This thesis explored the phenomenon of Modernism in Twentieth Century Nigerian art and the cultural ramifications of the Found Object in European and African art. Adopting the analytical tools of postcolonial theory and Modernism, modern Nigerian art was subjected to stylistic, conceptual and contextual analysis. The avant-gardist context of the form was explored for two reasons; first in an attempt to distinguish the approaches of named artists and secondly, to address the Eurocentric exclusion of the ‘Other’ in Modernist discourse. The works of Nigerian modernists - Aina Onabolu, Ben Enwonwu and Uche Okeke whose practices flourished from 1900 - 1960, were interrogated and findings from detailed artists case studies proved that during the period of European Modernism, a parallel bifurcated Modernism (1900-1930 / 1930 -1960) occurred in Nigeria characterised by the interlacing of modern art with nationalist political advocacies to subvert colonialism, imperialism and European cultural imposition. This radical formulation of modern Nigerian art, constituted a unique parallel but distinct avant-gardism to Euro-American Modernism, thus proving that Modernism is a pluralistic phenomenon. To valorise the argument that Modernism had multiple avant-garde centres, this thesis analysed the variations in philosophies, ideologies and formalism of the works of Nigerian Modernists and contrasted them from Euro-American avant-gardes. The resultant cultural and contextual differences proved the plurality of Modernism not accounted for in Western art history. Furthermore, by adopting comparative analysis of the Found Object in European and African art, this thesis proved that, the appropriation of mundane objects in art differ from culture to culture, in context, philosophies and ramifications. This finding contributes to knowledge by addressing the ambiguity in Found Object art discourse and problematic attempts to subsume this genre into a mainstream framework. The uncovering/theorisation of this parallel bifurcated Nigerian Modernism, contributes to expanding understanding of Modernism as a pluralistic phenomenon thus, contributing to debates for the recognition of the different Modernisms which cultures outside Europe gave rise to. The recognition and situation of Nigerian avant-gardism and modernism and interpretation of the Found Object as being culturally specific will subsequently contribute to the reconstruction of modernist discourse and Nigerian/African art histories.

This thesis supports the Master of Fine Arts exhibition, Adjusted Tools, at the Tipton Gallery, East Tennessee State University, Johnson City, Tennessee, from August 3rd thru August 29th, 2012. The exhibition is comprised of eight sculptures, which are presented on pedestals and wall mounted. The artist references her own investigation of social patterns associated with preconceived roles of gender and how those patterns relate to housework. The artist experiments with an array of different materials including wood, stone, steel, and bronze that are fashioned into forms such as irons, ironing boards, and clothes pins. Topics addressed include influences, techniques, and methods directly pertaining to the artist's design and construction of sculpture. Included are images of work procedures as well as documentation of the exhibition.

This thesis investigates my lack of childhood memories and documents how my artwork stands in as a substitute for that lost memory. The first part of the thesis analyzes my early life and influences; the second part analyzes my art making and process. The narrative style of writing is intentionally autobiographical to mimic the narrative style and structure of the thesis installation. My upbringing, interests, creative process, access to materials, and inspiration are fully explored. The impact my early life has on my current work is evident. Real memory is combined with created memory in the thesis multi-media installation. I wish to transport the viewer into the dreamlike space I have constructed with found objects and multi-media materials by offering an immersive experience into my world.

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Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates adults who play. Through my investigation, I discovered that play for adults is not distraction or a waste of time as is generally accepted. It is a basic need and necessary for survival. Although there are different forms of play, such as sport matches, hobbies and gambling, I specifically focus on play where objects can be created. This type of play is inherently more creative and stimulates lateral thinking. In play there is a freedom and safe environment which is not necessarily tied to reality. At the same time it is a self-reflective discovery process which stimulates brain activity. In my practice I use plastic bags as an accessible and malleable material to design and make contemporary jewellery. It is a way to act as an active agent in the world, rather than a passive consumer. The discussion of my art pieces forms the primary research of the thesis and is supported by theoretical research. In the process of making a deeper understanding and knowledge is extracted, which can be established through ritual play. New connections are formed in the brain and contrasting ideas can be linked which would otherwise not have happened. Play has value because it does not only stay in ‘play state’. It can spill over to the confrontation, questioning and uniting of the sociological, economical, cultural and political contrasts in my immediate South African environment. Consequently play contributes to our ability to adapt, process everyday contradictions (such as social inequality) and find creative solutions. Furthermore, it possesses the potential to contribute to our social wellbeing, happiness, trust, the will to share and to live empathetically. / AFRIKAANSE OPSOMMING: Hierdie tesis handel oor volwassenes wat speel. Deur my ondersoek ontdek ek dat spel vir volwassenes nie afleiding of ʼn mors van tyd is soos algemeen aanvaar word nie. Dit is ʼn behoefte en noodsaaklik vir oorlewing. Alhoewel daar verskillende vorme van spel is, soos byvoorbeeld sportkragmetings, stokperdjies, dobbelary, fokus ek spesifiek op spel waar objekte gemaak word. Dié tipe spel is inherent kreatief en stimuleer laterale denke. In spel is daar is ʼn vryheid en veilige ruimte wat nie met die werklikheid verenig hoef te word nie, maar terselfdertyd is dit ʼn self-refleksiewe ontdekkingsproses wat breinaktiwiteite verhoog. In my praktyk maak ek gebruik van plastieksakke as toeganklike en vervormbare materiaal om kontemporêre juweliersware te ontwerp en te maak. Dit is ’n manier om as ʼn aktiewe agent in die wêreld op te tree, eerder as ’n passiewe verbruiker. Die bespreking van my kunswerke vorm die primêre navorsing van die tesis en word ondersteun deur teoretiese navorsing. In die maakproses word daar ʼn dieper begrip en kennis ontgin wat vasgelê kan word deur rituele spel. Nuwe konneksies word in die brein gevorm en kontrasterende idees kan verbind word wat nie andersins sou plaasvind nie. Spel is waardevol omdat dit nie net in die ‘spel toestand’ bly nie. Dit kan oorspoel na die konfrontasie, bevraagtekening en vereniging van sosiologiese, ekonomiese, kulturele en politiese kontraste in my onmiddellike Suid-Afrikaanse omgewing. Gevolglik dra spel by tot ons vermoë om aan te pas, alledaagse teenstrydighede (soos sosiale ongelykheid) te verwerk en kreatiewe oplossings te vind. Dit besit verder die potensiaal om by te dra tot ons sosiale welstand, gelukkigheid, vertroue, die wil om te deel en empaties te lewe.

This master's report addresses the conceptual and material investigations that were explored within my artistic research made at the University of Texas at Austin between 2011 and 2014. These works are a confluence of adornment, sculpture and installation art. These pieces incorporate ancient and contemporary metalworking techniques with raw, organic material. The notion of elegant ornamentation is expanded beyond the body into the adornment of architecture. The potential for transformation and reinvention within found elements is explored within this work. The natural resources I work with have gone through a cycle, which is interrupted when the objects are removed from the earth. I see my process in relationship to alchemical concepts of transmutation. Through manipulation, common matter evolves into precious material. The refined, meticulous craftsmanship conveys a sense of reverence and honor towards the common material. This intervention with the material is an act of preservation and veneration. This work explores my sense of intrigue about the extraordinary potential of mundane materials, and investigates conventional notions of material value. / text

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This thesis paper explores some of the cultural phenomena that influence my conceptual framework and describes the logic behind the formal decision-making that defines my work. Beginning with a description of the nature of the materials and environments I appropriate, this thesis aims to deconstruct the layered system of binaries that build the logic behind my work. The concerns in my work circulate around domestic consumption and the objects detritus, a term coined in the paper, that are produced as a result. However, rather than allow the objects detritus to remain cast-aways of a culture of excess, my work reincorporates these objects as materials in conglomerate sculptures. This thesis depicts the complex of ideas that help delegate how these conglomerate works come into being.

The Second-Hand Society tells the stories of people in Portland, Oregon who redefine waste by making use of objects others discard. The author spends time in repair shops watching craftsmen hammer and polish broken typewriters, vacuum cleaners and shoes back to life. She follows book scouts, clothes pickers and liquidators as they gather merchandise to resell and spends hours at nonprofits that collect and redistribute unwanted electronics and building supplies. She watches junk artists and fashion designers assemble found objects into display pieces, accompanies Dumpster divers and "freegans" along their regular collection routes and visits the homeless encampment by the airport to see how an entire community of people survives on nothing but reclaimed materials. The members of the second-hand society challenge the traditional conception of things as "broken" or "unwanted" and assert that forward movement and new-new-new is not always optimal. By examining the motivations and practices of the people who make use of our discards and looking at the contradictions they run up against, this thesis develops a more complete understanding of the reality that's possible if we think differently about our waste.

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.