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ith media such as stained glass, furniture and wallpapers and hoped that 'the regeneration of art could be brought about by a return to medieval conditions.' He promoted and legitimised the influence of folk art, and ornamentation, which had been condemned by the Enlightenment era and opened doorways for artists such as Van Gogh and Matisse to consider the freedom of expression that folk art allowed; and subverted the expectations of the academy.

This influence can also be seen in the work of later designers such as Kaffe Fassett who considers that, 'every good bit of decoration is like a piece of music. It has an emotional impact on some surface, decoration worth its salt should make any objecta€| dance with inner movement.' Like Morris, Fassett acknowledges the individuality of a piece of craftwork, and this can be seen in his needlepoint, quilt and knit work.

The influence of 'primitivism,' popular and folk sources has been extended and manipulated in ways, which continue modernist ideas of returning spiritualism to culture but also seem to have strong political messages associated with them. Whereas many artists like Gauguin and Picasso have considered the outside perspective of 'primitivism,' from their own cultures, others, such as Frida Kahlo have recognised the power of the 'primitive' and the spiritual nature of a culture, which is not industrialised, from within it.

Born in Mexico City, and with complex yet strong political tendencies, Kahlo's work was infused with forceful messages concerning both Mexico, and her life and place within it.

The Two Fridas, 1939 depicts a double self portrait of Kahlo, in which she considers herself as a mestiza, a Mexican of mixed racial ancestry, and considers both the ''duality' of her personality' and the cultural division between the Western 'civilised' world and the 'primitivism' of Mexico; she relates her European ancestors, dressed in a 'colonial-style wedding dress' on the left, and her Mexican roots, dressed in contemporary Mexican clothes on the right. Her heart, on the left is torn open, while on the right, it is whole, yet the symbolic connection of an artery which runs between each figure suggests the inescapability of her heritage, whilst the severing of the artery by the left figure might suggest the betrayal of the Western world, draining the life blood out of the Mexican Frida; thus relating the division between the industrialised Western world and her 'primitive' Mexican home.

In a similar way to Kahlo, The Chapman brothers explore themes of capitalism, commercialism and colonialism through their use of 'primitive' cultures and like Kahlo demonstrate these through divisive use of contemporary images and contentious style of presentation.

'Chapman Family Collection', 2002, is a collection, which, through replications of African sculptures, with painted faces of McDonalds cartoon characters, address the exploitation of African culture, the manipulation and colonising of 'primitive' cultures by capitalism and the extensive influence of commercialism. The collection uses, 'virtually unknown primitive trophies and initiation masks' and demonstrates the ethnographic diversity of their work and raises the idea that even now there is so much of 'primitive' culture that the Western world does not understand.

The Chapman brothers use 'primitive' sources to relate to its audience 'the