Creative and Critical Studies, Faculty of (Okanagan)
DSpace
UBCO
Samuel, Roland Ugo
Master of Fine Arts - MFA
University of British Columbia
This paper serves as a complementary piece to my MFA exhibition, The Marginalized: A Dawn of Reconciliation, Nigerian Civil War and the Political Marginalization of the Igbo Community, presented at the Kelowna Art Gallery from March 29th to June 1st. Through my sculptural works and material exploration, I examine the historical and contemporary marginalization of the Igbo people in Nigeria, tracing its roots from British colonialism to the Nigerian Civil War (1967â1970) and its enduring aftermath. My artistic practice engages with discarded materials, drawing from Michael Thompsonâs Rubbish Theory to explore themes of displacement, identity, and resilience. By repurposing salvaged car door panels, fabric, and other metals, I create visual metaphors that speak to the Igbo experience of systemic exclusion, generational trauma, and cultural challenges. The exhibition and this paper aim to provoke critical dialogue on postcolonial injustices while offering my personal and collective reclamation of our Igbo heritage. Through studio-based research, historical analysis, and artistic experimentation, this thesis seeks to shed further light on the issues of marginalization in Nigeria. My sculptures in this thesis demonstrate how art can serve as a powerful medium for truth-telling, resistance against systems that marginalize, and promote an environment that encourages others to speak up and find means of reconciliation.
The Marginalized: A Dawn of Reconciliation, Nigerian Civil War, and the Political Marginalization of the Igbo Community by Roland Ugo Samuel BFA, Olabisi Onabanjo University, 2019 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS in THE COLLEGE OF GRADUATE STUDIES (Visual Arts) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) October 2025 © Roland Ugo Samuel, 2025 ii The following individuals certify that they have read, and recommend to the College of Graduate Studies for acceptance, a thesis entitled: The Marginalized: A Dawn of Reconciliation, Nigerian Civil War, and the Political Marginalization of the Igbo Community submitted by Roland Ugo Samuel in partial fulfillment of the requirements of the degree of Master of Fine Arts Samuel Roy-Bois, Faculty of Creative and Critical Studies Supervisor Renay Egami, Faculty of Creative and Critical Studies Supervisory Committee Member Suzanne Gott, Faculty of Creative and Critical Studies Supervisory Committee Member George Grinnell, Faculty of Creative and Critical Studies University Examiner iii Abstract This paper serves as a complementary piece to my MFA exhibition, The Marginalized: A Dawn of Reconciliation, Nigerian Civil War and the Political Marginalization of the Igbo Community, presented at the Kelowna Art Gallery from March 29th to June 1st. Through my sculptural works and material exploration, I examine the historical and contemporary marginalization of the Igbo people in Nigeria, tracing its roots from British colonialism to the Nigerian Civil War (1967â1970) and its enduring aftermath. My artistic practice engages with discarded materials, drawing from Michael Thompsonâs Rubbish Theory to explore themes of displacement, identity, and resilience. By repurposing salvaged car door panels, fabric, and other metals, I create visual metaphors that speak to the Igbo experience of systemic exclusion, generational trauma, and cultural challenges. The exhibition and this paper aim to provoke critical dialogue on postcolonial injustices while offering my personal and collective reclamation of our Igbo heritage. Through studio-based research, historical analysis, and artistic experimentation, this thesis seeks to shed further light on the issues of marginalization in Nigeria. My sculptures in this thesis demonstrate how art can serve as a powerful medium for truth-telling, resistance against systems that marginalize, and promote an environment that encourages others to speak up and find means of reconciliation. iv Lay Summary My MFA exhibition, âThe Marginalized: A Dawn of Reconciliation: Nigerian Civil War and the Political Marginalization of the Igbo Community,â explores the lasting impact of the Nigerian Civil War and the ongoing marginalization of the Igbo people. Through sculptures made from found objects like salvage car doors and fabrics, I tell the story of how war and government policies have shaped Igbo identity. The exhibition is profoundly personal and shares my personal experiences growing up as an Igbo child in Lagos (Ãkó), a Yoruba-dominated city, which often made me feel like an outsider within my country, disconnected from my heritage. My art seeks to reflect this struggle. This paper links Nigeria's post-civil war policies, like the Twenty-Pound Policy, to ongoing Biafran movements. My sculptures use Igbo motifs with discarded objects to address this trauma, urging healing and rebuilding through engagement. v Preface This thesis is not a detached observation; It is essential to state unequivocally that this book was written solely by me, Roland Samuel, without any assistance, neither through AI nor other means. I am deeply indebted to my supervisor, Samuel Roy-Bois, my committee members, Renay Egami and Suzanne Gott, and all the other researchers whose areas of research I have had the privilege of gaining insight into, in the development of this paper. Thanks to all their contributions and critiques for making this paper a success. vi Table of Contents Abstract ......................................................................................................................................... iii Lay Summary ............................................................................................................................... iv Preface ............................................................................................................................................ v Table of Contents ......................................................................................................................... vi Image List ................................................................................................................................... viii Acknowledgements ...................................................................................................................... ix Dedication ..................................................................................................................................... xi Introduction ................................................................................................................................... 1 Chapter One: ................................................................................................................................. 3 1.1 The Birth of a State: Creation of Nigeria, there was a country, and the Stateless .......... 3 Chapter 2: Rising from the Rubble ............................................................................................. 8 2.1 The Twenty-Pound Policy .............................................................................................. 8 2.1.1 PTSD ........................................................................................................................... 9 2.2 Hidden Identity and Contemporary Challenges ............................................................ 10 Chapter 3: Me and My Country: Generational PTSD ....................................................... 12 3.2 Embracing Identity Through Sculpture ....................................................................... 14 Chapter 4: Sculpture, Materiality, and Rubbish Theory ................................................... 21 vii 4.1 Studio-based research ................................................................................................... 21 4.2 Sculpture as a Means of My Expression ....................................................................... 23 4.3 Found Objects ............................................................................................................... 27 4.4 Door Panels .................................................................................................................. 29 4.4.1 Figure sculpture ............................................................................................................ 31 4.4.2 Fabrics Juxtaposition .................................................................................................... 31 4.4.3 Connecting Panels ......................................................................................................... 32 4.5 Blank Canvases ............................................................................................................. 38 4.6 Njirimara Figure Sculpture ........................................................................................... 43 Chapter 5: Conclusion ........................................................................................................... 46 Bibliography ................................................................................................................................ 49 viii Image List Figure 1. Oja Player (2023). ......................................................................................................... 15 Figure 2. Yinka Shonibare, Nelsonâs Ship in the Bottle (2010), National Maritime Museum, Greenwich, London. ...................................................................................................................... 17 Figure 3. Bruce Onobrakpeya, Jesus is Nailed to the Cross (1969), Tate Modern, London. ....... 18 Figure 4. Sokari Douglas Camp, Green Leaf Barrel (2014), Housed by the Artist ...................... 19 Figure 5. Studio Materials/Objects ............................................................................................... 22 Figure 6. Oja Player (Mounted on a Car Door, 2023) .................................................................. 24 Figure 7. Is this 1526? (Shattered Glass Story, 2023) .................................................................. 26 Figure 8. Is this 1526? II, (2024). ................................................................................................. 27 Figure 9. The Mirror (Found object, 2024) .................................................................................. 29 Figure 10. Bronze from 1959 and 1964 archaeological excavations in Igbo-Ukwu, Anambra State............................................................................................................................................... 34 Figure 11. Igbo-Ukwu Bronzes II (Nigerian National Museum, Lagos) ...................................... 34 Figure 12. Nnabata II, Free-Hand Plasma-Cut on Salvaged Car Door, 2025. ............................. 35 Figure 13. Nnabata, Free-Hand Plasma-Cut on Salvaged Car Door, 2025. ................................. 36 Figure 14. Nnabata (detail) ........................................................................................................... 37 Figure 15. Nnabata II, Salvaged Car Door, 2025. ....................................................................... 38 Figure 16. Nnabata, Salvaged Car Door, 2025. ............................................................................ 40 Figure 17. Nnabata III, Salvaged car door with Ankara fabric, 2025. ......................................... 41 Figure 18. Hụrụ, Salvaged car door, mat, and Ankara fabric. 2025. ............................................ 42 Figure 19. Njirimara, Found metal object and woven Nigerian fabric, 2025. ............................. 45 ix Acknowledgements I want to begin by acknowledging with deep respect that the land on which I have conducted my research and creative work is the unceded territory of the Syilx Okanagan people. I am genuinely grateful for the privilege of living, learning, and creating on this land, and I recognize the enduring stewardship and resilience of the Syilx Nation. First and foremost, I extend my heartfelt gratitude to my supervisor, Samuel Roy-Bois, for his unwavering encouragement, invaluable guidance, and sharp artistic insight over the past two years. Thank you for tutoring me in every part of my M.F.A journey. You offered me both critical and constructive feedback and supported me throughout this challenging yet rewarding journey. It has been an incredible experience working with you, and I am deeply appreciative of your mentorship. I would also like to sincerely thank my committee members, Renay Egami and Suzanne Gott, for generously dedicating their time, sharing their thoughtful perspectives, and offering words of encouragement that helped shape my work. Your expertise and guidance have been instrumental in my growth as an artist and researcher. My appreciation also extends to my instructors, Nancy Holmes and Tania Willard, for their generosity in sharing knowledge, resources, and inspiration, which significantly enriched my academic and artistic practice. Also, special thanks to the Kelowna Gallery team and to Christine May for supporting me and curating my M.F.A. exhibition, âThe Marginalized.â Your dedication and collaboration made this culminating experience possible. x To my beloved wife, Bolaji Samuel, I cannot express enough gratitude for your unwavering support, patience, and belief in me since the very beginning of this journey. Your love and encouragement have been my anchor, and I am endlessly thankful for you. I am also profoundly grateful to my family for their constant support, encouragement, and for being my foundation throughout this process. Your belief in me has been a driving force since my B.FA, and I am so fortunate to have you all in my life. Finally, I would like to thank my fellow M.F.A. students for the shared studio time, creative exchanges, and mutual support. The critiques and class time discussions have been invaluable, and I am grateful to have shared this journey with such a talented and inspiring group. This achievement would not have been possible without the collective support of all those mentioned, and for that, I am profoundly thankful. xi For, Ndi Igbo 1 Introduction This paper serves as a complementary piece to my MFA exhibition, âThe Marginalized: A Dawn of Reconciliation: Nigerian Civil War and the Political Marginalization of the Igbo Community,â which was showcased at the Kelowna Art Gallery from March 29th to June 1st. The works featured in this exhibition represent the culmination of my extensive research and artistic exploration undertaken throughout my M.F.A. program. Providing a deeper context and analysis, this paper will complement the visual narratives presented in the exhibition, offering viewers a more comprehensive understanding of the themes and underlying messages. Throughout my artistic journey, I have consistently focused on addressing pressing social and community issues. My B.F.A. research on the conflict between Fulani herders and farmers in southwest Nigeria serves as a prime example of this commitment. By delving into the complexities of this crisis, I sought to educate the public and propose potential solutions. My sculptural works often serve as visual metaphors for the struggles faced by individuals and communities, both in the present and in the anticipated future. Through my art, I aspire to provoke thought, inspire empathy, and contribute to a more just and equitable society. My M.F.A. studies at UBCO have significantly enhanced my ability to effectively communicate my artistic messages, a skill that I will be actively employing throughout this paper. By examining my work from diverse perspectives and exploring various trains of thought and associated theories, I aim to provide a comprehensive understanding of my artistic vision and the underlying concepts that inform my practice. 2 This paper will delve into significant moments of the history of Nigeria, exploring the circumstances surrounding its creation and the factors that led to the devastating civil war just six years after its creation. Additionally, I will be examining the systematic marginalization of the Igbo community by the government. My present artistic practice has been significantly influenced by this historical context. I will discuss my creative process and approach, including the experimentation and research that led to my current artistic style and approach. A key aspect of my work is the careful selection and use of materials. I will explore the origins and significance of these materials, drawing from the Rubbish Theory to highlight the importance of reusing and repurposing waste through order (Calafate-Faria 145). Materials serve as carriers of history, and I will discuss how symbols and cultural references are incorporated into my sculptures to convey meaning. Furthermore, I will address the challenges encountered during the creative process and how they have shaped the final works. 3 Chapter One: 1.1 The Birth of a State: Creation of Nigeria, there was a country, and the Stateless Nigeria, who is a Nigerian, and why Nigeria? Nigeria is a country in West Africa. It was colonized by the British in 1884, and the colony was established at the Berlin conference, which divided Africa among European powers (Dia). The name "Nigeria" was bestowed upon the country in 1897 by Flora Shaw, a journalist and writer, and was derived from the well-known Niger River. Prior to its amalgamation, the region now known as Nigeria was not a unified entity but rather a collection of diverse territories. The British colonial administration, led by Protectorate Frederick Lugard, oversaw the unification of the northern and southern regions in 1914, forming the modern-day nation of Nigeria. Subsequent to the amalgamation, significant political developments occurred. In 1949, Richard's Constitution divided Nigeria into three distinct regions: the Eastern Region, the Northern Region, and the Western Region. This regional structure laid the groundwork for the country's future governance and administration (Ota et al. 1). The creation of Nigeria was a complex process influenced by various political factors and considerations. The British colonial administration did not have a predetermined plan for establishing Nigeria as a unified nation, but rather approached the region in an experimental manner in colonial governance (Bourne 26). Many of the policies implemented during this period were primarily designed to address immediate challenges and were not intended to provide long-term solutions (Bourne 27). As a result, many of these policies were short-lived and 4 did not have a lasting impact on the development of the nation. Nigeria can be characterized as a "gain for gain" project, as suggested by Dia. The British colonial administration primarily pursued its own interests, employing both direct and indirect rule to maintain control over the region. Direct rule was implemented only when the colonial power's authority was threatened, while indirect rule was favored as a means of controlling the population and gaining the acceptance of the majority. This strategy effectively established a puppet government, allowing the British to maintain their dominance with little resistance. Who is a Nigerian? The identity of a Nigerian is traditionally defined by individuals who are born or granted citizenship by the government of Nigeria, subject to the terms and conditions set by the government. However, the concept of Nigerian identity has evolved significantly throughout the nation's history, particularly during the turbulent period between 1967 and 1970. During this time, the definition of who is considered a Nigerian underwent significant transformations, with certain individuals being labeled as enemies of the state. The introduction of the term "stateless" is crucial to understanding the broader context of the Nigerian Civil War and its devastating impact on a specific group, primarily the Igbo people, which I will cover later in this paper. Why Nigeria The establishment of Nigeria by the British was a strategic move aimed at consolidating their colonial presence in West Africa. The country's geopolitical location, situated on the West African coast, provided a valuable foothold for extending British influence and control in the region. This strategic positioning was crucial for demonstrating British power and prestige on the world stage, particularly in the context of intense colonial competition among European nations. 5 Nigeria's strategic importance contributed to the British Empire's overall expansion and dominance in the region. The growing British interest in Nigeria led to a formal claim on the territory at the 1884 â 1885 Berlin Conference, a pivotal gathering of European powers to discuss the partition of Africa. The conference resulted in the establishment of a British protectorate in Nigeria, solidifying British dominance in the region and ensuring that other European colonial powers recognized and respected their claim. The protectorate had been proclaimed in keeping with the necessity of notifications enunciated at Berlin. It was designed to safeguard the future of the trade and to exclude potential French and German competition from an area where British merchants had long enjoyed dominance (Hirshfield 18). A comprehensive understanding of Nigeria's historical foundations is essential for unraveling the complex challenges that have plagued the nation, including the short-lived period of independence. As my research into the Nigerian Civil War and the marginalization of the Igbo community progressed, I began to uncover previously overlooked aspects of the country's history that have significant implications for understanding the present day. One such revelation is the Nigerian government's strategic use of hate speech to divide the population and divert attention from underlying issues. This deliberate tactic of weaponizing hatred has played a crucial role in perpetuating marginalization and fostering a climate of division. Recognizing this historical context is crucial for comprehending the broader implications of the marginalization faced by the Igbo people. It essentially provides the necessary context to understand the sculptural work forming my exhibition properly. 6 There Was a Country The title "There Was a Country" is taken from Chinua Achebe's memoir, which chronicles his personal experiences during the Nigerian Civil War. The book offers a firsthand account of the conflict and its devastating impact on the nation. Just six years after gaining independence on October 1, 1960, Nigeria was plunged into chaos. Despite the formal transfer of power, British influence remained pervasive within the country, with British companies and oil wells continuing to operate and British officials exerting indirect control over the nation's politics. Nigeria initially maintained a constitutional monarchy, with Queen Elizabeth II serving as the Queen of Nigeria. However, the country transitioned to a republic in 1963, although British influence persisted in the region. There were several attempts to draft and adopt a new constitution, aiming to move away from British influence; however, this did not seem to go as planned (Oloyede 13). The instability in the young nation intensified. On January 15, 1966, the coup marked a turning point in Nigeria's history, setting the stage for a devastating future. A group of British-trained army majors orchestrated this coup, ostensibly aimed at addressing corruption and ethnic rivalries. However, the coup was widely perceived as a power grab, leading to the tragic massacre of over 30,000 Igbo people in the north and retaliatory moves in the south as well (Enemchukwu and Chukwudebelu 95). The violence and discrimination faced by the Igbo population prompted many to flee southward to their homeland. Ultimately, this exodus and the subsequent marginalization of the Igbo people led to the creation of the breakaway state of Biafra, under the leadership of Colonel Ojukwu (Anil Kamble et al 572-573) 7 The Stateless Following the 1966 coup, Igbo people faced widespread persecution and discrimination throughout Nigeria. They were hunted down in their homes and communities, forced to flee for their lives, and ultimately denied fundamental human rights. The term "stateless" is used to describe the precarious situation of the Igbo population during this period, as they were effectively stripped of their citizenship and treated as outcasts within their own country. The Nigerian Civil War, which erupted in 1967, further exacerbated the plight of the Igbo people. Igbo civilians fleeing the violence in the north were targeted and killed, highlighting the brutal reality that they had become victims in their own homeland. The conflict intensified the marginalization and suffering of the Igbo community, leading to a humanitarian crisis of unprecedented proportions (Oloyede 13). 8 Chapter 2: Rising from the Rubble 2.1 The Twenty-Pound Policy After more than 3 years of unending struggles faced by the Igbo community, starting right after the coup of 1966 to 1967 when the civil war began, through to 1970, after the war, the Igbo people were faced with the immense challenge of rebuilding their lives and recovering from the devastation of the conflict. Various measures were implemented, but among all of these, the most contentious measure was the Twenty-Pound Policy introduced by the Nigerian government during the post-war reconstruction period. This policy effectively restricted the Igbo people's ability to reclaim their pre-war financial standing. It became a symbol of the economic and psychological humiliation inflicted on the Igbo as the defeated side (Nnaemeka and Michael 98). The Igbo had no choice of their own; they were seen as people conquered in war, and anything given to them was what they deserved (97). As I continue to delve deeper into investigating and creating my sculptures, I am increasingly curious to explore and learn more about the history of my people in order to shape and represent my sculptures with accuracy. The Twenty-Pound Policy triggered me even more. The policy came about as part of the broader effort and plan by the then-Nigerian government to reintegrate the war-torn eastern region back into the nation. In the aftermath of the war, the Igbo were left with shattered infrastructure, a decimated economy, and a society in disarray. The government sought to neutralize any lingering support for Biafran ideals and ensure that the Igbo would not have the financial capability to challenge the military governance. The policy itself was designed to seize bank accounts previously owned by the Igbos, and only a sum of £20 was allocated to the Igbos (Onuoha 7 â 8). 9 In his memoir, There Was a Country, Chinua Achebe notes that this policy was not only punitive but also deeply symbolic, as it stripped the Igbo of their financial autonomy and reinforced the idea of their defeat. Achebe recounts that the Igbos were made to feel "unworthy" of reclaiming what they had lost, and this sense of dispossession would continue to haunt the collective psyche of the Igbo for years to come. The policy was both a political and economic maneuver. Economically, the policy severely damaged the already fragile financial situation of the Igbo people. Prior to the war, the Igbos were primarily considered the economic power hub of the nation and the most prosperous and entrepreneurial ethnic group in Nigeria. They had a strong presence in trade, industry, and commerce. However, the war had severely undermined the economic infrastructure of the region, and the policy served as a final blow to their efforts at recovery. It was a constant reminder to the Igbo that they were defeated, and their contributions to the economy of the country would be wiped out. The policy was seen as a symbol of the 'punishment' of the Igbo, an act meant to ensure that the scars of the civil war would persist for generations (Obinna and Nene 8). 2.1.1 PTSD The war had drained the Igbo community, who suffered from starvation, emotional distress, and pressure from the government that had just annexed the region (Okwuosa et al 2). The imposition of such a policy had long-lasting consequences on the identity and self-perception of the Igbo people. Aside from the loss of material wealth, the combined emotional and psychological toll of the war created a sense of alienation among many in the Igbo community. The effort to keep children from the struggle was not easy. For myself, as an Igbo child, and my parents, at every point, who tried to shield me from the trauma they faced and the 10 fear of being alienated from every sector in Nigeria. However, the experience that I and most average Igbo children face exposed us to the reality of the same alienation. Chimamanda Ngozi Adichie, whose works often explore themes of identity and displacement, discusses the lasting effects of a policy that lingered for decades, as the Igbo struggled to rebuild both their confidence and their place within Nigeria: âOne can suggest further that the cultural trauma exists because of the âthreatâ to aspects of the Igbo identityâ (Oloyede 11). Considering all of these factors, the loss is not solely remembered through the actual circumstances of the war but is also reflected in the perceived discrimination against the Igbos. This trauma is then gradually transferred from parent to child. The policy sowed a seed of distrust and resentment among the Igbo community. The Nigerian governmentâs actions did little to foster genuine reconciliation, as the punitive nature of the policy only perpetuated divisions and a sense of injustice among the Igbo. While the policy was intended as a way of asserting control and ensuring national unity in the just annexed region, it ultimately reinforced the divisions that had been exacerbated by the war (Oloyede 21). 2.2 Hidden Identity and Contemporary Challenges When a person is marginalized, it means they are placed in a position where they cannot easily be seen or found. An invisible barrier is created to keep the person in. I have chosen to write about this hidden identity, which refers to the attempt by some Igbos to conceal their true selves in society. This resulted from policies created by the Nigerian government. Concealing or masking their true ethnic, cultural, or social identity due to fear of discrimination, persecution, or social exclusion. As a result, many of us Igbos began to feel the need to hide ourselves in our own country. There was a huge downplay of Igbo heritage, and sometimes the hidden fear of 11 speaking our native tongues, because expressing our identity would lead to social exclusion and possibly abuse. In some cases, Igbos like myself adopt the cultural practices and languages of the dominant groups, such as the Yoruba, as a form of self-preservation, or in my case, I would say as a way to conceal my true identity to avoid discrimination. Paul Obi-Ani stated that the Igbos became politically isolated, economically poor, psychologically confused, and completely demoralized. Their future seemed doomed for all time. It became taboo to be Igbo, and some Igbo tribes tried to disguise their Igbo names to conceal their identity (Obi-Ani vii). To be without Identity is not to exist; everything we do circles around who we are. âOn the other hand, identity is the totality of one's perception of self, or how we as individuals view ourselves as distinct from othersâ (Ndubisi 78). To tamper with the philosophy of oneâs belonging is to break one from the inside. 12 Chapter 3: Me and My Country: Generational PTSD Growing up in Lagos has been the most challenging experience of my life. I was born in Lagos and raised there. The after-effects I will discuss relate to Ndubisi's idea of the Igbos' migration and the impact on their cultural identity. Although there was not much choice for the Igbos in the country at the time, the challenges faced by many Igbo children in the country can be linked to this "migration" (82). Lagos is known as the center of excellence; it is the fourth-largest economic state in Africa and Nigeria's multicultural hub. However, this historical Yoruba multicultural city never felt like home; I never felt I was even part of the country. I felt alienated. I felt like the discarded materials that I used for my sculpture. Indirectly, I was not viewed as someone of value, who was knowledgeable enough to give back to society in some form. As I have emphasized previously, the invisible barrier of marginalization is evident all around me, even while I was in Lagos. Marginalization, although it may not be physically seen, feels like a one-way experience, a one-group experience, or a single kind of community experience. Only those who face marginalization, those who are marginalized, and only those who are experiencing this form of alienation can express this feeling. Sadly, this part of my paper is dedicated to expressing my experience. There was no place for me to express this feeling before now, other than in my artworks; there was no one for me to talk to because everyone around me could not understand the kind of feeling that I felt. My primary reason for creating my art is to seek the expression that I do not have in society. Nigeria does not feel like home. Where do I call home, then? Do I call Biafra home? Although the Biafran state no longer exists and is not agitated for. Do I call Eastern Nigeria home? No, I was not even raised there. Do I consider Lagos my home because I was 13 born and raised in Lagos? Where do I call my home? I've spent almost my entire life in my country, but I never felt like I was truly home. At every given point, I was confronted with the impression that I was not wanted. These thoughts led to my exploration of working with mediums like discarded materials and finding interest in working with rubbish. I do not think they are rubbish, though, because I feel they are a kind of representation of me, and we share a similar experience as disposable. They are me, and figuratively, I am them, and that is why whenever I see a discarded material, I embrace it. I love these materials. I want to hold them to myself. I want to keep this material to myself because I feel like this is an extension of me. The idea of the Rubbish Theory, as proposed by Michael Thompson, which I will explore later in this paper, suggests the revaluation of rubbish; it is simply objects in the wrong place at the wrong time. This was the case not just for me but for every Igbo child. The reality remains that I was unconsciously annexed by the Yoruba culture. Hypothetically, I wasn't given much of a choice about which cultural identity to put on. However, I think by design, living in Lagos systematically installed the Yoruba system present in me, which was not my primary culture. I was not there when the war took place, nor did I participate in the war. Although we never made decisions in the war, my generation experienced marginalization beyond any other persons or groups in the country, and the only way of escape was to conceal my Igbo identity. The means of escape was also found in my interest in discarded materials, as I tried to put together the pieces of a broken identity through these materials. 14 3.2 Embracing Identity Through Sculpture I believe that contemporary artists play a decisive role in reshaping society. Through their work, they not only reflect the world as it is but also reimagine it as it could be. By provoking thought and challenging norms, they inspire change and push us to envision a better future. Creating fine art or writing about it is an unapologetic process that often breaks the general norms as a way to unravel a new truth or convey the truth that the artist is expressing. âIn some cases, it is clear that an expression of emotion in art is just like an expression of emotion in lifeâ (Robinson 2). My sculptures are a reflection of the above statements, translating my lived experiences through material and form. A recent example is my first M.F.A project, Oja Player (2023), which is a metal figure sculpture playing a Nigerian flute, a sculpture that directly embodies this approach by exploring themes of migration from Nigeria to the Okanagan. The figure aims to represent my culture in contrast to my movement to this new land (the Okanagan) through the use of a locally sourced car door as the base of my figure sculpture. 15 Figure 1. Oja Player (2023). Beyond using the Oja Player as a means to introduce myself in this environment, the work became an exploration into the world of materials and a new way of thinking about and viewing sculpture for myself. I experimented with incorporating different waste metals from electronic and mechanical components, transforming the sculpture into an exploration of 16 the objects' meanings or as a new way to interpret these objects. It was my first time incorporating a salvaged car door into my figure sculpture. This will later spike my interest in the use of car doors in my M.F.A thesis exhibition. Personally, I believe that artists like Yinka Shonibare convey emotions that resonate with culture, race, and identity. Through his art, he expresses a level of ârebellion.â Rebellion, in this context, refers to using his works as a form of protest against various injustices ongoing in the world. One of the ways he has achieved this is by using Dutch Wax-Print Fabric to change the narrative or reconstruct the imposed narrative of colonialism. His work is unapologetic about the synergistic force introduced by colonial histories. One of his works that influenced me is titled "Nelson Ship in a Bottle," which depicts a sailing ship enclosed in a sea bottle. When asked to talk about this work in a video interview on Nigerian Identity and Artâs Limitation conducted by the âDesign and Artist Copyright Societyâ (DACS), he said in his own words that the piece is âcritical of historyâ (5:00 â 5:04). Thinking about the ship as a sculpture that invites the public to know the colonial history of the place where it was installed and not just to look at the work through the lens of aesthetics alone. 17 Figure 2. Yinka Shonibare, Nelsonâs Ship in the Bottle (2010), National Maritime Museum, Greenwich, London. Dr. Bruce Onobrakpeya is another artist whose work resonates with me. His practice focuses more on preserving African culture; Dr. Onobrakpeyaâs work is often seen as part of a broader movement in African and Nigerian art that seeks to preserve cultural memory in the face of modernization and colonial history. He incorporates various motifs from diverse heritage backgrounds. In several of his works, Dr. Onobrakpeya uses Catholic iconography alongside symbols and themes from African traditional religions. Although this can be controversial, as some people perceive these works in a certain way, it fosters an unapologetic approach to thinking through art. He often depicts various Christian characters as Nigerian figures, reimagining them within a distinctly African context. In some of these works, he replaces traditional Western forms of representation with symbols that draw from African cosmology and aesthetics. 18 Figure 3. Bruce Onobrakpeya, Jesus is Nailed to the Cross (1969), Tate Modern, London. When I first encountered this artwork, I was struck by Dr. Onobrakpeya's representation of these historical Roman soldiers reimagined as Nigerian figures. His seamless blending of these distinct cultural and historical references reorients my artistic view. It wasnât just the visual aspect that impacted me, but seeing the expressive freedom that art could offer me set me on the path I am expressing today about my Igbo heritage. Another artist I would like to highlight is Sokari Douglas Camp, a sculptor from Nigeriaâs Niger Delta region. Upon researching her work, I find the sculptures to be strong, powerful, and share a close relation with the way I produce and think about my art. Her work reflects her identity within the space she inhabits, exploring her cultural self, from her Kalabiriness to her general Ijaw ethnic heritage, and Britishness, which is evident in most of her figures and the way they are portrayed. Her process is also fascinating. In a video interview with Victoria and Albert Museum, I am most drawn to how she describes her process of metal construction as an act of âSewingâ (Douglas Camp 1:33). This term struck me and made me 19 Figure 4. Sokari Douglas Camp, Green Leaf Barrel (2014), Housed by the Artist reimagine the way I produce my sculptures. The struggle of the Ijaw people, and as an Ijaw woman herself, is reflected in the way she represents figures in her work. 20 One interesting piece that resonate with my practice is the Green Leaf Barrel, which addresses the pollution problem faced by the Niger Delta people of Nigeria, whose land significantly contributes to the country's wealth through oil production. However, âthe Niger delta has become one of the most polluted places on earthâ (Obi). This intersection between how she uses sculpture to address this challenge resonates with how I use my own sculptures to speak to the struggles of the Igbo people. The mentioned artists, Yinka Shonibare, Dr. Bruce Onobrakpeya, and Sokari Douglas Camp, deeply inspire my artistic practice. Their thought-provoking themes, which creatively reimagine and reinterpret their cultural and historical spaces, resonate strongly with my desire to engage with the challenges that my culture faces and celebrate my heritage. These artists boldly explore and elevate the truths and realities of African culture, challenging stereotypes and presenting nuanced perspectives through their art. Shonibareâs use of vibrant textiles and his exploration of colonialism, identity, and globalization, as well as Douglas Campâs interest in showcasing her Kalabari and British heritage, including the challenges faced by her people, encourage me to speak towards my own cultural narratives. Similarly, Dr. Onobrakpeyaâs dedication to preserving and redefining African folklore and traditions motivates me to delve deeper into understanding my roots as an Igbo artist. Their commitment to authenticity and cultural representation fuels my passion for continuing to develop my artistic voice, ensuring that my work, like theirs, contributes meaningfully to the discourse on African identity and heritage. 21 Chapter 4: Sculpture, Materiality, and Rubbish Theory 4.1 Studio-based research Over the years, my studio practice has undergone significant evolution. However, it wasnât until the start of my M.F.A. program that my work began to take on a more precise understanding and direction. Through studio-based research and practice, I discovered new approaches to form and aesthetics. This shift also changed how I engaged with my studio space, which felt entirely different from the one I had left behind at home. This line of thinking began as I started collecting materials to work with. Everything felt unfamiliar; I was in a new environment, surrounded by objects I had to explore and understand. In my studio, I experimented constantly, embracing the trial-and-error process. Before starting my M.F.A., I had a fixed way of seeing things, especially the material that I work with, often viewing objects merely as raw materials for my sculptures. But I made a conscious decision to pause and free myself from anything that could undermine the creative growth I aimed to achieve in the program. I proceeded with collecting various discarded materials found in the Okanagan, bringing them into my studio to reflect on them in a way that would immerse myself and gain a better understanding of these objects and the environment in which I found them. 22 Figure 5. Studio Materials/Objects I find new ways to see the objects around me and interpret them in my work. I started thinking of my process in a more investigative manner, as a way to know; as Sullivan Graeme states, âThe imaginative and intellectual work untaken by the artist is a form of research.â This speaks to the process that artists take to produce their works, from critical thinking to the structural planning of the work, to sourcing various materials for the work, and down to the production of the work itself. This encompasses all that is research in its entirety. Hence, the birth of my investigation into the Rubbish Theory, which I will discuss later in this chapter. My artistic research process begins with me going out to the field or place where the materials that I work with live and returning with them in order to collaborate. Artistic research, therefore, aims to push artists to work passionately in the field they desire, helps the artist gather the knowledge required to produce the work, and returns the artist to the studio where production begins (Sjoholm 509). This process aligns closely with my approach to sculpture. I view all 23 research processes, whether material experimentation, historical research, or personal reflection, as seen in my thesis, as essential to the act of creation. For me, research and practice are inseparable; they form the foundation that gives my sculptures the meaning and intentionality they require. 4.2 Sculpture as a Means of My Expression Sculpture is the medium I have chosen to explore more deeply because of its unique ability to facilitate a direct connection with space. Unlike most two-dimensional art forms, sculpture does this better. Sculpture to me allows for more interaction between material, form, and space, and creates a dynamic relationship between them. The material presence of sculpture makes it engaging, almost meditative in the way I engage with it. Another reason I choose to express myself more in sculpture is its capacity to blur boundaries between different art forms. As Arun Velayutham and Raman K note, sculpture permits immersive experiences that engage the audience in ways other media may not (152). Sculptures can also incorporate elements of painting, performance, sound, or even digital media to create a more hybrid experience. This understanding of how vastly sculpture could be interpreted and used is what led me to adopt it as my primary medium of expression. I was looking for a way to represent myself through my sculpture in this new territory as a new person in an environment when I created a figure sculpture of an Oja player, representing my culture (Igbo), as seen in Fig. 1. This sculpture introduced me to a new way of working with discarded materials as I used the car door panel to symbolize and present the land where I find myself. The conceptualization of the car door representation emerged through ongoing discussions between my supervisor (Samuel Roy-Bois) and me in the studio. The approach intentionally engages with the agency of material and allows its inherent qualities, including 24 Figure 6. Oja Player (Mounted on a Car Door, 2023) where it was found and the text transcribed on it, which influence the entirety of the sculpture. As I experiment with diverse materials and found objects within the studio space, it continues to reshape and restructure my thoughts about objects, as I mentioned in 4.1. Sjoholm put it accurately that âThere is a limiting order imposed by the material collected that can potentially authorize and command the future development of artistic work. With its collected material and self-imposed order, there is an archival character to the experimental practices taking place in the contemporary art studioâ (507). The text on the car door, which reads, "GREEK HOUSE RESTAURANT LAKE COUNTRY BC," carries within it the door's voice, representing the land where I found it, speaking through the doorâs rough surface and history. Viewing the door as a symbol of the land 25 introduces different perspectives on the door, the first is embedded in the text written on the car door panel, the second is in the doorâs accumulated history through its movement from various sites to the dump yard. The contrast between the door and the figure sculpture offers multiple perspectives on the sculpture within the gallery, which stir up curiosity in people to want to know more about the door and ask questions like (Where was this found? Is this restaurant still open?) and many more curious questions during the âJourney Exhibitionsâ an M.F.A. show that was exhibited in the FINA gallery in the Faculty of Creative and Critical Studies Department (UBCO). Most of the works I produce in my studio are the result of progressive experimentation of trying new things and new materials in different spaces. A good example of this kind of work is my first work with shattered glass, which later progressed and inspired my work titled "Is This 1526?" I etched on the glass stories of some African cultures, particularly those regarding the slave trade. The result of my experiment of manually etching into the shattered glass introduced me to another way of working. 26 Figure 7. Is this 1526? (Shattered Glass Story, 2023) The artwork, Is this 1526? explores the enduring legacy of racism and slavery, questioning whether systemic oppression is truly a thing of the past. By etching the glass, I transformed it into a reflection of systemic challenges confronting people of color. Originally experimenting with smashed glass as seen in Fig. 6, I later shifted my focus to laser etching to preserve the legibility of the narrative, finding that fragmentation diminished its impact. The imagery in this work is an abstract distillation of that era, not a literal depiction, but an emotional and conceptual echo of those events. 1526 becomes significant in the history of transatlantic slavery for several other reasons, but particularly because it marks the era of large-scale African 27 Figure 8. Is this 1526? II, (2024). enslavement being recorded (Nunn 8). I have no interest in precise historical replication; my goal is to transmit the essential truth: that the struggle of the past still reverberates violently in our present. This work is a conduit, inviting the audience to confront how deeply that reality persists today. 4.3 Found Objects As my studio work and experiments progressed, I began closely examining the works of artists who engage with discarded materials, such as Dr. Bruce Onobrakpeya, Samuel Roy-Bois, and Yinka Shonibare, who use ready-made and fabricated objects to form new aesthetics. One close observation took place recently in 2024 while assisting with the installation of âThe Gardenâ by Samuel Roy-Bois. I find most of the installation ideas and the interaction with the objects in this piece strong and engaging. There is a continuous conversation that the object is having with the shared space. In an interview with Samuel by Avideye production, Samuel mentioned one compelling fact that I love about working with found objects, which is to change the trajectory of the object, to âTake the object off its trajectoryâ (1:37 â 1:41), integrating found 28 objects and giving them new meaning and purpose different from their original. Studying approaches such as this, about repurposing everyday objects, helps my understanding of the materiality that I have chosen to explore in my thesis work. Their work was not merely the visual or conceptual impact of their exhibited piece, but rather the objectsâ inherent capacity to hold meaning beyond the space in which they are confined. As Michael Thompsonâs Rubbish Theory suggests, objects can shift between categories of value from ârubbish to durableâ depending on context (Thompson 7). Marcel Duchampâs Fountain exemplifies this as a mass-produced, utilitarian object, which in this case is a urinal bowl that was transiently reclassified as art by being displayed within the gallery space, forcing the public to confront their own definition of the object itself. Found objects and discarded materials hold a unique influence over artistic perception, shaping the interpretation of space, form, and customs or traditions ascribed to art in itself. This is central to my ongoing engagement with such materials. The term ârubbishâ speaks its definition already, as an object stripped of function or worth. Yet, as Thompson argues, rubbish occupies a liminal state, neither fully valued nor entirely worthless (Thompson 44). My process of reuse does not follow conventional methods of recycling like repair, reassembly, or material reclamation (Corwin 17), but rather a recontextualization through ordering. The discarded material undergoes a continual transition from its original site to my truck, to the studio, and finally to the exhibition space. Each stage is a phase of development, though not necessarily one that restores the objectâs prior utility or economic value (Edensor 319). Tim Edensor mentioned this also in âWaste and Materialityâ that waste materials accumulate new meanings through their journeys, becoming sites of memory and potential (Edensor 321). In my work, the objectâs 29 Figure 9. The Mirror (Found object, 2024) ârubbishâ status is not erased but continues to be renegotiated, which allows it to function in every transient state. This phenomenon is evident in my experimental piece titled âThe Mirror.â The meaning and purpose of the object are continuously negotiated in the gallery space. This negotiation can take place between the viewer and the object itself and could be shaped into other meanings through the viewer's lens. However, this conversation does not intend to erase the original purpose for which the object is known, but rather it challenges and confronts that perspective. 4.4 Door Panels As I considered materials for my thesis exhibition, I reflected on my studio experiments and how they have shaped my artistic practice. My goal is to create work that speaks to the marginalization of the Igbo people. Among the various objects I explored in my studio, I recalled my first M.F.A work and the material that resonates more with me, which is the car door panel, this material emerged as a primary medium for my work in the thesis show due to its layered 30 historical and contemporary significance. These panels serve as a bridge between past trauma events and present struggles, embodying the Igbo experience of displacement, survival, and systemic alienation. During the war, cars became a means of escape as Igbo civilians fled advancing Nigerian forces, moving from state to state to avoid the onslaught (Madiebo 112). During my research trip in Nigeria, I spoke to several Igbo chiefs. One of them spoke about the overcrowded trains, lorries, and buses due to the attempt to flee the warzone. The car door panels, in this context, symbolize migration under duress, a forced journey away from destruction. Yet, their meaning extends beyond wartime trauma. Today, they also reflect the ongoing economic displacement of Igbos, who continue to migrate westward in search of opportunities due to deliberate underdevelopment in the southeastern region (Nsoedo 430). The Nigerian governmentâs failure to rebuild Igbo infrastructure after the war, despite promises from General Yakubu Gowon, has perpetuated a cycle of neglect (Ekwe-Ekwe 57). The car panels, as discarded objects, continue to resonate with themes of erasure and resilience. In Rubbish Theory, Michael Thompson describes the continuous transition of objects (9). Similarly, these car fragments, once functional, then abandoned, are recontextualized in my work to âbear witness to history.â Their rust, dents, and wear become a visual language of endurance, much like the Igbo peopleâs persistence despite systemic oppression. Interestingly, contemporary African artists such as Dotun Poopola, Steve Ekpenisi often use found objects to confront colonial and postcolonial traumas (Okeke-Agulu 203). In my practice, the car door panels are not just relics; they are active storytellers, symbols that address to redress the marginalization of the Igbo people. 31 4.4.1 Figure sculpture Having established the car door panel as the central element of my thesis exhibition, I further expanded my work by introducing a new figurative sculpture, one that is distinct from my previous explorations of the human form. This figure represents a significant artistic evolution, reflecting the growth Iâve made throughout my M.F.A. Through sustained experimentation and research, Iâve discovered new ways to approach figure sculptures. The inclusion of this figure serves a crucial role in the exhibition as it introduces personhood into the narrative. While the door panels speak to broader themes of displacement and cultural memory, the figurative element grounds these ideas in human experience. The sculpture does not merely represent an anonymous form but carries a distinct presence of the self. 4.4.2 Fabrics Juxtaposition As I progressed in working with car door panels and my figure sculptures, I incorporated certain fabrics into my pieces. The additional layer visually articulates the cultural roots of the Igbo identity I am exploring, both its origins and its contemporary manifestations. The decision to incorporate fabric into my work emerged as a result of various experiments and research in my studio, almost like uncovering a new perspective in my work. As I experimented in the studio, putting different materials together, the fabric emerged not just as an addition, but as a new voice. It carried the colors, textures, and stories of my home culture with it. I chose Ankara and other locally produced Nigerian textiles, particularly those rooted in the Igbo tradition of the southeast. These fabric designs are more than just patterns; they carry motifs seen throughout 9th-century Igbo bronze vessels and sculptures. Some of these motifs are 32 present in my door panel, and I believe that the fabric complements it. Using them was my way of reaching back to my Igbo culture and heritage. This wasnât just about the new aesthetics it added, although adding them, I believe, added another layer of aesthetics. However, importantly, it was about the presence of the culture that these fabrics express, serving as an affirmation that this is where Iâm from and that it belongs here in these sculptures. The Nigerian fabric did more than invite my culture; it was also used to convey the theme of my work, namely, marginalization. In my figurative sculptures, the way I decided to wrap and conceal the upper torso became a quiet protest against marginalization and the government and societal structures that allowed this form of discrimination to exist. It came out as a way to protest without words with my sculpture. The textures spoke of resilience, held stories of struggle and alienation. It wasnât just material; it was my memory, resistance, and identity stitched together. This combination of materials, metal panels, and fabric creates a dialogue between different facets of the Igbo experience: the resilience symbolized by the repurposed car parts and the cultural heritage embodied in woven and printed cloth. I grounded the work in a specific cultural context by attempting to replicate patterns from traditional Igbo fabric. This was achieved by cutting and reassembling the Ankara fabric pieces into various shapes that imitate those found on the Igbo-Ukwu bronzes, while the sculptural forms speak to broader themes of displacement and adaptation. 4.4.3 Connecting Panels The exhibition features different series of door panel work. Each door panel represents a different shift in my perspective and the direction I intend to take the public to. The first set of 33 car door panels I worked on served as a learning process for me, an attempt to better understand the culture for which I face marginalization. Using a plasma cutter, I drew various elements ascribed to the Igbo people since the early 9th century onto the panelsâ surfaces, elements that can be found in Igbo-Ukwu vessels, which depict motifs of âglobular body, everted rims, grooves, incisions, net-impressed design elements, and roulette motifs.â (Ngonadi 25) This process revealed something profound; although I am Igbo, I realized how little I actually knew about my own culture, despite facing systemic marginalization because of it. As I plasma-cut into the car door panels, it became clear that I needed to deepen my knowledge of this culture. This act felt like rewriting my personal narrative and sharing my own experience. I studied works by Igbo artists from the 9th through to the 11th century by studying the art pieces from Igbo-Ukwu, created by a culture whose names remain unknown but whose pottery, masks, and other remarkable art forms continue to educate. I began seeing the car door panel through the eyes of these Igbo artists and attempted to reinterpret the imagery I saw through a contemporary medium. 34 Figure 10. Bronze from 1959 and 1964 archaeological excavations in Igbo-Ukwu, Anambra State. Figure 11. Igbo-Ukwu Bronzes II (Nigerian National Museum, Lagos) 35 Figure 12. Nnabata II, Free-Hand Plasma-Cut on Salvaged Car Door, 2025. The first series of door panels is titled Nnabata, which in Igbo means 'to welcome, to accept, to embrace,' expressing my commitment to learning more about Igbo culture, the way of life of the Igbo people, and how these objects were placed in various settings. Later in this chapter, I will discuss how the Igbo artists of the 9th century thought by examining their works. This learning process pushed me to accept my Igbo heritage, which was previously kept away or distant from me due to the societal pressure that made me want to conceal it and embrace another identity in the form of disguise, not to be associated. 36 Figure 13. Nnabata, Free-Hand Plasma-Cut on Salvaged Car Door, 2025. Each element drawn on the car door panel is like a new discovery to me. I went on to search and find new things and new meanings ascribed to Igbo forms. In this case, I used my art as a tool to sledgehammer into the heavy concrete of cultural alienation that was forced on me in an attempt to unravel more truth about myself and my identity. 37 Figure 14. Nnabata (detail) 38 Figure 15. Nnabata II, Salvaged Car Door, 2025. 4.5 Blank Canvases Some of these works are what I call âBlank Canvasâ pieces, intentionally left in their current state with a layer of roughness. This choice emphasizes the transformative process they have yet to undergo, mirroring the unfinished journey they represent. Metaphorically, this incompleteness reflects my own ongoing process of reconnecting with my Igbo heritage. Just as these works await further refinement, my understanding of my roots continues to evolve through study, practice, and engagement with the culture. These car door panels were exhibited alongside the plasma-cut panels to realize the Nnabata series fully. The âBlank Canvasâ works in this series incorporate additional elements 39 that serve both conceptual and expressive purposes. These additions reflect my thoughts and emotional responses to my current understanding of the subject, particularly in relation to my Igbo identity. One particularly significant intervention was my incorporation of pieces of locally produced fabric, which I used to âblindfoldâ the window openings of the door panels, signifying my long-time learning process of the Igbo culture. During the time of discovery, I have learned more about my Igbo heritage, including the land, tribal markings, and specific attire, as well as the reasons behind their use in various contexts. I was able to study and interpret for myself why motifs are drawn the way they are in Igbo-Ukwu art pieces and how the artists from the early ninth century evolved in their craft and way of thinking. For example, how some methods of assembling different bronze parts in a unique way create their own distinct patterns. The Igbo-Ukwu artists developed the lost-wax method (cire perdue), which they used to cast various small decorative parts that were inserted into the larger wax model prior to casting, creating patterns that would later form on the surface of their pieces (Apley 1). This approach to assemblage is something I experimented with in my work, Njirimara, which appears later in this chapter. Examining these pieces also gave me insight into the cultural and philosophical perspectives of the artists and why they chose to use some of the motifs they explored, such as this net pattern, which I attempted to portray in one of my door panels using salvage mats. 40 Figure 16. Nnabata, Salvaged Car Door, 2025. 41 Figure 17. Nnabata III, Salvaged car door with Ankara fabric, 2025. Another work featured in my M.F.A. show is titled Hụrụ, meaning âfoundâ in Igbo, which could also be translated to "discover oneself" or "see." I introduced this work into the 42 Figure 18. Hụrụ, Salvaged car door, mat, and Ankara fabric. 2025. show to convey the dual sense of discovering oneself and seeing anew, and to engage the audience with my rediscovered cultural heritage, offering a new perspective on Igbo identity formation. 43 4.6 Njirimara Figure Sculpture Returning to Njirimara, A central figure in these narratives of Marginalization. More than just a sculptural presence within the gallery space, Njirimara functions as a physical manifestation of my own body, my lived history, and my experience as an Igbo child navigating displacement, cultural erosion, and the weight of inherited silence. These car door panels, with their patterns depicting my Igbo journey, serve as my records, or archives, of the collective struggles, resistance, and reclamation of the Igbo people. The panels serve as a learning platform for me, as I have stated above in previous sections, and in that sense, they broadly speak to Igbo experiences. However, Njirimara is different. This figure is not just a sculpture to be viewed; rather, it is a subject, a vessel of personal and collective memory. It stands as a self-portrait of my marginalized self, yes, but also that of defiance, a silent witness to the tensions between belonging and alienation and between the self and the imposed narratives of cultural erasure. There is an intimacy in this work that the car door panels alone cannot convey. Introducing the figure with its posture, textures, and very presence in the gallery is an assertion of myself, the very reason I chose this topic in the first place. My Igbo self has often demanded its terms for recognition. Njirimara was an act of reclamation, not just of language, but of personhood. It is a refusal to be reduced to mere anecdote or ethnographic curiosity. Instead, it insists on its own subjectivity, its own emotional weight within this discourse of marginalization. In this way, the work becomes deeply autobiographical. The figure does not merely represent my marginalized self; it embodies it. There is sorrow here, but also resilience. There is an absence, yet a stubborn presence, inherent in the work itself. Perhaps âstubbornnessâ is too strong a word, 44 but I chose âstubbornâ because of the ongoing dialogue between my younger self, who lived these experiences, and my developed artistic self. As an artist, I am interested in how materiality can hold and interpret memories. This is why the figure is infused with other materials, such as the juxtaposition of fabrics present in its upper torso, which adds another layer of texture, and its rough surface, perhaps bearing the marks of its making. By placing Njirimara within the gallery, I force a confrontation: this body, my body, our bodies. I refer to Njirimara as my younger self, once rendered invisible but no longer willing to remain so, which contend to occupy space in a way that allows me to be seen and have my experiences shared. Ultimately, Njirimara is more than a sculpture. It serves as a witnessâa quiet, persistent assertion that the experiences of marginalization are not just footnotes, but living, breathing truths that demand acknowledgment. The figureâs upper body, draped in fabric, visually conveys the societal invisibility endured by marginalized people, who were excluded from fundamental rights, experienced systemic neglect, and were intentionally deprived of the resources needed to grow and thrive. 45 Figure 19. Njirimara, Found metal object and woven Nigerian fabric, 2025. 46 Chapter 5: Conclusion The resurgence of pro-Biafra agitation among Igbo youth in present-day Nigeria is a direct response to decades of perceived marginalization. This resulted in various movements, such as the Indigenous People of Biafra (IPOB) and the Movement for the Actualisation of the Sovereign State of Biafra (MASSOB), which are gaining significant traction within Nigerian communities by drawing from historical grievances rooted in the 1967-1970 Nigerian Civil War. I am firmly against this movement due to the inherent violence. The Nigerian government has labeled IPOB as a terrorist group that disturbs the peace and stability of the South-eastern region. However, the leading cause of the problem remains unaddressed and continues to ravage society daily. I firmly believe that without addressing the core issue of this problem (which is the systemic marginalization of the Igbo people), the agitation will continue to escalate. Despite post-war policy talks on âReconciliation, Reconstruction, and Rehabilitationâ made by General Yakubu Gowon, many Igbo believe that reintegration has been superficial, leaving them politically and economically disadvantaged (Ejiofor 45). The warâs legacy persists in contemporary Igbo consciousness, with the Igbo youth viewing the present struggle as an extension of past injustices. The zoning arrangement in Nigerian politics has often sidelined the Igbo, with no president of Igbo extraction since the return to democracy in 1999 (Uche 56). This exclusion has fueled much resentment, with many Igbo youths seeing secession as a viable solution. The current agitation is largely youth-driven, facilitated by social media and globalization. Organizations like IPOB, led by Nnamdi Kanu, employ digital activism to mobilize support, framing their struggle as a fight against neo-colonial oppression (Okafor 91). 47 Unlike the older generation, which may prioritize gradual political reforms, todayâs youth demand immediate self-determination, citing persistent discrimination (Madiebo 67). The Nigerian stateâs heavy-handed approach to these pro-Biafra protests has further radicalized the youth. Military operations, to mention one of them, like Operation Python Dance in 2017, resulted in civilian casualties. This action, to me, further concretizes the already existing perception among the Igbo people of state-sponsored repression. This repression mirrors pre-war tensions, where state violence against Igbo protesters in 1966 escalated into full-blown conflict (Ekwe-Ekwe 78). My M.F.A. journey has been both challenging and rewarding. The program has opened my eyes to more profound insights into studio-based research and helped me unlock new aspects of my work, as seen in this thesis. This thesis paper and the accompanying exhibition confront the enduring legacy of the Nigerian Civil War and the deliberate marginalization of the Igbo people. My childhood experiences as an Igbo child speak to this continuous societal practice, leading me to interrogate Nigeriaâs colonial origins, the civil warâs aftermath, and policies like the Twenty-Pound Policy directed toward the Igbo community. Through this work, I highlight how state-sanctioned discrimination fractures identity. My sculptures in this thesis serve as tactile archives of personal resilience, embodying the Igbo experience of displacement and struggles within Nigeria. My research hopes to foster open discussions in Nigerian society about this critical topic. The Nnabata and Hụrụ series, alongside the Njirimara figure sculpture, visualize my journey toward reclaiming and creating my cultural memory, as a process of embracing my 48 heritage. The resurgence of Biafran agitation among contemporary Igbo youth is no joke, but a strong signal of decades of unresolved grievances passed down from one generation to the next. Without addressing systemic inequities, cycles of conflict will persist. As an artist, I reject violent secession but demand accountability from the Nigerian government. My work is a call to acknowledge the historical oppression of the Igbos, repair the damage done to Igbo culture, and imagine a reconciled future. This project is not just an exhibition; it is an act of bearing witness, urging viewers to recognize the humanity in what society discards. The struggles of the Igbo, like the materials I elevate using the Rubbish Theory concept, are not mere rubbish. 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Thesis/Dissertation
eng
Visual Arts
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
Roy-Bois, Samuel
The marginalized : a dawn of reconciliation, Nigerian Civil War, and the political marginalization of the Igbo community
Text