ABSTRACT
The history of sculpture from time reveals the use of varied materials as well as its utility for a multitude of functions; amidst this too is the contentious issue of the varied spaces in which sculpture is placed. However there was a glaring trend since the prehistoric period of the close affinity of sculpture with architectural spaces which seemed to have placed a kind of limitation on the freedom of sculptors as well as the choice of space for sculpture. On the contemporary scene, while it is known that sculptors in Europe and America have been able to liberalise the choice of spaces exploring with a wider range of industrial methods and media, there continued to be a noticeable trend, within the Nigeria landscape, that sculptures continued to be entwined within architectural spaces. Worst still, terracotta as a material for sculpture has continued to be used only for works meant for the four walls of archy spaces, this is despite the use of more fragile materials, like glass for sculpture in the open landscape. The objective of this project was, therefore, to produce terracotta sculpture for the landscape in public spaces, to be touched, walked through or stayed in temporarily. Essentially relying on real models, diagrams and illustrations adapted to suit the intended functional purposes, the method used was largely based on empirical observation and studio experiment. While the making of large colossal piece of terracotta meant for public traffic proved an arduous task in building and firing, the experienced afforded a stimulating line of rendition and opened a new vista in the acceptance of the degradation that affects terracotta sculptures as they get eroded by both the inevitable natural and artificial agents of enthrophic dilapidation.