonymous and without a specific identity, my intention is to have the paintings suggest a subtle beckon for my viewers’ participation. It also creates room for personal interpretation and keeps the image mysterious enough for viewers to keep engaged. I made this with reference to Oscar Salita’s Ceramic Makers, (1995) where he renders his figures faceless and used gestures to express emotions. (See figure 8) His works are very distinctive with faceless figures, colourful and interesting geometry. Salita made his canvases come alive with figurative abstracts that evoked mysterious aura. In this series, I referenced the idea of mystery and curiosity to make my viewer search for hidden meanings behind the faceless figures. Without the facial features, it is easier for my viewers to make personal connection with the narrative of my work.

The skin tone, completion and style, in this series aligns with Amy Sherald’s painting technique and concept. As a portrait artist, she addresses social justice from the art historical narrative with her paintings. With her works, she examines notions of personal identity as a response to political, social, and cultural expectation. I find the way she uses dark skin tone that contrast with a bright colourful background very intriguing. In this series, I used bright colourful fabric in collage patches in a similar way in reference to the bright bold colourful dress of her figure in her All Things Bright and Beautiful (2016) (See Figure 9).

While Kerry James Marshall’s painting technique was also a reference to this series of paintings, representing female bodies in dark tones in my work goes beyond racial classification. (See Figure

10). In this series, the dark skin tones I used for the figures depicts the dark situations women in rural communities in Nigeria live. The faceless and headless component of this series also references the loss of identity and lack of recognition in the larger scheme of social, political and economic affairs. I added cut pieces of Nigerian fabric on the surface of each painting as a cultural signifier. I also added text on the bodies of the figures like band aid. The text contained excerpts on the effects of climate change on women living in rural communities in Nigeria.

2.3 Reflections and Conclusions

For this body of work, my intention was to make semi abstracted life-sized paintings of female figures on canvas in a bid to lead my viewers into the narrative of the effects of climate change on rural Nigerian women. However, my viewers did not clearly get the context of my painting in relationship with my research as there were less cultural signifiers. As much as I found the process of painting with acrylics and oil very rewarding, I realised that the visual strategies were not completely affective. However, the scale for this series was effective as it became the standard size for the works I created throughout my MFA program. Also, as this series did not have sufficient physical elements that clearly show connections to climate change, it led me to asking questions such as:

Does canvas help to convey the context of my research to my audience? What does painting technique in my practice add to the narrative of my research? Are there other materials that will enrich my narrative better? These questions eventually informed the choices I made with the body of works described in chapter three and in subsequent chapters.

Chapter Three: Displaced Bodies Transitional Phase

3.1 Description

Displaced Bodies (2017) is a series of paintings I made after Vulnerability (2017) series. This was a transitional phase in my research and studio practice. With this series, I made significant changes in style, technique, form and conceptual development. This phase allowed me to research and focus on integrating new artistic references and techniques into the context of my research. Displaced Bodies (2017) is a series of work in response to new understanding of materials and techniques with the context of my research. It is my transition from acrylic painting on canvas to materials that hold more cultural elements. The concept for this series of work is focused on displacement caused by flooding and other environmental disasters in some rural communities in Nigeria. It touches on the involuntary move from one community to more secure habitable communities. The issues I address with this body of work are notions of migration, identity, loss of community, loss of properties, traditional and social practices.

Comprised of two 8ft. x 4ft. sized wood panels, two 3ft. x12ft. sized tie-dye cotton fabric and one 4ft. x 5ft.sized burlap, these paintings were exhibited in April 2017 at Gallery 621 in the

Department of Art at the University of Calgary. The two wood panels measuring 8ft. x 4ft are titled Displacement I and II (See Figure 11). The two 3ft. x 12ft. tie-dyed fabric are titled

Drowning I and II and one 5ft. x 3ft (See Figure 12) sized burlap fabric is titled Nostalgia. (See

Figure 13). This body of work is a series of five paintings created on different material. The piece titled Nostalgia, painted on burlap with graphite and acrylics is a narrative centered on a once buoyant community that thrived on cultural and traditional activities including fishing, washing and swimming. A woman is seated in a boat in a sad demeanour, beside her are two

other abandoned boats on a place that used to be a river. Due to the absence of rain, the once flowing river has become a dry valley causing the people who used to live there to find better habitable places. (See figure 13) Nostalgai highlights loss and displacement about the social connections and interactions people used to make especially women when they go to fish, fetch water, wash clothes and take recreational baths.

Displacement I and II are two paintings with acrylic and Nigerian fabric on wood panel that show mass movement of people away from life threatening environment to more secure places of habitation. The images are painted in acrylic medium against a gloomy background with rough and unfinished brush strokes to reference the harsh conditions. Displacement symbolizes the notion of migrating to other communities and taking along craft and cultural practices from one’s culture to another with the hope of continuing the practice in the new community. The two-piece titled Drowning holds the painting of women in overlapping flowing motion of being swept away by a tide on tie-dyed cotton fabric. Tie-dye fabric design is one of the major craft practice in rural communities especially in the western and northern parts of

Nigeria. I painted bodies of women in drowning motion on tie-dye fabric to symbolize the overwhelming harsh condition and contextualize the gradual loss of the craft of traditional tie- dying due to flooding disasters.

3.2 Social Context

This series is focused on the adverse effects of climate change on people living in rural Nigerian communities who are displaced due to many climate change related natural disasters. All human societies are sensitive to climate in some way or another largely because, where people live and how they generate livelihood and wealth is influenced by the ambient climate. Climate change contributes to the increase in extreme weather events and weather-related natural disasters, and to the increasing number of people who lose their life support base and are forced to flee their homes to other places.

When people migrate from one nation or culture to another they carry the knowledge of crafts and skill as well as distress with them. On settling in the new culture, their cultural identity is likely to shift and creates room for cultural assimilation or biculturalism.10 The context of relocation is shown in my work on the wood panels titled Displacement. While climate change is a major cause of displacement, other factors also influence displacement like population growth, rapid urbanization, increased human mobility, food, water and energy insecurity.11 Local and regional factors, such as pre-existing socio-economic and governance situations, can also affect the scale and nature of displacement. In this larger context, climate change is an impact multiplier and accelerator. 12 Subsequently, the effects of climate change could lead to increased competition over scarce resources and the loss of livelihoods which may heighten the risk of

10 Bhugra D. “Migration, distress and cultural identity.” World Psychiatry. Volume 4(1) (London 2004): 129-41. 11 UNHCR, Summary of deliberations on climate change and displacement, resulting from the expert round table on climate change and displacement held in Bellagio, Italy, from 22 to 25 February 2011, 2. 12 Government Office for Science, London, “Migration and Global Environmental Change,” 2011, https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/287717/11-1116-migration- andglobal-environmental-change.pdf.

conflict and violence, causing additional displacement. In other instances, some areas are cut off from other parts of the community because of flood. 13

Nigeria is experiencing increasing incidence of disease, declining agricultural productivity, increasing number of heatwaves, erratic weather patterns, flooding, declining rainfall in already desert prone areas in the north causing increasing desertification, decreasing food production in central regions, and destruction of livelihoods by rising waters in coastal areas where people depend on fishing and farming.14 In 2012, Nigeria experienced devastating flooding between the months of July and October. Many farms were destroyed, affected families were displaced because of flooded homes and loss of properties.15 This body of work is my creative approach to tell stories of people and culture of distant places from North America.

3.2 Artistic Context

In this series, I began moving away from painting skin tones to using more outlines and allowing the fabric material to form the skin of my figures. The reason for using a wide range of different materials for this series was to explore what materials will eventually suit the context of my research. I experimented on wood panel mainly because it is best for pasting and sticking multiple materials on its surface. I also explored burlap material mainly because it is used by local farmers, market men and women to store farm produce for domestic and exportation purposes. Using tie-dye technique on cotton fabric in this series symbolizes the threat to the craft of traditional tie and dye technique.

13 Uyigue, E., & Agho, M. (2007). Coping with climate change and environmental degradation in the Niger Delta of southern Nigeria. Community Research and Development Centre Nigeria (CREDC), 11-12 14 Ujah Oliver Chinedu,( 2016) “Climate Change and Displacement” Internal Displacement in Nigeria. 15 https://www.theguardian.com/global-development/2012/nov/13/floodwaters-nigeria-millions-displaced-hungry

The most compelling visual qualities of this body of work is the mood they exude, and the gloomy feel created by the dim lights ambient light within the gallery space. As with all the works I made during this program faceless figures are a continuous element in my works. The facelessness of the figures specifically in Drowning and Displacement also speaks about the loss of identity and not being recognized in the larger scheme of social and political and economic affairs. In this series, I used multiple layers of colourful and diverse patterned Nigerian fabric as influenced by Yinka Shonibare. Through his works, Shonibare examines race, class and the construction of cultural identity through a sharp political commentary of the tangled interrelationship between Africa and Europe. A key material in Shonibare's work is the brightly coloured African fabric. The way he uses rich, vivid and bold coloured in his practice for example his piece titled Gay Victorians, 1999 (See Figure 14) really speaks to me and therefore influence the multiple layers of Nigerian fabrics I used for this body of work.

Abdoulaye Kontè’s technique also influenced this phase of my research. Kontè combines his painting skills with installation work, he comments on political and environmental affairs with his works. Much of his large-scale work is textile-based, a medium that is more readily available than paints. Kontè makes large scale works with cut pieces of fabrics in tiny pieces as one would use paints on canvas. (See figure 15). These artists were a huge inspiration in the process of making this series largely because of the material quality of their art practice.

Drawing from the feedback I received for the previous series of work in chapter two to include more cultural signifiers, I added a significant amount of cut out of Nigerian fabric onto this series to stand as a clothing and cultural element. My intention is for fabrics to symbolize the

craft and cultural practices of a sect of people. Through this strategy, my viewers can have access and make connection with the narrative of my research.

3.3 Reflections and Conclusion

This series sparked my interest to search for cultural materials that give depth to my research in line with a specific geographical location – rural Nigeria. The elements of culture are a significant aspect of this series and I sought to explore them further throughout the course of my

MFA research. Following the making of this series, I was interested in a more thoughtful approach to representing bodies of women in my work from a cultural context. As a mixed- media based artist, I wanted my next body of work to investigate how materiality informs identity and reflect the effects of climate change on cultural practices. Through my experimentation of the materials I used in this series as a visual language, I created multiple depictions of women in unpleasant living conditions.

My intention for this body of work was to display a range of different ideas while experimenting with multiple materials and techniques. As a continuation of my stated intent in chapter one, I seek to engage my viewers in a visual dialogue about the detrimental effects of climate change on the culture of minority groups in Nigeria. One of the ways to engage my viewers is to create works with the most persuasive approach that forces them to ask questions and create more curiosity and conversations.

Chapter Four: Unravelling Aso-Oke I

4.1 Description

In the Fall of 2017, my search for more convincing material that would enrich my work led me to aso-oke fabric This series tilled Unravelling Aso-oke I (2017) is my first approach to represent the change, separation, alteration and distortion of cultural practices of rural communities in

Nigeria using unravelling techniques. (See Figure 16) This series comprises of three 3ft.x 15ft. sized fabric placed vertically from the top of the gallery and flows down into the gallery space.

This body of work addresses the displacement and changing cultural practices due to migration.

My focus for this series was to experiment similar ideas from chapter three on a more durable and traditional fabric

Two pieces from this series of work titled Lali (See Figure 17) and Remnant, (See Figure

18) represent two traditional Nigerian craft and cultural practices. (See Figure 17) The piece titled Lali has a seated female body with focus on her hands and feet. Lali is the name for dyes obtained from plants. This figure represents a northern Nigerian bride seated in a position that exudes a sad emotion. Drawn with textile dye and stitches are lose dripping tattoo designs flowing away from her feet. This piece has three colours; red, blue and white. These colours represent different natural dyes used in the production of aso-oke fabrics. The white portion of this piece stands for the cotton plants that aso-oke fabric is made from. In this piece, I used the white empty portion to represents the absence of the practice of traditional drawn tattoo. This piece was installed vertically on the wall and stretched out into the gallery space leavening the unravelled section at the edges and the residue from the unravelled portion (weft) forms the extreme section of this piece. At the top of this piece as well as the other two pieces in this body of work has an arch shaped see-through canopy top that represents altering rainfall patterns. The

lower section of this piece is unravelled to represent alteration, shifting cultural practices connected with flood and displacement. The installation strategy for this body of works was chosen to reference the motion of flooding invading a community. This strategy is aimed to engage my viewers with my work with the portions extended off the wall to the middle of the gallery space.

The piece titled Remnant is centered on the idea of traditional calabash carving. It is a representation of personal and financial gains associated with the art of calabash carving This piece holds images of three women whose means of livelihood is solely depended on calabash carving. As with the work titled Lali, the white empty portion of this piece represents the absence of the practice of traditional drawn tattoo. This piece is installed vertically on the wall and stretched out into the gallery space leavening the unravelled section at the edges while the residue from the unravelled portion forms the extreme section of this piece. Also, at the top of this piece as well as the other pieces in this body of work has an arch shaped see-through canopy top representing altering rainfall patterns. The installation for this body of works was also chosen to reference the overwhelming motion of flooding invading a community. This installation strategy was aimed to fill a large part of the gallery space and engage my viewers.

The piece titled Once Upon a Time (See Figure 19) is a reference to the total absence of many cultural practices in some rural communities in Nigeria where many craft practices used to thrive. This piece is comprised of only unraveled sections in different colours. There are no drawings or stitches like the other two pieces. It is installed the same way as Remnant and Lali are described. Between the main piece and the residue from the weft is a gap. This gap represents a loss of many cultural practices. The separated weft is comprised of many different colours to stands for a community that once thrived in many beautiful craft and cultural practices.

4.2 Social Context

The social associations of this series of work is largely linked with the craft of aso-oke fabric weaving. For this series of work and subsequent bodies of work, aso-oke fabric is the main material for my studio exploration. Aso-ke is a cloth that is worn on special occasions usually for chieftaincy, festivals, engagement, naming ceremony and other important events.16 It is the traditional handwoven cloth of the Yoruba people.17 The beauty of this fabric is more obvious when it is worn by group of people especially friends and families. Aso-oke is woven in different colours that hold different meanings and traditional associations.

In Nigeria, high value is placed on different types of crafts, including tie-dying, ivory carving, basket weaving, wood carving, calabash, pottery, painting, metal works and cloth weaving (textile) for economic and cultural benefits.18 However, these cultural practices are gradually experiencing alteration due to many factors including climate change effects like flooding, drought, heat wave. This series addressed two social and cultural issue; Calabash Art and Decoration, and Ceremonial tattoo designs. Calabash is derived from the French word calabasse. It is a tropical tree known for its large gourd shaped fruit that belongs to the squash fruit family used for household utensils.19 Fulani women in northern Nigeria give decorated calabashes to their daughters during marriage ceremonies because they consider them worthy presents valuable to start them off in their new social role. Decorated calabashes have prestigious and aesthetic properties. Calabash especially for women, serves many functions including

16 Ashinde, Bukky. The History of Aso-Oke Textile: http://digest.bellafricana.com/the-history-of-aso-oke-textile/ 7 August 2017 17Olutayo, A. O, Olayinka Akanle, Fadina, O. A. 2011. Aso-oke (Hand Woven Textiles) of Southwestern Nigeria, A Compact Examination of a Resilient Artifact. American Journal of Sociological Research. 1(1): 9-17. 18 http://nigeriaartistdirectory.blogspot.ca/2011/08/some-indigenous-nigeria-arts-and-craft.html 19Adepegba, C. O. (1986). Decorative arts of the Fulani nomads. Ibadan University Press.

serving food during ceremonies, serves as tools in the dairy woman's trade as they help to attract customers.

Calabash decoration represents artistic and cultural skills as they are highly prized objects of aesthetic value. The basic method for calabash decoration includes painting, scorching and carving and range from geometric abstract and zoomorphic designs. The decline in the growth of this crop results from change in rainfall pattern and high demand on other cash crops that thrive better in the changing climate. This experience and subsequent adverse effects of climate change has discouraged farmers from planting calabash on their farmlands. As calabash is a crop that is planted once a year, farmers become discouraged when rainfall patterns are altered. However, calabash still presents a standard of the ideal beauty of traditional craft rich in cultural history20

In this series of work, I show this idea with the piece titled Remnant which has three women doing calabash carving as a means of livelihood.

Nigerian ceremonial tattoo is dominant among the Hausa, Fulani, Kanuri and other people of Northern Nigeria. This kind of traditionally drawn tattoo is commonly used during wedding ceremonies to adorn the bride’s feet and hands. A bride may be all well dressed up, however her elegant look, will not be considered complete until her hands and legs are painted with the traditionally prepared liquid fluid known as henna. The name henna refers to the dye prepared from plant and the temporary body art (tattoo) drawn with the dyes. Henna is a tall shrub or small tree of 1.8 to 7.6 m tall (6 to 25 ft.). It is a multiple branched plant with spine- tipped branchlets.21 Henna has been used since ancient times to dye skin, hair and fingernails, as

20 Adepegba, C. O. (1986). Decorative arts of the Fulani nomads. Ibadan University Press 21Dennis, B. (2013, March 26)."FDA: Beware of "black henna" tattoos". The Style Blog. The Washington Post. Retrieved 5 May 2013

well as fabrics including silk, wool and leather. Extract from the crushed plant is mixed with other ingredients like lemon juice and used to beautify the skin and fingers in artistically drawn patterns. The designs are mainly of different plants and flowers, but the bride can choose whatever pattern she wants from the traditionally designed catalogue. This fascinating practice has made people ask questions about this art of body painting and the coloured extract used in creating it.

Over time, this art excelled from the north to other parts of Nigeria. Brides from southern

Nigerian have joined in decorating their body, as a way of recreating a traditional art into a contemporary fashion statement. For many women, especially in the northern part of Nigeria, using henna is an alternative to western nail polish. In this series, this idea is shown with the piece that has the crossed legs of a seated female figure in a sad demeanour. In times of migration and displacement, people as well as crafts become vulnerable to environmental and social changes. These factors influence the quality and value placed on these practices and create dispersal, change and adulteration of original belief and meanings associated with certain crafts.

This idea is reflected with the dripping off scanty tattoo designs on the legs of this female body in the piece titled Lali.

4.3 Artistic Context

In my creative practice, unravelling, stitching and sewing are my contemplative processes, like reliving the process involved in the craft of weaving aso-oke fabric. However, unravelling is a reverse motion of the art of making aso-oke. This body of work is similar to Jacin Giordano’s practice in terms of process, technique and materials. Giordano wraps and weaves webs of multicolored yarn to create his painting surface. His process involves meticulously pieced together fabric and yarn like an evolving puzzle. His works are assembled using yarn, paint, tree branches and afghan blankets. This series of my work bears similarities with his piece titled

Unravelled 2, (2012) (See Figure 20).

Megan Willis piece titled Multiple Layers inspired the stitching techniques for this body of works. (See figure 21). Her stitching technique is a reference in my practice as I am drawn to the simplicity of her lines and the way she uses images of the female form. There is a subtle beauty and fragility in her work. In searching for ways to use this fabric, altering the fabric by unravelling was the best approach because it stands as a reverse version of the action involved in weaving the fabric. This body of work are my first experimentation with unravelling technique and stitching techniques. As unravelling is a separation of weft from the warp, my idea of unravelling is a symbolic representation of separation, erasure and distortion of cultural practices caused by flooding in some rural communities in Nigeria. I unravelled the lower sections of these fabrics as a symbolic representation of erasure of cultural practices caused by climate change

For the installation of this body of work, I was influenced by installation works of Aiko

Tezuka.22 She deeply explores unravelling technique in her work. History of Asian traditions are interwoven in her unravelled fabric. I am interested in her outlandish display of fabric that fill a whole space. (See Figure 22) Influenced by Aiko Tezuka, I installed this body of work in the gallery by extending the unravelled section into the gallery space to create a strong presence and engagement for my viewers and to tell stories of the shifting pattern in the cultural practices of some rural communities in Nigeria.

Using aso-oke lines up with exploring concerns of rural Nigerian women’s cultural practice because it stands as one of the major crafts of the people in the Western part of Nigeria.

Also, I am interested in using materials that have elements of Nigerian culture which will effectively communicate the changing cultural practices in rural Nigerian communities. The fiber and colour pigments for this traditional woven fabric-aso-oke are obtained from the environment.

Being that the materials for making this fabric comes from plants and natural dyes, aso-oke fabric fits the narrative of my research in relationship to climate change and agriculture and it will effectively connect my viewers to elements and signifiers of Nigerian culture.

22 Ruel. S, De Vera. Unraveling Textile Artist Aiko Tezuka’s Destiny. http://www.lifestyle.inquirer.net 22 June,2015 27

4.4 Reflections and Conclusion

At this stage of my studio practice, there was the need to create works that transcend paintings on canvas to enable my viewers to engage with the material and the core ideas of my research; rural

Nigerian women, climate change, cultural practices, land and identity, loss, femininity and vulnerability. With Unravelling Aso-oke I, I used real traditional hand-woven fabric from the western part of Nigeria to deepen the context of my research and studio practice. This was a significant exploration of materials in my relationships to identity, culture, femininity and climate change. I transitioned from painting directly on canvas and other materials to doing outline stitching of bodies and allowing the fabric to become the skin of the figures. Unravelling

Aso-oke I, is a representation of currently existing cultural situations.

Moving on from this series, my aim is to refine and develop the use of Aso-oke in a unified body of work that could explore non-conventional cultural materials and painting techniques. As I experimented with aso-oke fabric, I realised that it fit perfectly for exploring ideas on climate change, shifting cultures, loss, identity, vulnerability. The soft texture of the fabric is malleable and has enormous potential for exploration. At the end of this series, I had these questions: How can I use my work to further activate a space and increase the participatory experience of my viewers?

Chapter Five: Unravelling Aso-Oke II

5.1 Description

Moving on from my first attempt at distorting fabrics, I created a similar series I titled

Unravelling Aso-oke II (2017). (See Figure 23) This series of work explores further alteration of aso-oke fabric as a symbolic expression for changing cultural practices of rural communities in

Nigeria on five pieces of 3ft.x 7ft aso-oke fabric in colours of green, blue, red, yellow, peach and gray. For this series, the colours of the aso-oke represents five elements of nature and how cultural practices in rural Nigeria are affected by these elements; water, wind, fire, vegetation and earth. This body of work is multimedia installation with a looped sound of dripping water that fills and echoes in the gallery space. I unravelled, edges, bleached, dyed and cut out portions to symbolize alteration of cultural practices. It is installed on the wall with dried and dyed tree to contextualize and make connection to nature and the source of aso-oke fabric. In this installation, the sense of loss and fading culture is represented with the trickling tattoos on unraveled and distorted aso-oke fabric.

Unraveled sections embedded in the soil refers to connection to the land and the environment and signifies connection to the land from which all life forms begin and return. The soil is shaped to represent land settlements and the spaces in between represents how flood has caused displacement and separation from what once unified a community. Each piece is unraveled to illustrate how differently people experience displacement. Grief is emphasized with bodies of women in different visually uncomfortable gestures. The weft from the unraveled fabric on the soil represents people who have been separated and people forced to live in new

communities.23 With elements of soil and sound of water dripping on a dry ground emphasizes the absence of water which has adverse effect on the health and culture of any community of people. Dim light and the audio component all add a feeling of gloom and despair to the narrative and exhibition set up in the gallery space.

5.2 Social Context

The focus with this body of work is body adornment that have cultural significance and reflects the identity of people. Identity and relevance are perceived differently by people in many different locations, cultures, and from one generation to another. Identity changes as the land and environment change especially in circumstances of forced migration due to climate change effects including devastating flood which force people to leave original places of community to find better habitable communities.24

As people are displaced, they carry with them body marking that people from other communities do not understand. Consequently, the historical meanings attached with body markings gradually become lost. In many communities in Nigeria, temporary and permanent body adornment have social, ritual and aesthetic significances. The process of making these marks involves creating an incision on the skin in unique patterns which later heals and leaves a permanent design. Through this process, many elaborate patterns of geometric designs may be incised into the skin of the neck, chest and torso. Cicatrization in this form was used on both men

23 Ishaya, S., and I. B. Abaje. "Indigenous people's perception on climate change and adaptation strategies in Jema'a local government area of Kaduna State, Nigeria." Journal of geography and regional planning 1, no. 8 (2008): 138. 24 Reuveny, Rafael. "Climate change-induced migration and violent conflict." Political geography 26, no. 6 (2007): 656-673.

and women. It was usually done at the time of puberty. Such cicatrization was a mark of bravery for boys, and for girls, a part of the fertility rites connected with coming of age ceremonies”25

In Nigeria, the art of body design is still a feature of some ethnic groups and has distinct functions. They have decorative functions and give information concerning membership, status, rank people in different groups. Body designs are a large part of the personal development from childhood to adulthood, and they are also used in ritual initiations as a clear sign of the social development. In all human cultures, the body is identified, at least in some contexts, with the socialized actor or person to which it belongs.26 This identification involves standardized modifications of the body surface that serve in their ensemble, as representations of the identity of the social person.27 In relation to a woman, the form and style of the designs may indicate if she is married, single or betrothed; or if she is a mother or a widow. With men, designs are elevated to the level of social distinction where honour and status are clearly spelt out in design language28

In this series, these body marks and designs are the focus for my experimentation because they have significant roles in representing the culture and identity of different ethnic and social groups in Nigeria. This body of work is focused on traditional body designs that serve historical, cultural beliefs associated with health and long life. Climate change effects including flooding, drought and displacement over the years has altered the growth of plants from which natural dyes for body design are obtained. Body designing, more than any other art, indicates social status and

25 Negri, Eve. Nigerian Body Adornment. Lagos: Nigeria Magazine, 1974. 26 Turner, T. (1995). Social body and embodied subject: Bodiliness, subjectivity, and sociality among the Kayapo. Cultural anthropology, 10(2), 145. 27 Turner, T. (1995). Social body and embodied subject: Bodiliness, subjectivity, and sociality among the Kayapo. Cultural anthropology, 10(2), 146. 28 Utoh-Ezeajugh, T. (2009). Body Adornment Practises in Nigerian Culture a Multi-Ethnic Investigation. Creative Artist: A Journal of Theatre and Media Studies, 2(1).

social structure and they follow unique aesthetics as well as social canons.29 The exposure of more parts of the body, because of the hot climate, made the Africans skillfully decorate the body.30

Body design distinguishes and differentiates an individual, and the precise meaning of the designs or patterns is unique for each person and society. Bohannon also gives evidence of the passing trends in body adornment among the Tiv of Nigeria. He observes that Tiv body adornment is purely aesthetic and the designs may mark the wearer’s generation since the patterns change about every ten years or according to fashion.31 Most Yoruba body designs in the western part of Nigeria have symbolic or decorative significance connected with marriage and birth.32 As my work is largely focused on women, I use the female body to emphasize body markings significant with marriage, childbirth, fertility and beauty.

5.2 Artistic Context

For this body of work, Mary Grisey’s piece titled Shrouds (See Figure 24) largely influenced some of the choices I made.33 I find the way she manipulates and alters fabric by burning, cutting, unravelling and bleaching relevant to my studio practice. In this body of work, as influenced by Grisey, I pushed further the idea of alteration and threadbare by not only unravelling but also bleaching, scratching and cutting out portions of the fabric. Each piece of this series is installed closely to represents a communal point of discourse; a group of five women having a conversation of their similar experience of the challenges associated with

29 Hewit, K. Mutilating the Body: Identity in Blood and Ink. Bowling Green State: University Popular Press, 1997. 30 Trowel, Margaret. African Designs. London: Faber & Faber Ltd.,1980. 31 Bohannon, Paul. “Beauty and Scarification amongst the Tiv”. Marks of Civilisation: Artistic Transformations of the Body. Ed. A. Rubin. Los Angeles: University of California, 1988:77-82 32 Utoh-Ezeajugh, T. (2009). Body Adornment Practises in Nigerian Culture a Multi-Ethnic Investigation. Creative Artist: A Journal of Theatre and Media Studies, 2(1). 33 See Figure 12

altered cultural practices. The focus for this body of work is based on the idea of displacement largely associated with drought and explores identity, and material culture. The soil stands for the land upon people in specific places dwell and the interconnectedness of the identity of people with similar culture and traditional practices. Because installation art many times engages some or all the senses - touch, sound and smell - rather than just the visual or optical sense, I used this strategy to activate the emotions of my viewers. Also, installation art allows viewers to see different positions, participate with the art works within the confined space, and interact with elements of the works in ways I hope create deep experience and interactions.34

The significance of the form I chose for this series was a strategy to reference bodily form of women in different discomforting positions similar to Vulnerability series. I applied pigment -acrylic and textile dyes, in a loose flow, over-saturating the threads and allowing the color to bleed all the way down. This effect is what I find engaging in my work especially while painting on fabric because, the colours permeates through the grids and ridges of the structure of the fabric. Much of my inspiration for this technique stems from Agnes Cecile’s water colour works specifically, the piece titled Quiet Zone 2016 (See Figure 25). Her watercolor paintings are wild constructs of dripping paint and lines that form an emotionally expressive portrait of the subject. Cecile work elicits an emotional response to be pondered by the viewers drip across the page, creating runs and dribbles of color to accentuate the painting.

34 Kelly, N. A. (2010). What is Installation Art?

5.3 Reflections and Conclusion

Creating Unravelling Aso-oke II was a very creatively draining process as I unravelled, bleached, scratched and stitched fabrics to show in a convincing way the depilation of cultural practices.

Using this form and installation technique, I made connections between culture, climate change and my studio practice more deeply especially with the inclusion of the looped audio component and the soil. With the deconstructed of this fabric and the looped audio component to the installation, it felt like an open avenue for my viewers to perceive in a deeper way the themes I addressed in this piece. Through the multiple use of aso -oke fabric as five bodies, I could envision filling out a gallery space with an extensive long roll of aso-oke fabric. With aso-oke fabric comes endless possibilities. After this series of work, I felt I had been able to activate the gallery space where I exhibited these works and increased the participatory experience of my viewers. I also felt ready to stretch the multidimensionality of aso-oke even further for my thesis show. On a social perspective, this series of work has addressed the notions of identity, place, land and relationships on a traditional hand-woven fabric through deconstruction, alteration and inclusion of physical environmental element – soil.

Chapter Six: Resilience Thesis Exhibition 6.1 Description

Resilience (2018) is an installation piece displayed at the Nickle Gallery, University of Calgary from August 10 - September 15, 2018 (See Figure 26). It is composed from two cotton fabrics- aso-oke and ankara. Long four rolls of white aso-oke fabric measuring 47 feet have been sewn together through a laborious process, into one piece measuring 3ft.x 47ft. Behind it is the multicoloured ankara fabrics measuring 50ft. attached to the aso-oke fabric. Both are fastened to the ceiling with a fishing line and the fabric comes down in an undulating motion to the floor with the unravelled edges and the extracted weft stretched and spills onto the floor in a way that beckons the viewers to come closer and have an experience. Some portions of the white fabric have been cut out and unravelled with the colourful ankara fabric peeping through. This strategy is to further emphasize alteration and the turn away from traditional aso-oke fabric to other types of fabric production.

The loose yarn stitches of women’s bodies in uncomfortable gestures is in reference to vulnerability, physical, health and emotional effects of climate change on women. Women comprise most agricultural workers all over the world, especially in Nigeria where agriculture is mainstream. This fact makes them more vulnerable to diseases that result from extreme weather conditions, and those intensified by heat waves, extreme rainfall, and rising humidity.

Accordingly, women are more exposed than men to mosquito-borne diseases including malaria they encounter through the duties of water collection and food harvesting. The physical pressure a female body undergoes during pregnancy and childbirth is also vital to consider in this context: foetuses are more likely to be at risk of low birth weight, pre-term deliveries and stillbirth during

heat waves because the core body temperature of pregnant women is ordinarily higher than normal, and they cannot thermo-regulate like every other person.35

The installation of this piece with the rolls flowing down is a reference to the weaving loom and textile print machine which are taking over the traditional textile production in Nigeria.

(See Figure 27). Sewn on the white fabric are loosely done stitches in black yarn. The stitches are ghostly bodies of women with loose exaggerated body part hanging off the edges on both sides of this piece. Femininity and vulnerability are emphasised with whimsical freehand needle and yarn stitches. The bodies are juxtaposed, overlapped in an abstracted sequence. This stitch technique creates a soft tactile quality that makes the work more sensual. This work is installed with minimal light around the piece with spot light from the top and bottom to create accent on some of the portions for emphasis. With this hanging installation technique, my idea is to allow viewers walk around it in a way that every time one moves around the piece, the work responds in motion. The installation gets added depth from the tangled nature of the unravelled section which adds new meaning to the work. With this piece, my goal is to creatively show the resilience and beautiful craft and culture of people who continue their practice despite the challenges and threats by climate change

35 Adebayo, C. (2017, October 25). The Guardian. The Female Face of Climate Change. Retrieved from: https://guardian.ng/opinion/the-female-face-of-climate-change/ 36

6.2 Social Context

This body of work addresses the resilience of the craft practice of weaving aso-oke fabric. As traditional aso-oke fabric comes from cotton plant, climate change affects the cultivation of cotton which results to many weavers turning to other means of making aso-oke fabrics and other forms of textile production. The production process of aso-oke- in the traditional procedure starts with the farmers. The process begins with the planting of local cotton during the dry season. It takes up to three months for cotton to become fully white before it is harvested.

Harvesting locally grown cotton takes place from late November until February. Harvesting is mostly done by the women and children and sold to those who process the seed cotton into threads. 36 Traditionally, this role is merely for division of labour and to enhance optimal productivity. It does not suggest gender segregation, mainstreaming or outright subjugation.

Traditionally, cotton seeds were processed by hand; getting the cotton prepared for weaving starts with the removal of seed cotton from the cotton pod. The knowledge about cotton spinning is gained through family lineage as crafts are usually located within the family or compound. It is customary among the weavers in Yorubaland, in the western part of Nigeria, for every family to have a known craftsmanship aside been farmers in most cases. Historically, cotton used in weaving aso-oke used to be grown on farms and it was very common to find cotton plants even in homesteads farms because it was largely useful for textiles. But such is no more existing like it used to.37

36 Akanle, O. (2011). Aso-oke (Hand Woven Textiles) of Southwestern Nigeria. A Compact Examination of a Resilient Artifact. American Journal of Sociological Research, 1(1), 12-13 37 Akanle, O. (2011). Aso-oke (Hand Woven Textiles) of Southwestern Nigeria. A Compact Examination of a Resilient Artifact. American Journal of Sociological Research, 1(1), 14

Craftsmen no longer use cotton exclusively as climate change affects the cultivation of cotton farming. A large percentage of the weavers currently mix cotton and imported thread. There is also a degree of seasonality influencing cotton production since the main cotton harvest is in the dry season.38 Over the years, aso-oke has experienced transformations in terms of processes and this has impacted production, adoption, and usage. Original aso-oke certainly only exists at the margins today even though it has huge potential to drive growth and development in sustainable manner relative to culture, identity, economy, and critical development. Aso-oke carries timelessness and traditional value with critical symbolisation of identity.

Apart from replacing hand spun yarns, weavers have been much attracted to a variety of synthetic fibres including shining yarns of the silk type and this has brought a significant change to the general appearance of aso-oke. The coping strategies of aso-oke weavers is to adapt to recent inclination of thread in which are mostly silk, nylon, sheen materials and a little of natural cotton. Importation of various yarns and the value attached to them have changed the choice of consumers and greatly reduced indigenous production methods of threads from naturally spun to synthetic thread. Today, the bulk of yarns are machine spun. However, the producers of this craft have found other ways to keep aso-oke production still relevant despite the environmental and economic situation on cotton farming. Aso-oke processes and usage have been altered and this has negatively affected the traditional industrial growth and development of the indigenous population. Factory-spun cotton is currently being used by many weavers. This was formerly imported from India, but Nigeria spins its own white, red and black cotton at the mills in Lagos

38 Bray, J. M. (1969). The craft structure of a traditional Yoruba town. Transactions of the Institute of British Geographers, (The Royal Geographical Society) 185

and Kaduna.39 While in the process of weaving aso-oke fabric, the weavers create motif that not only have aesthetic qualities but also hold folklore and symbols of traditional meanings. Some of the meanings these motif hold includes wealth, long-life, fertility, marriage and health.

39 Bray, J. M. (1969). The craft structure of a traditional Yoruba town. Transactions of the Institute of British Geographers, (The Royal Geographical Society) 184 39

6.2 Artistic Context

For this work, I draw my creative influence from Meghan Willis’s work titled Staying Afloat

(2015) (See Figure 28). Her lines and the way she uses images of the female form is subtle and fragile at the same time beautiful. Her stich lines are simple yet convey a strong narrative. In a similar way I use simple line stitching to outline bodily representation of the female form. With whimsical freehand needle and yarn sewing, I juxtapose and overlap female bodies in an abstracted sequence. England based textile artist Debbie Smith also inspired the creation process of this work. She is best known for her incredible large-scale thread drawings. With her technique, she blurs the boundaries between fine art drawings and textile art, flat and 3D work, illustration and embroidery. She uses textiles and thread line in an unconventional way. She plays with contrast and minimalism in her works. In her piece titled In Full Swing 2015 (See

Figure 29) she creates with black thread against white background, bodies seated on a swing in motion.

Similarly, the strong elements in my work includes the contrast between the black yarn against the white aso-oke fabric and the minimalist approach I have chosen for this work. As opposed to previous body of work where I used multiple colours of aso-oke, I used only white aso-oke to reference cotton from which traditional aso-ke fabrics are made from. In terms of installation, some inspiration came from Jae Ko’s site-specific installation piece titled Flow (See

Figure 30). With Flow, she uses a massive two tons of recycled, bleached Kraft paper in large rolls. Her work juxtaposes between drawing and sculpture. The way the rolls flow around each other is reminiscent of dense embroidery, full of turbulent stitches.

The process for this body of work includes stitching and sewing followed by a replicated process of unravelling to symbolize, alteration and distortion of the craft of making aso-oke fabric and the other cultural practices. I cut out portions and unraveled the lower section of the white portion of this work to portray the alteration, degrading effects of climate change on craft and cultural practices. Alteration shown in unravelling and cutting is central to my practice that shows the ruin as well as the beauty of both the material, craft and culture of a people.

This work has three points of references. First, I installed this work in reference to the textile machines used for producing Nigerian print fabrics. I also installed this work in a way to reference the motion of moving water in relationship with the strength and resilience of a water body. Lastly, the installation of this works is in reference with the highs and lows that the craft and cultural practice of aso-oke has experienced over the years.

6.3 Reflections and Conclusions

Over the course of my creative research, my work has gone through many shifts and alterations.

My research topic started with a general idea of climate change as a global concept and how it affects the living conditions of poor rural communities in Nigeria. Within the process of creating different projects, it had narrowed down to investigate issues around climate change induced migration and displacement, and the impact of climate change on the craft and cultural practices of some rural communities in Nigeria.

This final exhibition piece sums up my practice through two years of MFA program. The materials I used in this work is a large amount of Nigerian woven and printed fabric of both glittering and muted texture surface that were sent from Nigeria. In Resilience, I was particularly influenced by the traditional looms and the textile machines use for producing Nigerian print fabrics. The main concepts that I carried on from previous works and moved on to this piece are notions of climate change, craft and culture, loss, vulnerability, alteration, identity, land, and femininity. In this chapter, I focused on the resilience of the craft practice of aso-oke weaving in the western part of Nigeria and how the traditionally produced aso-oke fabric originally made from cotton has undergone various alteration over the years, yet this craft still thrives.

This final piece is the conclusion of this research paper, represents the subject of culture, the resilience of traditional craft practices and touches on the vulnerability of women in rural communities that experience the harsh realities of climate change in their environment. This work is the longest length of fabric I have ever used and the largest work I created through this program. This piece not only speaks about issues of resilience, craft and culture but also creates a space for the viewer to have a close interaction with some symbols and elements from a Nigerian cultural context.

Chapter Seven: Concluding Reflections

Throughout my MFA program, the works I created have been focused on climate change, its effects on the health, agriculture and cultural practices of people living in some rural communities in Nigeria This process has demanded a thoughtful look at themes of migration displacement, identity, vulnerability and loss. Also, it touched on the recent changes in the production of the traditional Yoruba fabric-aso oke. For the most part of my studio practice, aso- oke fabric was the major material I used for experimentations. Aso-oke carries culture and identity of mainly the Yoruba people of Western Nigeria. Being that my studio practice is focused on showing changes of cultures from a distant place, I used aso-oke fabric for its qualities and as a cultural signifier to invite my viewers especially those in North America to an open conversation about climate change from a cultural perspective.

In my works, women and craft were the focus of my narrative and aided my view about perceiving climate change from a cultural perspective. Over the course of my studies, I became more curious about experimenting with fabric and exploring its tactile qualities. In each work I created, I felt in control of my process from the conceptualization to the installation in the gallery space. Ultimately, the sense of control I achieved throughout the making the series of work has helped me to detach from the rigid ideas what painting, or what art should be. My experimentation with combining ankara fabrics and aso-oke to my work consolidates representations of culture and identity.

My research into the practice of artists who make similar anchored my practice.

Traditional and contemporary stitching and sewing have always been a great part of my creative process and the MFA program opened ways I could include the skill in my practice. As the line

between craft and art is gradually becoming blurry, I am happy to be a part of the movement that is pushing art, gender craft and culture in academia, contemporary art practices, media, and mainstream culture. However, there is still much work to be done in understanding climate change from a feminine and cultural perspective. The projects outlined throughout this paper, especially the last three chapters are only representations of the early stages of my research. As I continue my practice outside of my MFA studies, I will explore and include more multi-media installation elements with my paintings as I did with Unravelling Aso-oke II. I will continue my exploration on deconstructing fabric, experimenting notions of gender, culture and identity and explore the historical and political underpinnings of craft on a broader context. Moving forward beyond my MFA program, I would be interested to further explore combining painting and stitching techniques in my practice. I would also represent female bodies in my work in more subtle ways. I am also very interested in “fabriculture” a term that Jack Z. Bratich and Heidi M.

Brush wrote about in their article “Fabricating Activism: Craft-work, popular culture, gender”.40

40 Bratich, J. Z., & Brush, H. M. (2011). Fabricating activism: Craft-work, popular culture, gender. Utopian studies, 22(2), 233-260.

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Images

Figure 1: Njideka Akunyili Crosby, Mimetic Gestures, oil, printed paper collage and lace canvas. 83 ½ x 67 in. 2010

Figure 2: Diana Ohiozebau, Vulnerability Installation Image, 2017, The Little Gallery, University of Calgary, Alberta

Figure 3: Amanda Mc Cavour, Untitled Woman, Thread Machine Embroidery, 2009, at the Common Thread International Juried Exhibition Part 1, Joshua Creek Heritage Arts Centre, Oakville, Ontario, Canada. From: http://www.worldofthreadsfestival.com/artist_interviews/002_amanda_mccavour_11.html (Accessed July 22, 2018)

Figure 4: Orly Cogan. Sugar n Spice n Everything nice. Handstitched embroidery and paint on vintage bed linen, 95x80 inches From: https://www.orlycogan.com/ Accessed July 22, 2018

Figure 5: Diana Ohiozebau, Health Vulnerability I &II, Acrylic and Oil paint on canvas. 2ft. x 6ft, 2017

Figure 6: Diana Ohiozebau, Physical Vulnerability I & II, Acrylic and Oil paint on canvas. 2ft.x 6ft, 2017

Figure 7: Diana Ohiozebau, Collective Pain I &II, Acrylic and Oil paint on canvas. 2ft. x 6ft, 2017

Figure 8: Oscar T. Salita, Ceramic Makers, Oil on Canvas, 1995

Figure 9 Amy Sherald, What’s different about Alice is that she has the most incisive way of telling the truth, oil on canvas, 2017, Collection of the Columbus Museum, Columbus, Ga From: http://www.amysherald.com/ Accessed July 24,2018

Figure 10: Kerry James, Marshall Pink Towel, oil on canvas, 2014 From: www.artnet.com/artists/kerry-james-marshall/ Accessed on July 23,2018

Figure 11: Diana Ohiozebau, Displacement I&II, Acrylic and Fabrics on wood panel 8ft x 4ft. 2017

Figure 12: Diana Ohiozebau, Drowning I &II, Acrylic on Tie-dyed cotton fabric, 3ft.x12ft. 2017

Figure 13: Diana Ohiozebau Nostalgia, Acrylic on Burlap. 5ft.x 5ft.2017

Figure 14: Yinka Shonibare, Gay Victorians, Sculpted African Fabrics, 6ft.x 3ft. 1999 From: https://www.sfmoma.org/artwork/99.512.A-B Accessed on July 27,2018

Figure 15: Abdoulaye Konatè, Les Marcheurs (The Walkers). Textile, 6.10m x 2.66m. 2006 From: https://www.pinterest.com/oldvic/abdoulaye-konate/ Accessed on July 25. 2018

Figure 16: Diana Ohiozebau, Unravelling Aso-oke I, Installation Image, 2017, The Little Gallery, University of Calgary, Alberta

Figure 17: Diana Ohiozebau Lali, Thread and textile ink on Aso-oke Fabric 3ft.x 15ft. 2017 Figure 18: Diana Ohiozebau Remnant, Thread and textile ink on Aso-oke Fabric 3ft.x 15ft. 2017

Figure 19: Diana Ohiozebau Once Upon A Time, Thread and textile ink on Aso-oke Fabric 3ft.x 15ft. 2017

Figure 20: Jacin Giordano Unravel 2 Acrylic, yarn and tree branches. 79in. x 46in. 2012 From: http://jacingiordano.com/unravel/k52gykg5uez87re7cvok45j45rtv92 Accessed on July 26, 2018

Figure 21: Meghan Willis, Multiple layers, Embroidery on canvas, 2014 From: https://meganwillisart.com/ Accessed on March 10, 2018

Figure 22: Aiko Tezuka Rewoven Installation View, Michael Janssen, Berlin 2013 From: http://galeriemichaeljanssen.de/aiko-tezuka/#&gid=1&pid=5 Accessed on July 18, 2017

Figure 23: Diana Ohiozebau, Unravelling Aso-oke I, Installation Image, 2017, Gallery 621, University of Calgary, Alberta Figure 24 Mary Grisey, Shrouds Handwoven and hand dyed linen, horsehair and bleach 8' x 6' x 4' (2014) From: https://marygrisey.com/artwork/3499354-Shrouds.html Accessed on March 19, 2018

Figure 25: Agnes Cecile, Untitled, watercolor, acrylic and pen on paper 60 cm x 45 cm.2016 From:https://www.deviantart.com/agnes-cecile/art/Quiet-Zone-648324363 Accessed on July 20,2018

Figure 26: Diana Ohiozebau, Resilience, Installation Image,( Horizontal view) 2018, The Nickle Gallery, University of Calgary

Figure 27: Diana Ohiozebau, Resilience, Installation Image,( Vertical view) 2018, The Nickle Gallery, University of Calgary

Figure 28:Nigeria Veritable Dutch real wax Hollandis 100% cotton African printed fabric From: https://www.alibaba.com/product-detail/Nigeria-Veritable-dutch-real-wax- hollandais_60697648139.html

Accessed on July 21, 201

Figure 29: Megan Willis Staying Afloat Embroidery on canvas 15in.x 20in. 2016 From: https://meganwillisart.com/ Accessed on January 10, 2018

Figure 30: Debbie Smyth, In Full Swing, Installation Image 2011 From: https://www.textileartist.org/debbie-smyth-inspired-memories.../in-full-swing-drawing Accessed May 27,2018

Figure 31: A detail of Jae Ko's site-specific installation "Flow," which is on view at the Contemporary Arts Museum Houston through September 2016 From: https://www.houstonchronicle.com/entertainment/arts-theater/article/Artist-Jae-Ko-This- is-how-she-rolls-8337129.php Accessed July 31,2018