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This article presents a critical analysis of the African vernacular-rooted imagery represented in Yemi Ijisakin's stone sculptures produced between the years 2006 and 2016. The focus on this period is to study the kinds of imagery he represents when there is a global artistic shift to installation and conceptual art. In doing this, I argue that even though Ijisakin's stone sculptures are deemed vernacular art, they are not indigenous or historical African art, but a rethinking that references indigenous African cultural registers. The article also focuses on the ideas and meanings the interpretations of the works communicate to the audience. Thus, this article presents his artworks to a mainstream journal given that they have not received any critical analysis on the grounds that his works are regressive and outside the normative standards for referencing African/Nigerian/Yoruba contexts. But his works are important for demonstrating the interdependence of art and culture in Nigeria and producing knowledge on cultural practices. [ABSTRACT FROM AUTHOR]

The article focuses on a critical analysis of the works of Sinethemba Ngubane, a contemporary African artist who predominantly works with ceramics and sculptures in large installations. Topics include examines her installations portray the distorted and tortured bodies of black intersex children, and this paper analyzes the vernacular symbols of Black intersex children articulated in her works produced between 2007 and 2016 and the ideas they convey and the discussion focuses on Ngubane's unique artistic path in coming to terms with symbolisms she considers African, as well as her personal influences, frame of reference, knowledge base, ideological stances, and philosophy.