Dress as the Agency of Power: Ozioma Onuzulike’s Ceramic Art

Abstract

This study examines the ceramic works of a Nigerian artist, Ozioma Onuzulike, which vividly illustrate dress as an agency of power. His oeuvre features among other things the agbada, an extra-large clothing style prevalent in contemporary Nigeria, especially in elitist socio-political and cultural contexts. Over 25 years of Onuzulike’s ceramic art practice have consistently showcased modernist works that challenged conventional ceramic art and socio-political norms. His innovative use of clay and palm kernels to depict power dynamics in Nigeria has attracted some scholarly attention. This study employs compositional interpretation and contextual analysis to explore the visual, sociocultural, and political impact of Onuzulike’s hybrid ceramic art that depicts agbada. An iconological approach reveals the formal elements, historical, political, and social nuances embedded in the works. The concept of dress of power is used to unravel the multifaceted political significance of Onuzulike’s representations. Unpacking the visual vocabulary and metaphor of power in the works provides insights into the agbada as a status symbol in modern Nigeria. This artistic representation typifies a trend in contemporary African and diasporic art, where textile materials, forms, and ideas are central.