The Use of Local Materials in Sculpture Production at the University of Nigeria, Nsukka

The exploitation of indigenous materials in contemporary sculpture has gained increasing attention among studio arts practitioners and art educators in Nigeria. This study examines how undergraduate sculpture students and studio artists at the University of Nigeria, Nsukka, incorporate locally sourced materials such as clay, bamboo, raffia, laterite, and recycled metals into their creative works. The research adopts a descriptive survey design, drawing on primary data collected through structured questionnaires and studio observation from 120 students and 15 studio instructors in the Department of Fine and Applied Arts. The study evaluates the motivations for material choice, the aesthetic and conceptual outcomes achieved, and the institutional support available for local material experimentation. Theoretical grounding is provided by the philosophy of cultural authenticity in visual art production and the sustainability discourse in contemporary studio practice. Findings from recent literature suggest that Nigerian art departments continue to struggle with the dominance of imported art supplies, despite the rich material ecology available in each geopolitical zone. The South East context of Nsukka is particularly relevant given its historical association with the Uli art movement and the legacy of Uche Okeke's natural synthesis philosophy. The study anticipates contributing practical recommendations for curriculum reform in studio arts programmes and for institutional procurement policies that favour locally sourced materials. Findings will be useful to the National Commission for Colleges of Education, art department heads, and studio arts curriculum designers. Keywords: sculpture, local materials, Nsukka, studio arts, sustainability