While the evolution of contemporary Nigerian ceramics practice can be traced back to traditional art practices, a differing set of factors influence its trajectory. The current inclusion of ceramic art into Nigerian higher education curricula is an extension of the foundation laid by Michael Cardew at the Pottery Training Center in Abuja in 1951. Traditionally, ceramic art production in Nigeria “clutched somewhat dogmatically to longheld convention”1 where the clay medium was used to produce cups, jugs, mugs and flower vases, among others, mainly for functional and utilitarian purposes. However, in the late 90s, a paradigm shift occurred with some ceramists breaking free from traditional modes of production. For example, Christ Echeta and Ozioma Onuzulike began adding decorative glaze and engobe to visually activate their works. They also created conceptual pieces by incorporating external media into ceramic assemblages and installations.
Today’s postmodern age is characterized by fragmentation, trans-historical experiences, shifting boundaries and sites, and increased access to materials. Artist’s creative choices are unbounded and their creative direction knows no limits; they have replaced institutional patronage with radical creative innovation. Criticizing society, while seeking redemption of their creative souls, their work pushes the boundaries of art making.2
