AMAMIHE Journal of Applied Philosophy

This study explores the historical and artistic evolution of linocut printmaking in Nigeria, focusing on Zaria, Kaduna State, from 1998 to 2022. The research examines the emergence and establishment of linocut as a prominent visual language in the Nigerian art scene, particularly within the context of the Zaria Art School. The study adopts a qualitative historical methodology, employing primary sources such as interviews with artists, original artworks, and archival materials, as well as secondary sources like published books and journal articles. This approach traces the influence of pedagogical philosophies like Natural Synthesis and the contributions of notable artists and educators who shaped the Zaria printmaking tradition. Findings reveal that linocut printmaking in Zaria served as a tool for artistic expression, socio-political commentary, cultural identity, and accessible education. From its early roots in the late 1990s to its expansion into experimental practices in the 2010s, linocut contributed significantly to the diversification and democratization of Nigerian visual art. The study affirms Zaria's historical role as a creative and pedagogical hub in modern Nigerian art, contributing to the growing discourse on African printmaking. By examining the trajectory of linocut printmaking in Zaria, this research provides valuable insights into the evolution of Nigerian art and its relevance to broader art historical narratives. The significance of this study lies in its comprehensive analysis of linocut printmaking's role in shaping Nigerian art, highlighting its potential for artistic innovation, social commentary, and cultural expression. Ultimately, this research enriches our understanding of Nigerian art's diverse and dynamic landscape.

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