Margaret Trowell School of Industrial and Fine Arts (MTSIFA)

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Browsing Margaret Trowell School of Industrial and Fine Arts (MTSIFA) by Issue Date

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    Tribal crafts of Uganda
    (Oxford University Press, 1953) Trowell, Margaret ; Waschmann, K.P.
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    Uganda's visual environment: development and change
    (Triangle Arts Trust, 2002) Kyeyune, George
    The article looks at the ways in which external factors were a necessary currency for the emergency of new local modernism in visual arts, and at the means by which local resources were used in development in a wider context of rapid social and culture change in Uganda
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    Uganda's visual environment: development and change
    (Triangle Arts Trust, 2002) Kyeyune, George
    The appropriation of external elements and their local domestication are important ingredients for the growth and survival of a distinct culture. Norbert Kaggwa, a student at the Margaret Trowell School of Fine Art, Makerere University, Kampala, 1960-1964, gives voice to a gratitude for social changes that led to rapid economic development, and at the same time to a dissatisfaction over repercussions of a rapidity so unprecedented that particular localities were taken by storm, allowing them no more than a moment for the adjustments necessary to their survival. This essay looks at the ways in which external factors were necessary currency for the emergence of new local modernism in the visual arts, and at the means by which local resources were used in this development in the wider context of rapid social and cultural change in Uganda
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    Art in Uganda in the 20th century
    (University of London, 2003) Kyeyune, George
    This study examines the major trends and transformations in Uganda’s modern art practice since its inception at Makerere in the 1930s by Margaret Trowell. In the early stages of its development, Trowell was driven by her belief in an African aesthetic. She introduced a curriculum that subordinated technique in favour of subject matter derived from local themes. However differences in opinion soon emerged between herself and her assistants. By the 1950s, Gregory Maloba argued that modernisation had been advantageous; hence it was unnecessary to cling to the mythologized past, while Sam Ntiro was a confirmed disciple of Trowell. The Slade supervised diploma, which came into being in 1953 confirmed Maloba’s point. When Cecil Todd took over the Art School in 1958, Makerere’s emphasis was already shifting towards a detailed consideration of technique and art history as an academic discipline, which Todd encouraged. However, this trend was criticised, as Uganda had just achieved independence in 1962; the intellectual climate resounded with debates about indigenisation. Against this ideological backdrop of cultural renewal and discovery, some artists returned to a version of Trowell’s philosophy of Africanising of art education. The promising political climate of the 1960s was soon replaced by repression and the civil war between 1971 and 1985. These conditions led to three important developments. Firstly, artists continued to create overtly political images, which expressed disgust for leaders. Secondly, new media like batik, better adapted to economies of scarcity, proliferated. Lastly, with shortage of imported materials and tools, artists investigated local materials under the influence of Francis Nnaggenda. Ironically, an art that utilised local themes and resources arose from the adversity of the 1970s, rather than the favourable climate of the 1960s. This can also be seen as the revival of the experimental art education pioneered by Elimo Njau also an early student of Trowell. The stability of the 1990s freed artists from investigating political issues and interest in the general themes of technique and design were revived. Fostering international links, and survival in a competitive art market, are pressing current concerns.
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    The renaissance of contemporary art at Makerere University Art School
    ( 2003-02) Kasule, Kizito Maria
    This study examined whether the 1960’s in relation to the 1950’s and 1970’s were a decade of the renaissance of contemporary art production at Makerere University Art School. The study had three specific objectives: (i.) To examine whether the period of 1960’s in relation to the 1950’s and 1970’s is seen by artists as the decade of the renaissance of contemporary art at Makerere University Art School. (ii.) To find out in which ways the 1960’s in relation to the 1950’s and 1970’s were a decade of the art of cultural consciousness among artists at Makerere Art School. (iii.) To find out how the different art teaching practices of both Margaret Trowell and Cecil Todd affected the growth of the art cultural consciousness at Makerere University Art School in 1960s. An exploratory survey design with both qualitative and quantitative procedures was used to gather data on 91 participants picked using purposive sampling. Qualitative data was analyzed using content analysis and quantitative data using percentages. The majority of the participants reported that the 1960’s in relation to the 1950’s and 1970’s were a decade of the renaissance of contemporary art at Makerere Art School. However, this renaissance had its origin in the 1950’s, reaching its maturity in the 1960’s. It was found out that despite the divergences in the art teaching practices of Cecil Todd and Margaret Trowell their teachings had a positive impact on the development of the art of cultural consciousness at Makerere Art School in the 1960s. The political independence movements of the 1960’s in Africa, the presence of different art students of different nationalities and cultural backgrounds, the presence of experienced and highly trained art teachers, and the availability of art materials stimulated the production of culturally conscious art at Makerere during the 1960’s. It was recommended that future scholars on art focus studies on the art productions of Makerere from the 1930’s to the 1940’s and from the 1980’s to the present. Further studies on the influence of politics, religion, and economics to the development of visual arts at Makerere should be done. Future researchers should look at other forms of art, which have not been included in this study. Future researchers should also focus their efforts towards finding out how contemporary art can be made more culturally conscious at Makerere in particular and Uganda in general in the 20th and 21st Centuries.
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    A unique complexity
    (Wits Art Galleries, 2004) Kakande, Angelo
    Kakande follows up the raptures, shifting boarders and radical transformations in Venda pottery. He examines how Venda potters respond to the competitive market by prducing un convetional forms rendered with creative animal and plant motifs.
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    The role of sculptural forms as a communication tool in lives and experiences of women with HIV/AIDS in Uganda
    (Newcastle University, 2007-07) Nabulime, Lilian Mary
    This study explores the use of sculpture, developed through research into the lives and experiences of Ugandan women living with HIV/AIDS, as a tool for raising awareness about the illness. It demonstrates how the research engendered two parallel outcomes: the development of new areas of sculptural practice and strategies of presentation and the practical application of these in communicating HIV/AIDS awareness to literate and illiterate people from diverse ethnic groups. The introductory discussion in Chapter 1 presents the research questions and the aims, significance, limitations and scope of the study. It establishes the background of sculptural practice in Uganda, characterises the work produced prior to the research and explains the reasons for undertaking the research in the United Kingdom. The impact of HIV/AIDS in Uganda is briefly indicated along with the factors which make women particularly susceptible to infection. Chapter 2 consists of a literature review covering existing discourse on issues of communication of HIV/AIDS awareness through contemporary art practice, mass media and practical initiatives in Uganda, other Africa countries and the West. It considers the range of visual materials and performative initiatives adopted in communicating HIV/AIDS awareness specifically in Uganda. A wider consideration of contemporary art indicates key aspects and artists informing the adoption of readymades, multi-part installations, multiples, actions and other new approaches in developing the sculptural work. Chapter 3 describes the initial development of sculptures generated from a personal experience of caring for people living with HIV/AIDS and analyses data gathered from a Pilot project in the UK. Further data from an HIV-Positive Women’s group and the thirteen HIV/AIDS organisations in Uganda was then analysed and more sculptures generated, from which one type was selected and taken back to Uganda for testing as described in Chapter 4. The results of field-testing in Uganda, presented in Chapter 4, reveal that sculpture could be an important medium through which to articulate issues concerning HIV/AIDS in a predominantly patriarchal, multi-ethnic society with high levels of illiteracy, especially among women. The use of sculptural works in this context is innovatory as hitherto sculpture has been disregarded as bulky, expensive and not easily reproduced. This research indicates that such drawbacks can be overcome, and that the particular visual and tactile properties of sculpture can bridge many divides. The thesis documents the issues explored during the development of the sculptures, and the Ugandan response to their use in facilitating the complex and culturally sensitive work of raising HIV/AIDS awareness as a potential contribution to prevention.
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    Exploring wild animals as a subject using the relief printmaking technique.
    (Makerere University, 2008) Wamala, Namulindwa Juliet
    The research was intended to demonstrate the potential of wild animals as a subject for relief printing by producing a variety of both utilitarian and aesthetic relief prints .The study objectives were to: Demonstrate the potential of wild animals as a source of inspiration for quality and diverse subject matter in relief printing; Expose the diverse possibilities some animals can offer to relief print makers in generation of original ideas for other printing techniques; and Document some of the endangered animal species for the posterity. The study was cross- sectional and practical in nature, as it undertook a cross-section of animals for inspiration. Both qualitative and quantitative means of data management were used. The researcher purposively sampled stake-holders in the printing field for the human population and animals in Kabalega National park and Uganda Wildlife Authority (UWA) for the non human population. From the findings and the respective discussions, it was concluded that wild animals were to a great extent successfully used as a subject for relief printmaking. The work undertaken was diverse in subject matter; the research exposed the possibility of using relief printmaking to produce original ideas for other printing techniques. Lastly, some of the endangered animal species were documented for the posterity. It was thus recommended that: First, that printmakers presented the animal subject matter to another level of creativity. That is, from a mere elementary interpretation of the animals to where the subject matter provides a variety of sources of inspiration in terms of elements and principles of art. Secondly, a comparative study of wild animals for any printmaking technique could form a subject matter of a rich and informative research. The reptiles for example are rich in design elements but were left out. Thirdly, further exploring in the area of producing original motifs for textile printing and aesthetic prints for decorative wall hangings by other researchers was possible. Fourthly, there were various printmaking techniques that could be used as a medium of expression in printmaking by future researchers. Fifthly, it was possible to execute a print using various body shapes and patterns of animals using a particular color at its full intensity in conjunction with its shades and tints. Lastly, it further made recommendations to future researchers by taking the form of collateral applications of wild animal images to a variety of surfaces.
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    Pioneer Makerere Masters
    (Mkuki na Nyota, 2008) Keyune, George
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    The formation of contemporary visual artists in Africa: Revisiting residency programmes.
    (Makerere University, 2008-09) Kirumira, Namubiru Rose
    Appreciation of African visual artists’ background in artistic theory, its application and criticism, artists’ quality of experience and their level of artistic knowledge and competencies are critical factors in measuring the artists’ ability for self positioning internationally. This includes the role, position and impact they have on local and international artistic practice. Professional development to enable versatility requires that artists benefit from multiple avenues of education and that formation spaces provide for integrated approaches to learning including constructivist methods. Objectives of the study included: investigating the nature, content and structure of Triangle artists’ workshops, examining the function of their environment in directing the artists’ creative experience, and investigating ways in which and to what extent individual artists’ responses to these residencies redefine the formation of visual artists and art in Africa. The question raised was whether the artists’ residency has developed qualities that qualify it as a supportive learning space which can contribute to the development of African visual artists’ formation. The study focused on the evolving African visual art scene: activities, needs and role of the artists within their communities to establish whether the residency space can contribute to and redefine the formation process of artists in Africa. The findings contribute to the understanding and fostering of the African visual artists’ competence to deal with the creative transitions in the visual arts. The study employed qualitative case study and phenomenological approaches to art and design. Two cases of international artists’ residential workshops in Africa that are part of the Triangle International Artists Network, Thupelo in South Africa and Insaka in Zambia were studied, focusing on the period between 1985-2006 where significant global activities and contributions including artists’ residencies featured in the progress of African visual artists. An examination of the three-week working residential workshops, which host 25-30 national, African and international visual artists, was aimed at discovering their ability to engage the artists in the residency. Thus the residency was evaluated as a formation space for contemporary African visual artists: and how it affects their versatility. Three viable requirements were established which formation programmes need be aware of: the characteristics, performance and circumstances of contemporary African visual artists. The residency space was a case upon which the study built an understanding of the formation process and development of a multi-perspective framework to inform practice. It emerged that artists in the residency appreciated the opportunity to ‘contribute and benefit’ within the varied space by producing artworks, holding internal group discussions, exploring their working environment and the community. The case studies demonstrated the importance of networks as a support mechanism in the formation process illustrating the importance of peer participation and reference, the interrogation of ideas, methods and values in a formation space. African visual artist need new knowledge and competencies to combat challenges such as collating artistic knowledge and skills and accessing exposure during practice. Three issues were established that enhance the development of artists while they are experiencing the residency space. The first was accessing developments in technology, then establishment of artistic values for appreciation and application, and participation, and lastly, in valuing and appreciating African (their own) art the artists promote themselves and their art. Four benefits accruing from experiencing the residency space are proposed to be critical in the formation of contemporary African visual artists: self-confidence, self-discovery, competitiveness and networking. The four qualities are crucial, for example, if the artists are going to challenge existing boundaries in terms of philosophies and methods. Secondly, those qualities depend on a combination of several variables to enable versatility. However, by assuring socio-cultural and education diversity, peer interaction and productivity a network may act as a conduit for versatility. This research acknowledges that it is not an either/or discourse but which combination within formation maximizes knowledge and skills acquisition.
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    Exploration and symbolic interpretation of alternative printing surfaces using the serigraphic printing technique.
    (Makerere University, 2008-10) Nabaggala, Justine
    The contemporary industrial world today provides a variety of printing surfaces, for example, glass, biscuit –fired clay slabs, stone slates, plastic, acrylic boards, and other synthetic materials which have not been effectively and seriously explored as alternative surfaces for printmaking. Yet many of them are in abundance and rich in terms of surface quality that can enhance the quality of fine art prints. As a trainer of teacher-trainees for secondary schools, and former trainee both at the Margaret Trowell School of Industrial and Fine Arts, Makerere University, and at the Department of Art and Industrial Design, Kyambogo University, it was my observation that whereas the course content in each of the two institutions of higher learning is open to the employment of various printing surfaces, the artworks produced in printmaking are predominantly being executed on conventional surfaces like paper, cloth and wood. This study practically explores how alternative surfaces like glass, clay slabs, stone slates, plastic, acrylic boards, and other synthetic materials can extend the printmaking experience, and the way of looking at prints in relation to societal needs and issues on identity. The themes explored in this study visually interrogate the lost moral values within society and attempt to address the unpleasant social and political life in Uganda, using the medium of serigraphy commonly referred to as screen-printmaking. An exploratory survey design was used for this study and the research data collection methods used included: library and archival survey, empirical observation, an d studio experiments. Major findings of the study highlight the potential of alternative surfaces, besides paper and cloth. With the current need for diversity in printmaking efforts to explore the potential of alternative surfaces is paramount.
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    A New energy and fervour in Amanda's paintings
    ( 2009-03-02) Kyeyune, George
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    Katarikawe coming back home
    ( 2009-03-02) Kyeyune, George
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    Contemporary Ugandan art and the ctrique on corruption? A look at Mutebi's strategies, symbolisms and symbols.
    ( 2009-05-28) Kakande, Angelo
    Some contemporary artists in Uganda have converted traditional objects and activities into a pointed vocabulary which they use to critique government and governance. Fred Kato Mutebi is active in this area. In this paper I have read and contextualised the politics in some of his works. I have traced the intricate link between his visual expression, public opinion and political activism. I have probed the ways in which an artist has transformed cultural symbol[ism]s into sites for political activism.
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    The integration of monumental sculpture in landscapes: a case study of selected Kampala and Entebbe landscapes
    ( 2009-09-25) Nsubuga, Eria Solomon
    This study examines the integration of monumental sculpture with landscapes from a historical point of view of the Western world as well as the Ugandan situation. The study’s objectives are: To find out why monumental sculpture is not effectively integrated with landscapes in Central Uganda. To practically design and produce monumental sculpture and integrate it with selected landscapes in central Uganda. The study reveals that an unclearly defined government policy /education system toward monumental sculpture, people’s apparently negative attitude toward sculpture and the lukewarm influence of patrons can be blamed for landscapes and monumental sculpture not being well integrated. The results of the study also indicate that there is no effective national policy concerning placement of monumental sculpture in landscapes. There is also lack of proper machinery for easy interaction and consultation between sculptors and the officials concerned in local governments. This inevitably exacerbates the problem of poor integration of monumental sculptures in the landscapes, especially in the usually regulated and planned development process in an urban setting. Should this status quo continue, sculptors might have to consider seriously devising means of persuading their patrons, various institutions and other stakeholders to, in the future, include monumental sculptures when submitting to the local authorities concerned their site and other building plans for approval. As a way of giving practical guidelines for integration of monumental sculpture in landscapes, 3 projects were carried out under this study. Owing to this research’s observed fact that most existing monumental sculptures had in the past been erected in public spaces in Central Kampala City and Central Entebbe Municipality, resulting in an uneven distribution of monumental sculptures in the respective landscapes, 2 of the projects were carried out in privately owned landscapes in Kisugu, a suburb of Kampala City, and Namulanda, along Kampala/Entebbe Road, in Wakiso District. The remaining project was undertaken at the Government-owned Makerere University. The study reveals a need for monumental sculpture to be introduced in the national schools curriculum and examination structures right from Primary School level in order to foster youths who would, in future, as responsible adults fully appreciate all aspects of monumental sculpture.
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    A studio based exploration of metaphors in the art of drawing in Uganda
    ( 2009-11) Ssenyondwa, Deusdedit
    This study explores the relationship between drawing and metaphors through studio practice in order to raise the artistic qualities in the art of drawing in Uganda. The study was initiated out of the researcher’s experience and the established need to use metaphors as a spring board to develop concepts in drawing based on individual artist’s analysis and discussion of socio-cultural issues amongst people in order to enhance communicative power in the art of drawing. Based on this background, the following investigations through qualitative research design and methods were carried out: examining the role of metaphors in the Arts, and the factors that affect the usage of metaphors in the Arts in Uganda. This gave an insight into the historical perspective of the meaning and use of metaphors in various disciplines of art thus highlighting the status-quo of Drawing in reference to the importance and usage of metaphors. Basing on collected data from written literature, interviewed persons and the researcher’s art education experience, the study analyzed scholarly views on the importance and usage of metaphors in the Arts. In view of symbolism, Luganda proverbs were selected as metaphoric content that were characterizing interdependence which is the theme of the study. The proverbs are literally explained in English-an official language -for purpose of catering for the national composition of multi-ethnic groups -to address a socio–cultural concern thus enriching the art of drawing in Uganda. Nevertheless, Luganda is an indigenous language made up of different dialects but etymologically with a common phonetic stem of the Baganda people belonging to the different ethnic groups such as: Basese, Bannabuddu, Baluuli, Bakooki, Bavuma to mention but a few whose homeland is Buganda. Norms and beliefs guiding the socio-cultural organization and functions in Buganda have been within the ancestry and principles based on kinship lineages that form Buganda. The lineage of relationship among the ethnic groups stretches right from an individual person through Enju, Oluggya, Omutuba, Essiga, Akasolya up to the huge group making the kingdom. Proverbs as a figurative way of using words echo the instructions of guidance based on norms and beliefs. Therefore this was hence regarded by the study as custodian and mirrors of cultural language images for Buganda people. Right from experimental to final drawings, the researcher basing on his personal interpretations derived and applied metaphors derived from selected Luganda proverbs. Through studio investigational practical works, an interpretation of both the compositions of line, form and tonal impressions from observed inspirations and the materials used in view of metaphors guided the execution of the drawings for this study. The final drawings were recorded through photography and advanced into photo copies. These photo copies of the drawings with analysis, conclusions and recommendations were compiled and expressed in the fourth and fifth chapters of the guide book of the study. The study concludes that metaphors can be used as a spring board for developing concepts trough studio practice; based on artist’s analysis of socio-cultural issues. The incorporation of metaphors into drawing to develop concepts that discuss socio-cultural issues among the people can raise the communicative levels amongst the artists, artwork and viewers for the sake of the art of drawing in Uganda. Recommendations were made for further investigations on drawings that focus on concepts to address socio-cultural issues reflected through oral languages which are the custodians of metaphors among the people in Uganda. Recommendations were also made for more research on the relationship between the materials, approach, formats and the metaphors used (the role of physical metaphoric content) in a drawing.
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    Meaning-making in visual culture: the case of integrating Ganda idigenous knowledge with contemporary art practice in Uganda
    ( 2010) Kabito, Richard
    ABSTRACT It is apparent that in Buganda, art produced in the studio is detached from its community. This realization undermines the basic tenets of the indigenous systems of knowledge generation, acquisition, and practical usability, which enabled Ganda society to enjoy the benefits accrued from its cultural constellations. Any culture comprises unique and specific sets of beliefs, values, and norms that distinguish it from other cultures, and within these a priori institutions, individuals and groups adroitly realize their own physiological, psychological, and social needs. One of the requirements that humans rely on to cater for their needs, is art, which is fundamental at all levels of human development. Roger Fry, (cited in, Howells, 2003) notes that people have two kinds of life: “the actual and the imaginative, and the work of art was ‘intimately connected’ with the second” (p. 35). The Baganda in order to satisfy this set of human requirements developed an art form, which was mainly instrumental in satisfying functional needs as well as spiritual concerns. The Baganda, out of dire need to fit into the social and psychological worlds, established strategic systems of bodily practice and oral culture that they used for pedagogy, communication and propagation of knowledge structures across generations. Having survived since the 14th century when Kato Kintu reportedly first came to Buganda, these strategies could not last long especially when the Ganda people adapted to new ideologies that missionaries, Arab and Indian traders, and explorers brought to Buganda.1 Roscoe (1921) writes: “…the beautiful bark-cloth dress of the women has also given place to tawdry blouses and skirts introduced by Indian traders.…” (pp. 100-101). Further, “Arab traders taught the locals to read Swahili in Arabic characters; “Before this, no Muganda knew any system of transmitting his thoughts to writing or of making any permanent records…” (Roscoe, pp. 100-101). Father Lourdel through Mackay persuaded the king to sanction the worship of pictures: “Hence arose the enthusiasm of the Baganda for medals, scapulars, and other images distributed by missionaries” (Lugira, 1970, p. 155-157).2 This enthusiasm arose as a result of the king’s as “master and center of everything in Buganda” was in favor of the pictures. By so doing, many of the local systems of perpetuating life within communities gradually slid into oblivion, giving way to alien tenets that accelerated local histories.3 Communities became increasingly detached from their indigenous ways of life and among those values that suffered the alien invasion was art. This study therefore, attempts to rediscover some of the effective tools that the Baganda used to maintain all faculties of their society functionally together. This study proposes Oral Culture as a tool necessary to redefine the links between art and its community. It further proposes Remix as a means of reemphasizing the oral. The overall purpose in this study is to describe the ways in which narrative and remix aesthetics could aid in the constitution of meaning in plastic arts, which would in turn continue indigenous knowledge. I will argue that since narrative is an effective communicative tool, then it would be vital in forging a relevant and understandable visual culture to its community. In support, I will also argue that since Ganda material culture is familiar and locally accessible, then it will be influential in constituting visualization of narrative representations specific and thus adapted to their own locales. Although I do not level any claim against significantly changing something, in my study, people’s perceptions find renewed hope: the frames that once made gates turned out fully pledged and autonomous artworks; the doors mutated into narratives; and cloth became drapery–no longer off cuts. Tradition is dismantled and waist beads worn as necklaces. Questions flare. Ganda artifact is used in new situations but still in its old casing: this attracts attention of the passersby, while stories mutate into tangible ‘things’–for those who never had a chance of ‘seeing’ them. Reflection becomes part of process: Kato Kintu reflects history while Kintu maintains legend; Kaleeba emphasizes tradition while Matyansi Butyampa and Sewandeku focus on reality. Many reflections from various viewpoints that I cannot conclusively recount in this short text, form part of the transformation experienced in artistic research most of the time missed by ‘scientific’ methods. In general, the artistic project breaks with tradition and plies its own route. I received comments of uniqueness and novelty as a result.4 4
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    Art as a social practice: transforming lives using sculpture in HIV/AIDS awareness and prevention in Uganda
    (SAGE Publications, 2010) Nabulime, Lilian ; McEwan, Cheryl
    This article explores the possibilities of art as social practice in the context of the fight against HIV/AIDS. It is inspired by notions of art having the capacity to move beyond the spaces of galleries into an expanded field, and thus beyond the visual and into the social. The article examines the potential for sculpture to play a transformative role in HIV/AIDS awareness and prevention, and in transforming the gender relations that shape the dynamics of the spread of the disease. These ideas are developed through discussion of research conducted in Uganda and in the UK, which sought to develop forms of sculptural practice for HIV/AIDS awareness and prevention in Uganda. The article explores the ways in which a series of soap sculptures are an effective tool in the fight against the disease, particularly in communities with high rates of illiteracy and in which discussion of sex and sexuality remains largely taboo. The article contends that countering taboo and facilitating dialogue between women and men, thus encouraging attitudinal and behavioural change, are perhaps the most significant impacts that this form of sculpture can make. This is because while awareness of the disease in Uganda is often high, having the capacity to discuss and act upon this awareness is often problematic, largely because of fear, stigma and taboo, and the unequal gender relations that determine the nature of men and women’s sexual lives. The article concludes that the transformative effects of the soap sculptures are revealed in the ways in which they challenge taboos, tackle fear and stigma, and facilitate dialogue between men and women.
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    Sculptural figures reflected on daily experiences: solo exhibition 24th June, 2011 till 21st August, 2011
    ( 2011-06) Nabulime, Lilian Mary
    The sculptures in the exhibition are mainly figurative wood carvings and fired ceramics clay representing the human form fashioned primarily in a stylized and abstracted approach. The sculptural figures represent daily experiences that personally affect the artist and the society at large. Her works present different faces of human beings, design and forms relating to children and adults in their daily life experiences like moods and dressing styles.