Farewell, Aunt Uju Nsofor (nee Ikpeze)

She was such a wonderful woman. Till the end Aunt Uju only had words of encouragement, hope and love. At times it seemed we were the ones going through pain, or in some sort of trouble. She was always wrapped in a glowing light, in a bubble of peace that even the illness couldn’t stifle. You left us all mourning and sad. God knows best. May you rest in peace in the place where we will never grow old! Here are the pictures- from the viewing (she looked angelic, like in sweet sleep), the service of songs, the Mass for the dead, the burial and reception thereafter. The accolades were mixed with many tears, the praises and all. It was the celebration of a life well lived, the departure of one who had only friends, who touched everyone specially. Aunt Uju will be forever missed by Uncle Leslie, Afam, Stephanie, Chuchu, Njideka and the rest of us who knew her.

Understanding Art, a video

Can you piece together the full image of my painting Joseph’s Dreams by taking screenshots of segments of the video? I look at my work like this- in bits, then as a whole and reverse the cycle. Till I am sure of the full thing.

A video clip of Joseph’s Dream, 48x36inches, acrylic on canvas, 04/2021

The Blinding Sun Danced.

I fell in love with the idea of a Rainbow nation. Till I visited the place, where the Ark had rested, and the Great Flood stanched. There on the breasts of mountains reaching to heaven, I saw fault lines in the rock formations about.

There seemed invisible lines everywhere- boundaries that interfered persistently with the traffic. Celebrations were drawn on color for some who attended. Here and there were glints of yellow sunshine of warmth and promise, urging the colored people on.

Maybe, just maybe, it was not a dream after all- I had visited the base of the arching rainbow. I loved all the colored people around. Their skin sang of histories, of journeys, and of many stops in the desert to rest by refreshing watering holes. So, orange may well be the new brown, and blue grey, yellow sun and so on. The people thronged by in all their radiance, strutting like peacocks flailing, flirting and fleeting by.

Form is not Enough

A new friend asked me the question- why did you move from the figurative to non-figurative works? Two days later, I sent him this reply- “Early on in life one is curious about the ‘real’- the sensually perceived world around. And one tries to capture this life. So, using photographs (particularly digital images) one steps in so close to counting the pores on people’s faces. It is not a pretty task. Soon one realises that this is not enough- there is a knowing part of connecting with humans. Humans are dynamic; we also grapple with the spiritual side. In researching further about Matter we have new information that modified the old theory. Let me apply it to painting. So the possibility of revealing the human by capturing a resemblance was simply not enough. There is more- there are interplays of color, layers of meaning, and gestures that add up to fully reveal the ‘person’. The figurative is like in the beginning, like the skeleton, a building block. To capture form is no longer enough, that is not an end in itself. It is a start. So I went beyond figuration, merging form and void, space and color.””

Un Homme du Peuple.

It started as a simple idea- a man of the people, dead centre in the middle of the canvas with people surrounding him, flailing in adulation, worship, and praise. But the blank canvas can be the most challenging thing. The idea must not be so obvious. Simplicity is a departure from where we step closer to study the details of things. The foundations have to be properly set, and then it will be a flow to get to finishing the work. 

It was first about a leader, elected by the people and his growth into a larger than life being. Then events happened. An African leader died, and this became the conversation in an African diaspora group I belong to. Someone asked whether the man was much beloved by his people or was he a pariah, stating that that was what really mattered beyond the views of outsiders. That got me thinking. About the history and birthing of nations. About the aspirations of a much loved leader, a man of the people whose driving goal was to protect the commonwealth of his nation, to manage the resources available for his people above all considerations, to protect the territorial integrity of his country’s borders- the issues of nationhood, patriotism, citizenship; and migration, immigration, and relationships with the neighboring countries and the rest of the world. All things factored in, one starts understanding the daunting task ahead of such a leader who must do a balancing act so as to be painted in good light in posterity. A tilt to one side of this complexity has led to genocides, and other forms of inhumanity. ‘Uneasy is the head that wears a crown’(Henry VI, Shakespeare) 

I think of all those leaders in Africa and the world over who had the dreams of their people at heart. No matter what you do, not everyone will love you. Look at the lives of religious leaders, people in places of authority, and simple everyday people like you and I. That brings me back to the problem of the blank canvas. It’s really not that simple, is it? As the work is finished, it finds a place in the history. In a sense, the work lives beyond me.

Un Homme du Peuple (from the series Citizens of Nowhere), 47X47inches, acrylic on canvas, 03/15/2021.

New Paintings

To the creative artist, the duty: It is not just enough to find a way to survive. We must help others on this same path of living. Join me. Better must come.

Absorbing the creative, the fashionable, the bubbly, the lifestyle… it is one thing to know how to recreate appearances, and accept that I only scratch the surface. The portrait speaks of a moment in life. The artist must continue beyond, to present other possibilities. Such suppositions could be daydreaming- prophetic or visionary. Time will reveal which. The time we occupy in space is all but work in progress, for you and me. .

This painting is dedicated to all Nigerian youth as they think of owning the future. Human life is premium. This collage painting was made during the #EndSars riots in October in Nigeria. Those were some awe-inspiring days in 2020. We all rejoiced that the youth still have the fire to rise up for something beyond themselves.

Seeing into Ibe, an essay

On a Lighter Note

A few years ago, Sandra Mbanefo-Obiago exhibited Ibe Ananaba and I at Temple Muse, Lagos. That event was the beginning of our friendship. The first thing you immediately realize is that Ibe Ananaba is an excellent draughtsman. Every other thing in his work is beside the fact. He pushes an idea, and that idea evolves into a series of two, sometimes three or more paintings. In this recent exhibition titled Towards the Light, Ibe presents a body of work created during this period of the pandemic- lockdowns, social distancing, and staying close to family. 

He has been painting between home and his art studio, a few blocks away. Oftentimes his children accompany him, as the schools have been closed. Since leaving the advertising industry to focus on his painting career, Ibe uses his work as a rallying point for strengthening family ties with his wife (who was in art school with him) and his two children (whose works were featured alongside Ibe’s in a joint exhibition in 2018 aptly titled Bonding). In one corner of the studio hang some of his children’s paintings, distinct for their non-figurative, enthusiastic use of color. 

The artist often paints suited men in hats, but one is yet to see him dress like that. Growing up in Aba, South East Nigeria, he is accustomed to the vibes of that sprawling city market that supplies fashion wares to neighboring West African cities. The tailors and craftsmen of Aba are highly skilled workmen whose works give the popular fashion brands from the West a run for their money. Ibe recalls the family albums of black and white photographs of his parents, uncles and aunts posing for the photographer in their trendy clothes, hats and all. The well-dressed people in his canvases became stronger metaphors when he found out about the flamboyant dressers of the Congo, the Sapeurs (the group of eccentrics called La Sape is the acronym for the Société des ambianceurs et des personnes élégantes) The expensive outfits of these ghetto-dwelling people may illustrate a failure in the setting of priorities in some societies. This paradoxical flaunting of wealth while living in squalor totally blows the mind of any rational thinking person. Ibe Ananaba’s works situates in this mix- colorful and tastefully dressed subjects become burdened with the task of delivering strong political statements. This grand show must go on even as things go south. The figures mime poses reminiscent of shots from a fashion week. While enthusing about poise, elegance and glamor, Ananaba’s works reflects on the dark sides of the human condition. The paintings are all the more spectacular because of the artist’s preferred tool- the palette knife. He masterfully welds this obtuse tool to create riveting portraits. The monochromatic gradations of color show that the focus in the work lies elsewhere- in the drawing of the subject. The subject matter revolves around themes that connect with his creative process rather than to any final visual presentation. Yet he makes politically charged statements with a consciousness of the daily struggles of living in Lagos, Nigeria and the ineptitude of governance.  

The idea of chiaroscuro is key to how he positions his subject. Then like an older Rembrandt he muddles up physical appearances without losing the essence. Ibe Ananaba understands that the light touching form is what delineates, what explains and gives meaning. Thus, he paints in darks and middle tones, finally resolving form in the lighter tones. To provoke deep thought, images of the human figure need not be broken as though one is looking through a prism. 

Like his mother, Ibe is at odds with the idea of having a specific signature. His creative energy felt caged by the needed slowing down, monotonous marking. For a long time, the artist used a quickly doodled smiling face as signature. This was easier to remember. Nowadays everyone is advised to wear a mask as a health safety precaution to curb the spread of the Coronavirus. The mask becomes symbolic as a necessary monotonous obliterator of smiles, a stifler of laughter, and on the other hand a compassionate preserver of life. 

Detail from the painting Amidst the Noise by Ibe Ananaba

In a series of acrylic paintings titled Amidst the Noise Ibe again sits the subject in the center of the canvas, drawn in using the palette knife with varying shades of color. The artist sends out a message of laughter and hope that must be included in our daily lives during these trying times of a ‘new norm’. Here he adds simplistic line drawings to contrast the central subject- hundreds of smiling faces in the flat background. Some of the faces resemble the stick figures that children draw when learning to represent humans. Upon close observation one finds that the randomly drawn faces vary stylistically from the quick one liner to more expressive caricatures. (Ibe points out that his two children doodled some of the faces. He wanted to keep them engaged) In public spaces these days a visibly smiling face is frowned upon as being ‘insensitive and endangering’. Seeking a way to explain the times to his children, he codes in shorthand human faces. Viewed from a distance, the recurring faces resemble textures of heavily applied color breaking the flat color plane, bordering the human figure drawn in with swift slashes of paint applied using the palette knife. Ibe is moved to recollect the myriad facial expressions of people.

For as long as he can remember Ibe Ananaba has been inspired by music. He used to sing in a choir, and as a student at IMT Enugu he enjoyed the mimed, rap concerts staged on weekends. In those days learning the lyrics of a song took arduous rewinding of the tape. This sort of repeated learning improves one’s grasp of the language. Understanding the lyrics of songs inspired Ibe’s admiration of the poetic genius of rap music. His all-time favorite artist became NAS the American rapper. Listening to music evokes the themes around which Ibe creates new work. Socially conscious, trendy, fashionable, politically conscious… these words describe rap music. You may also be talking about Ibe Ananaba’s paintings. 

A set of 4 paintings called The Promisor and the Praise Singers questions the inaction/actions of political leaders and their crowd of sycophantic followersThe series echoes the critical tone of Long Drawn Shadows, Ibe Ananaba’s well attended 2018 exhibition in Art Twenty-One, Lagos. His social awareness and activism are encouraged by his wife’s Girl Child Art Foundation where he volunteers as Chief Art Consultant. He conveys the dire living conditions of everyday people in Nigeria. The titles of his works ring with the familiarity of headlines from the daily newspapers. His subjects pose like runway models in an international fashion show themed on the economic and political malaise of the masses. 

Nigerians thrive on the sense of community, shared activities and bonding so the idea of social distancing is particularly troubling. Some 10 paintings titled All will be well, are a body of work contemplating individuals making sense of virtual relationships over the mobile phone and online. These periods of isolated living have drawn the artist to make visual documents of everything. The tale is the same from Ojuelegba, Trafalgar Square, Eiffel Tower to Times Square- once crowded landscapes, streets and popular centers of human activity worldwide are now deserted, silent spaces. in this new body of workthe artist now includes some landscape paintings. Since this pandemic, we are rethinking the idea and relevance of spaces. Venues for holding large crowd gatherings like stadiums and churches are being redesigned to fit the new rules that humanity must adjust to, till a cure for the virus is found. These times give all humanity ample opportunities for self-recollection and reflection. Venues like The Wheatbaker are opening to the public to showcase adjustments of their interior decoration in line with WHO and NCDC health and safety regulations for curbing the spread of the virus. 

Another painting titled Conversation with the Future is a portrait of the artist’s daughter. The artist says that this work reminds him that there is a future (in his child’s growth) of moving on. This sentiment runs as a subtheme to the exhibition Towards the Light. Another painting titled Where do we go from here? has figures of seated people. The artist has worked from a picture of some detained suspects. Sadly, stories abound of some of these youths outstaying the time they would have done for the crime while awaiting trial.

Another new trend in this body of work for the exhibition Towards the Light are some charming still-life that the artist would normally use as props for human figures. Now the objects stand alone as subject matter with the light streaming in from one side of the canvas. The drama of these well composed still-life leaves an eerie feeling in the viewer. Where have the people gone? That is the question on people’s lip as we step out of self-isolation and lockdowns into a new way of living. There is a withdrawal from each other even as we meet and greet. Is it caution, self-preservation or fear? People’s gazes seem a bit distant as they breathe in the air and walk into the sunlight. It leaves this taste for a longing of another, past life. We all would prefer to go towards the light. Something good awaits.

NB: All the artworks photographed for this article were made by the artist Ibe Ananaba for his ongoing exhibition Towards The Light at The Wheatbaker Hotel, Ikoyi, Lagos. The exhibition was curated by Sandra Mbanefo Obiago.

Unite for Parkerplace Abidjan.

Greetings to all you beautiful people and reggae lovers !
The ParkerPlace Abidjan needs you to help them survive through the Coronavirus crisis. Closed since March 18th 2020, we have no Financial support to continue paying our musicians and staff. We have initiated a solidarity chain to try to raise funds in order to assist our musicians and their families.
Twice a week, we create a live /direct show on our Facebook page- Parker Place Abidjan! Please visit , like and share. If you want to donate, this will help , 1 euro , 10 euros
It does not matter. If 1000 people give 1 euro each that makes 1000 euros and that will pay for food for one week!
Jah guide and thanks for your support !!

Just click on this link
To access the page for donating

http://www.leetchi.com/c/chaine-de-solidarite-parker-place

Call to Support Artists

The artists’ advocacy organisation Artists at Risk (AR) has launched an emergency fund to support artists who face threats to their freedom or lives and are unable to reach a country of safety during the coronavirus pandemic: Artists at Risk (AR) Covid-19 Emergency Fund for Persecuted Artists: https://www.gofundme.com/f/artistsatrisk

Support #ARCovid19EmergencyFund

Twitter: @artistsatrisk

Instagram: @artistsatrisk

The artists’ advocacy organisation Artists at Risk (AR) has launched an emergency fund to support artists who face threats to their freedom or lives and are unable to reach a country of safety during the coronavirus pandemic: Artists at Risk (AR) Covid-19 Emergency Fund for Persecuted Artists: https://www.gofundme.com/f/artistsatrisk

Support #ARCovid19EmergencyFund

Contact us on any of our social media handles- Twitter: @artistsatrisk, Instagram: @artistsatrisk, Facebook: artistsatrisk

We have already relocated some artists within their countries/regions to safer places, and this is part of AR’s normal, emergency practice. During the current crisis, some of these artists are hoping to stay safe behind locked doors. Others are facing eviction from their homes, as they cannot pay the rent due to the impossibility of earning a living during the pandemic. For reasons like these, the Covid-19 crisis doubles artists’ exposure to risk. 

It is these artists that Artists at Risk (AR) tries to help. 

We hope you can help us help them!

All the best,

Marita Muukkonen and Ivor Stodolsky

Co-Founding Directors and Curators

Artists at Risk (AR)

Link to www.artistsatrisk.org, Campaign: Gofundme AR COVID19 Emergency Fund

Lockdown New York

Here’s the story of my life during this pandemic written by Okey Uwaezuoke in today’s ThisDay Newspapers- https://okeysworld.wordpress.com/2020/04/26/in-new-york-and-smack-in-a-pandemic/

He asked some deep questions.

I enjoy talking. I enjoy the stimuli of intelligent conversation. And I hope to see underlying questions in retrospective. I talk some more when asked a question. I learn from talking. I learn from sharing. Let me share this fantastic interview with Omenka Online, the magazine for the Ben Enwonwu Foundation. Oliver Enwonwu, the son holds the grounds very well. He is also the President of the Society of Nigérian Artists.

Here is the link to my interview- https://www.omenkaonline.com/tony-nsofor-on-language-the-subconscious-and-the-mundane/

Blind to the Beauty

How can Oguta remain like this? We have this little paradise waiting to be cultivated. But we all run away from it for selfish gain. We turn our faces away as the waste of daily living is dumped into the lake. We fear to swim in the beautiful Blue lake because we have dredged deep into the heart of the earth. We fear for what lies deep within the troubled waters. The lake lies wasting in the dying sun while we are making plans to replace it. We return home with forex to build our shallow swimming pools in our backyard, and empty the dirty waters into the lake. Why won’t the lake be mad, and carry away the children of erring parents? Why won’t the forsaken lady seek her revenge? The water lily grows long and serpentine underneath, dancing in the slow waves, waiting. Nature will pay us back with what we give to it. Who will swim in the lake with me? The dredger in Umudei village. The litter at the shore. No one swims in the beautiful lake anymore. They travel on it to the neighbouring villages to trade. They stack bags of cassava pegged to the bottom of the lake for days, washing away all the cyanide and smell. That is why our akpu does not smell. That is also why Ihu Ohamiri stinks. But we are happy when we eat our cassava. You would think that you are eating pounded yam. The lake carries away all the stench.Every Christmas now, a church holds an end of year crusade in Mgbidi, a village on the road to Oguta. Their members wear this fluorescent yellow coloured posters that burn the eyes in the harmattan dryness.It is long since our people went mad. The ancestral gods have gathered dust at the corners. Worse, they are now firewood at mother’s kitchen. We found a new religion. We also found oil. Now nothing else matters but these two… not even other natural resources that our fathers lived on. No, oil is king. On Eke, the traders line up to buy produce from those who live across. Oguta people do not farm around their homes. Our farmlands lie on the other side of the lake. So Oguta looks more like an estate without greenery. The local governments in Nigeria have lost their autonomy. The state governors control the local governments. The people at the grassroots live with their waste, they live without social amenities like electricity and pipe-borne water. We live on borehole water that we must make to survive. We are our own government. We are no government. We know no government. We do things our own way. There is no way we can continue this way. We are blind to the beauty that is ours. We live like strangers in paradise. This is the new history we are writing for the children.

The Family House

Our home in the village sits at the crossroads where 3 roads meet. So it must be a magical place to live in. I remember waking up on some mornings to find a basket full of sacrifices on the road. My young friend Nonso is a thriving native doctor. I must ask him why this is important. The sacrifices seem to have reduced, since I put a strong searchlight in front of my house. I needed to light up the area, as some young vandals had come to steal the battery from the NDDC solar lamp post. Apart from playing soccer, people come to the field of Trinity High School to learn to drive. I have taught some friends on this field. The cattle sellers drive their cows to graze here also. From my vantage point on the second floor, I drew inspiration for some of the images in my series of paintings A Thousand Cattle, Two Hills. As night falls, people come there to smoke weed, etcetra… The vast space has allowed me to enjoy working on larger canvases. My latest canvas cannot even fit into the door to my studio, so I have to paint outdoors. I am free here. The spaces are for flying. The air is light. The lake is nearby. This is truly home.

A New Phase of Art in Nigeria

2018 is the year after all things Art in Lagos and yes; contemporary Art in Nigeria will never be the same. With the demise of two important stalwarts of the Arts, the rise and rise of El Anatsui, the appearance of ‘new’ artists with training in other things to challenge the status quo; with a new patronage of Art by Ambode’s government and a fading away of yellow buses, with Sotheby’s first African Art auction happening and markedly starting an international scramble for contemporary African art, with Lagos hosting a second edition of West Africa’s biggest art fair, with the opening of the first major Contemporary Arts Museum in Cape Town; and a significant body of non-figurative artworks being sold, of installation and performance art becoming an area of interest and artists building their art spaces and usurping the position of the hitherto non-existent middlemen in their practice – with all these and more happenings comes the realization that there is an emergence of a new Nigerian Art.

Art House Foundation has a residency program that is gaining in importance and creating international connections, though one is not so sure of the auctions. Don’t get me wrong- I remain one of the most uninformed about the importance (Jess speaking) of these auctions! Apart from a few open auction calls, one wonders where or how some of these auction houses get their pieces. A way to look at it is that some of the older collectors open their storerooms and put them up to evaluate the present worth of their works.

Once iconic images like the yellow buses of Lagos are now scarce. There are fewer requests for such scenes by expatriates who want to take ‘something Nigerian’ home. The yellow buses have gone the way of the ‘Fulani milkmaids, durbar scenes, and load bearing maidens by mud huts, with the orange sun drowning into a river with coconut trees lining the riverside! To put things in context as per the New Art of Nigeria, one must remember certain facts about the present- History as a subject is no longer taught in Nigerian secondary and primary schools. This means that we have returned to the days of telling tales by moonlight, and the passing on of our traditions and history by ‘word of mouth’ (though such opportunities for conversation are also very scarce with social media activity on everyone’s mind for getting noticed, relevant or entertained.IMG_9801w.jpg

The economics of survival in a society where everything has been turned on its head has changed the view of things here. The landscapes got more and more abstract till they became blurbs of color splattered in split seconds on the artist’s canvas. Of course some of us had been early at this form of presentation of where we are as a nation, having spent most of our adolescence learning from the prophecies of King Fela Kuti. It wasn’t the marijuana that made him iconic. Not even the government of the day could rob him of his street credibility, his non-conformist, critical view of people in power. Adolescents could relate to the conflicts with their coming of age realities and phantoms. So we could paint those abstract scenes then. And like a bad dream, no one was buying it then. The connoisseurs (the buying age of pre-Independence adolescents who became adults in the glory days of the oil boom) had eyes for all histories pre-colonialism, with a few tweaks that added corrugated roofs and the bustling metropolitan chaos of an African State capital. A few of us were born in the crossroads, somewhere between the glory days and growing in the years of Nigeria losing it all to thieving leaders; to the present times where history is being erased, memories are being expunged, and new narratives to support where we are as a Nation has sprung up. For some of my generation, Art became the tool to use to speak a codified language interpreting contemporary realities. We remain the leftover bodies who did not join their smarter mates on the sojourn to new lands. We are ignorant, dull of hearing, or numb with shock at the aftermath of the disaster of contemporary Nigeria. The other day, a former classmate referred to how he now understood why some of us had publicly renounced their citizenship!Tony Nsofor, Rhapsody in Blues II

But I speak of one set of people. The other set are new to me. They have not really absorbed our history. They know what they have been told by biased relatives who think that their farmlands end at the edge of other people’s homesteads. The younger artists in Nigeria have come into it without the necessary, slower gestures of indoctrinations happening. They take what they will, and run with it. The restlessness of youth allows for hits or misses. After all, there is still time to make amends. A new non-figurative art is quite popular these days. This is understandable, judging from the foregoing. Everywhere one looks, the faces in artworks seem contorted by mixed, exaggerated feelings- anxiety, angst and sorrow, while elegant bodies now give way robust feisty bodies whose ‘aesthetic appeal’ lies mainly in being lively. Formalism is discarded for sensationalism, the wow factor is ‘it’/’in’ for now! Everyone has joined in on the ride. Nigeria blares out a new non-representational ‘ism’, all in a flush to become noticed by the institution. Now that Africa is in the limelight. Well things may be celebrated. Art is the only truth to tell the people of the gory mess we are in.

No wonder the prices of contemporary artworks in Nigeria seem to have gone up by two digits. Two privately sponsored art museums, in Lagos and in Onitsha will soon open the door to curious society who did not see Art becoming the phenomenon that inspires change, that promotes culture and transforms the mundane into a magical place in our hearts. One cannot keep up with all the exhibitions opening every weekend in Lagos. There are so many new faces and names. Is it because one is more involved in his profession, or is there an upsurge of non-academically trained artists taking over the art space? Gratefully, art is now practiced as a true profession. Artists are more interested in the end-to-end marketing and management of their work. With the growing popularity of the acrylic paint, it is now rare to meet an artist jumping out of a bus with a wet canvas, trying to sell to Mister Akar (of Signature Beyond). The Revolving Art Incubator is a new space and Nimbus was the place to see avant-garde art. 2018 is the year that completes my circle. Three years after I moved out of Lagos to establish a studio in my village, I return to a new studio in Lekki. There are new collectors who really find a resonance with my work. It is the middle age of Art for me. One is reminded again every time there is a call for artists for art competitions- one is usually 10 years overage. Maybe we have paid our dues. Maybe we paid the price to be where we are today. We open our studio doors to the rest of the world now. They should come. Things have changed so much. This year, there will be Dak’Art, many more art exhibitions and involvement with other spaces abroad. The words are fewer these days. A new critical way of discussing art has emerged. It is light-hearted, maybe like this blog post. I said it before- things have changed. Art has become fashionable, contemporary in strong terms. The child is now encouraged to become an artist. Welcome to a new phase for art in Nigeria. It cost us so much to get here. We won’t let anyone mess it up.

Conversation in my head: Between Anthony and Richard

IMG_0084webThe words are distinct in my head. Sometimes the two characters change places- its like the flights, the rise and falls of an angel. There are two distinct personalities. Even I mix up their identities at times. You know how we mix up who is the good or bad twins when they are identical?! So, one is called Anthony; and the other is Richard. (As good catholics, my parents got me baptized as a child. I was named Anthony, after a saint. When I got older, receiving the sacrament of Confirmation, I took the name Richard, after another saint I identified with at the time) The conversation is between these ‘two’.

Richard: You really think you are doing work that could change the world?

Anthony: That is not the intent. I want to add to the raging voices screaming for a change. Mine is a little voice among the many.

Richard: Such modesty seems veiled with grandeur!

Anthony: I may be with the lowly, but I can stand to the exalted ones!

Richard: You start your work often like one thinking to blot out, to obliterate the white canvas?

Anthony: There is usually a first struggle. Painting is a fight that goes on till the very end. At the end, one may not even be able to make up his mind.

Richard: One sees familiar bits of the anatomy of your subject, scattered like in a scene of an accident.

Anthony: The accident has already happened in my mind- I merely recollect the evidence! The work is the statement of facts. In our times, the fact is distorted by new interpretations, situations and far away dreams of other lands.

Richard: Don’t you think your time of working could be put to better use?

Anthony: Maybe I could become a banker, or better still, farmer to eat and live? One has those thoughts drifting, interfering with the waving hand. There is the lure of fast money from the nearby art patron also. Selling out is a good idea. One can do better- sell oneself! I give a part of me into the work. The artworks are my children.

Richard: Hmmm, you begin to sound anti-society…

Anthony: On the contrary, I encourage an embrace of the abandoned in our society. Adoption is an excellent option. Traditional ways of growing society are quite valid, and supported. You see some of my themes are based on conjugal love and the family unit. Maybe those that try to broaden traditional definitions of being and society stir up a furor that quakes the foundations of our society?

Richard: One would think you were answering a different question…

Anthony: In trying to be precise, I preempt every question and give answers to one question in one hasty burst. It is the way we have become. There are complexities of interactions happening virtually, intruding into our physical reality.

Richard: You have other thoughts about the use of materials/media in your work.

Anthony: Oh that. I have had these questions about Material and Idea in Art, which is the more important? The physical material on which the artwork is created can be a very important thing for the young artist. I recall gushing at primed, ready to use canvas at an art materials shop as though it was a masterpiece! After buying it, I will stare at it for a while like one confronted by the notion of a dream that suddenly came true. The idea of the material would intimidate, freeze all intuition. The Idea is a different thing. Without the gift of inscribing the idea, the artist would become but a good craftsman. I don’t say that this is a bad thing- good craftsmanship. One should try to add it in one’s work. But importantly, brood over the idea, incubate it, wait for it. The idea usually comes before the material. Sometimes, I use what is on hand. The idea must be grasped and represented for posterity. It has to get out there. This thing about the importance of the material is rubbished when one realizes that even the must durable materials can be destroyed with poor care! In a roundabout way, the most fragile material can last longer if given proper care. As the artist, I stand with the idea first. Is the idea weakened because the material is not up to standard( quite a subjective idea that has no fixed boundaries)? The way Time acts on an artwork is another thing! Even that becomes included in factoring how one wants his work to be perceived. The artist may wish for the physical work to deteriorate with time, organically. Or allow the owner to choose how the work lives, or dies, or is presented in the future. Its really like when I have unrolled a canvas painting and sold it. I wont follow the buyer to a frameshop to put a frame around it.

Richard: This is too much of an explanation…

Anthony: Sorry, explaining can take some time. Let me go and continue my painting.

Richard: You say it like it is food.

Anthony: It’s not far from it.

Richard: Let me think about what you have said.

Squinting at a Crowded World: Genius and Madness at Play

IMG_0479.jpgThere will be more stylized artworks. Finally, it will be total abstraction. The world has gone mad. The script becomes more and more complex by the day that shows that it is so- it is the bane of contemporary existence! We are the noise. We live the noise. The little things don’t matter much anymore. The artist of today tries to recreate these feelings, the intensity of white noise creating static. We will be famous for showing the zeitgeist of now. Here, it starts from Lagos, the centre of the hullaballoo. Occasionally one makes sense of the nature of things, and winks knowingly at the other. It’s a standpoint that differentiates Sense and Nonsense; a time gap too. The millennial took over while I slept. In a daze, my contemporaries are playing ‘catch-up’. The gift is prophetic, making loud declarations. Art must be understood in the context of its time. Of course some ‘art’ are not meant for now.IMG_0077web.jpg

Chocolate

CHOCOLATE
So sweet, so light-Such pleasure brings pain
Brown to white cling, bringing imperfections to light,
Again we lunge for it-so dark, so sweet
To our hearts’ delight,
Brown on white so sweet, brings light to our eyes,
Yet shapes us as though misaligned,
Separate from the white rows,
Below and above, yet in line.
So sweet, yet with so much sadness wrapped, full of holes.
The smile is so true,
Not blood pumping-something in the heart alights,
Butterfly on blooming flower.

Flowers in Bloom

“It is only by selection, by elimination, and by emphasis that we get at the real meaning of things,”
Georgia O’Keeffe, American painter. 
  
‘Are you happy as a Nigerian about the political scene?’ Nkechi comes at me scathingly, as if to dare me to say otherwise- that I am happy. Through all the dreariness, the darkness, like one drowning, clutching at a straw, the pursuit of happiness here seems a daunting personal struggle. My mind immediately drifts to Michael Jackson’s final concert rehearsal video This Is It, to the sketch for Earth Song. A little girl appears, playing with butterflies in a beautiful green forest that soon starts to die out to Man’s exploitative, destructive actions. Nature’s light gives way to the stark, progressive dawn of Man overpowering the landscape, killing it. The girl, who had earlier drifted into a deep dream of peace, is jolted awake by the crescendo of rambling destruction around her- the bush burning and menacingly approaching bulldozer, and she flees for dear life. On her escape route she pursues a fleeing butterfly, and soon stumbles over the rubble as her eyes stray off the path. Falling to the ground, she finds a solitary, miraculously green plant in the decay. The little girl feverishly uproots that plant, as though it is the only hope for the forest’s future rebirth. That girl may well be Nkechi Abii (nee Duru), the willowy tall lady who will be showing artworks in an exhibition titled Fragrant Kaleidoscope, on the 10th of June, at Didi Museum, Akin Adesola Street, Victoria Island, Lagos. She holds out more than greens In the early eighties, at the other end of the street from ours in Owerri, their house was surrounded by a forest of flowers, potted plants and trees. Nkechi’s family were close friends-my sisters occasionally visited their home. I would take a cursory look while riding my chopper past their ‘green’ house. We lived in Aladinma, then a newly built federal housing estate in Owerri, at the edge of a forest. We usually ran through that forest, searching for icheku (a local seedy velvet-black berry with a succulent orange flesh) and utu (a wild sour berry). We also searched for birds’ nests and delighted in play-acting like we were actors in a Rambo or Indiana Jones movie, running wild and free. Life was simpler then, without worries. 
She graduated from Nsukka 6 years before me, so Professor Uche Okeke was still lecturing. Professors Chike Aniakor, Obiora Udechukwu and El Anatsui, Ola Oloidi, Chuka Amaefuna also taught her. She must have heard the other mantra at Nsukka’s Uli School, hidden under an overriding and more populist legacy. The hidden mantra, the ‘yang’ to Nsukka’s modern interpretation of Uli, was the Theory of Natural Synthesis, that allowed for a universal search and unearthing of individual cultural/artistic aesthetics among the students. This search became silently bound in the gene of the fledgling art school. Students were encouraged also to investigate further, far from their familiar, native artistic and cultural traditions. European classical music, poems, and essays on creativity and the creative process formed the potpourri. For Nkechi Abii it was familiar turf-she grew up listening to her dad’s classical music LPs. 
The 1984 Nsukka graduate of Fine and Applied Arts held a series of exhibitions during her year of National Youth service and won the Presidential Prize as Best Corper for 1985. Yet when the ovation was loudest, she withdrew into a more pedestrian life. Those demanding joys of life beckoned-Love and Marriage, then Child-bearing and Raising Children, all at the expense of resting her hitherto restless palette and brushes. The young artist needed to mature, to unfurl her creative wings and soar. It would take another 14 years before she exhibited again, starting tentatively with a bit of her testament-her-story of a bit of what had kept her away from the art scene all those years. Like the opening of a cervix, in the 2013 joint exhibition Genes Apart-Two Generations, One Canvas, with her first son and artist Nduka, Nkechi Abii came roaring back. The palette came out raw and fauvist- a medley of recollected and hitherto repressed emotions. 
 Roses show how flowers are not all smell and fragrance, and the hibiscus flower is known to have medicinal powers. A lot can be said about the power of flowers as food, aesthetic statements and for their medicinal, magical powers. In this month’s edition of the Italian edition of Vogue magazine (L’Uomo Vogue), there is a fantastic picture of a male model wearing a dark blazer over a flower-patterned pair of trousers. The colors on the flowers were muted to monochrome-the combination had a classic, weathered look. With her experience in fashion (she took a 2 years’ course at the Paris Academy School of Fashion, in London), Nkechi Abii has definitely seen lots of flowers in fabrics. Flowers have added an ornamental, sensual poesy to artworks. Van Gogh’s famous painting of Irises (1889) and Crows over the Wheatfield (1890) bring deep, psychotic weight that turned opened up how the flower as subject matter was used traditionally. There had been the pastel-colored, rosy landscapes of the Impressionists, the gestural, childlike paintings of Henri Rousseau, the work of the Surrealists all giving voice to the floral, little delights, the Romanticists and Pre-Raphaelites, etc. Closer home, Uche Okeke’s Flowers of the primeval forest (1982) and other works from that period show the master using flora to communicate a conflagration of ideas-from folklore to war tales. There are similarities in his drawings of flora with the ‘tapestries’ of El Anatsui, who has relocated and represented the primeval forests on an ambitious scale. Nnenna Okore continues in the same vein, weaving and planting her own forests. Obiora Udechukwu, on the other hand, mixes Euro-classical music with native lore and traditional elements from Uli. Uzo Egonu painted the Four Seasons in 1983, relocating the idea already represented in Pyotr Tchaikovsky’s music of the same name, and in his Nutcracker Suite. A lot of Marcia Kure’s work and presentation of forms look like portrait renderings, much like how Nkechi Abii represents her solo flowers-portraits of women wearing textile print headgear and individual flowers standing alone on bleak backgrounds. The works of Joseph Eze rely heavily on the floral, vegetal. He is a man truly loving nature. I have related all these creatives’ stories because they share common ground with Nkechi Abii. They all stem from one harvesting ground.  
Clearly, Nkechi Abii’s flowers are no sunflowers of happiness. Some of them look like they could use some light. The petals have an inner vibrancy. The flowers seem painted inside her studio. There is no directional lighting. The artist has chosen a different way-to bring the sun within her; to relocate the kaleidoscope of recollected experience, fragrances and joy of flowers waving in the wind, albeit behind closed doors. She owns her work totally, authoritatively giving the subject matter a reinterpretation and life that is personal, objective. She and her siblings grew up playing around flowers. There, they have shared laughs, maybe tears too. If there be roses, expect thorns. 
These experiences grow in importance, and, as the artist has put, “Happiness is the key to this exhibition.” This rush of memories locked in her psyche is a return to the years of youth and innocence. The artist is aware people have associated a darkness to her paintings, a whiff of melancholy. So she deliberately turns from all the negativity and hard circumstances of living here to present a happy show, for there is much to be grateful for. 
 The exhibition Petals of Steel (2014) preempts her present state of mind. That show alluded symbolically to flowers, but drew pungent image from human (female) gestures. In Fragrant Kaleidoscopes, she speaks directly without inhibitions, and the flower this time is presented as subject and subject matter. Flowers filled her childhood landscape. Family members either have planted gardens or potted plants in their living spaces. When she set out on the exciting journey of actualizing the exhibition of painted flowers, it was a return to a place in her heart where all her family would feel at home. Yet, there is an underlying, taunting melancholy in the air. The titles of artworks play on words. Contrasting ideas are phrased together, in rhythmic mimesis- Weedy White Ways; Sleepless in Eko; Marigold Plane; Yellow Sweetheart, etc. Yellow Sweetheart, in particular, somehow reminds of Van Gogh’s love of the color.   
The artistic training at Nsukka really showed the unity of the performing and fine arts. Students were encouraged to develop their work through research-by reading associated meanings and subtexts in every other field. This wholesome knowledge is key for the artist who wishes to communicate, to be heard in the noise that is today. She enjoys the texture of thick paint on her fingers, the sculpted look of her work. The works careen on the bridge between painting and sculpture, like a true Nsukka experimental painting student knows to work. Again and again, the artist is bound to break boundaries, to ignore categorization of her work. Some of the works don’t fall into the ‘familiar, ‘traditional’ style of painting. There are set pieces-diptychs and triptychs, randomly placed. Sometimes it is a sculptural piece; or mixed with textile print; or just flat complimentary colors. The artist ought not to bother about fitting in, framing the work. Some of the work can stand alone, away from a wall. The signature work for the show is Eriela m gi, a relief work of the spectacular climber gloriosa plant (flame lily), lifting away from two dimensionality to other dimensions. In presenting the new works, even as in her past (in the show Petals of Steel where she has works that only remain bound by the finishing frame on them) one senses a slight uneasiness, as though she feels a strain, a nudging to conform to the traditional, painterly rectangular planes.  
The other question that will arise in the heart of the audience is to ask if Happy Paintings have emerged for wishing them to being. Far from the traditional, pastel colors of the spectrum, we see hard, non-contrasty mixes that are earthy and full-blooded. Happiness, for the artist, is mature, contemplative, reasoned acceptance and grand-standing. Nkechi Abii knows that the painting must come to life in the heart, and she helps the viewer on the journey; modelling in car filler, in large blobs of color applied without care for smooth transitions. There is no subtlety. The work is emphatically in-your-face, taking pride of place.  
 
It is auspicious that the show opens at Mr. Jibunoh’s Didi Museum, resplendent with its potted plants and flowers. It is a horticulturist’s haven. The gallery owner has made a name for himself internationally for crusading for environmental matters. Let’s say the show has found home. There is a kinship.  
 
Nkechi Abii’s plum palette reflects her familiarity with textile prints. Her studio is arranged thus-a fashion house with bespoke clothes at the corner; sofas with her artist son and his friends doing speed-painting, playing video games and watching a movie; and a high worktable that serves as a flat easel for laying liquid acrylics on canvas or board. An easel stands in the corner with one of her paintings mounted. In this space, the woman spins and lays out colors. The workspace is filled with memorabilia. Like a musician taking the stage in a command performance, the artist is very ‘present’ while she constructs new landscapes. It is her world. 
 
The works on view at Fragrant Kaleidoscopes may be divided into three parts-portraits, duets and landscapes. The portraits are solo pieces that render the subject matter as near to life, and sometimes magnified a thousand times over. The boldness of such squinting that yields details of parts of a plant hitherto unnoticed by the wayfaring observer comes is a joyful surprise. One is moved to touch. The duets or subjects in one work, for example the acrylic painting Bee-titude, of a hibiscus flower and bee that flies out of the canvas( literally) is lush and drags the viewer in for the familiarity of such a scene. Documenting and translating, the artist watches the little miracles unravel. The landscapes or bouquet of flowers are composites. Particularly of note is a long painting with iridescent colors with a palette reminiscent of an Odilon Redon landscape. The cadmium red of the roses and yellow lights don’t mix. Two of the roses stand out in relief, growing from the painting. When she took a break from the art scene, Nkechi Abii seems to have travelled to Gauguin’s island, only to return with pictures of vibrant textured landscapes of flowers. The color space freely borrows and exchanges, revealing new interpretations and fusions.  
There will be tears and thorns, and the occasional bloodletting for people playing in rose bushes. There are times when the titles of works seem misleading, as though skimmed over in the huge repertoire of paintings. No title, at least in this show, should stoop so low. Nkechi Abii has worked, and received a hard sieving of impurities from an in-house critic-Nduka, her son for whom she has the highest regards as an artist. Her younger sister Uloma manages the exhibitions. With a flair for poetry, Uloma discusses the appropriateness or otherwise of chosen titles of works. Such supportive family help Nkechi Abii to continue. She is excited, bubbling with energy after many years of silence. She has things to say-bitter or sweet, embellished with a smile.  
One sees the way the painter allows color to stand alone on flat planes. The spaces break the rules of proportion as she emphasizes, leading her audience to a private, shared space. Seeing women as flowers with petals of steel is putting it rather mildly. Nsukka has seen a plethora of such women. Chinwe Uwatse and Ndidi Dike are contemporaries. Chinwe Uwatse’s watercolors exude delicate, yet strong and assured lines that veil the floral, sinuous flow of her works. Ndidi Dike’s panels are of the same progeny- full of ambitious delicacy and playful virtuosity. There are other ‘fragrant’ notes. Marcia Kure’s works still chase the fluid beauty lines of traditional Uli painters. She creates tight neo-surrealist imagery in colorful, textured montages with sheer white backgrounds that scream as loud. One thing the Nsukka artists have in common is an understanding and emphasis on using Space, rallying positive and negative spaces in random breathtaking nuances. The plane is of utmost importance. Sukanthy Visagaperumal, Nkechi Nwosu-Igbo, Lilian Pilaku, and Nnenna Okore are familiar names who continue to works as artists. They are such flowers with petals of steel, releasing fragrances that hit on different notes, working in media as varied as seeds, beads, sackcloth, writing free verse poetry, creating mixed media portraits, all holding the fort in the small ranks of practicing female artists, who, as Nature calls, (as in Nkechi Abii’s case) may hibernate into periods of silence as they give meaning to their lives in ways only women can. Fragrant Kaleidoscope is the story of a woman reborn. 
Anthony Nsofor writes from Lagos. 
 
 http://www.thisdaylive.com/articles/on-a-fragrant-note/210767/
 

Democracy\Dictatorship-Differences and Similarities for the Populace

A dictator is one man whose word is deed. In democracies, a ruler can acquire the same power if the system is corrupt. It ends up being about numbers-how corrupt are the supposed checks and balances to be swayed by the highest bidder, in this case, the man with the greatest power, who is often the ruler, call him president or prime minister. In a democracy, more people are culpable for corrupt practices, crimes of injustice, etc.
What makes it not to matter anymore what kind of government we have is this-corruption levels. I am still thinking hard about unjust government practises that have been reversed after individuals win in court. Do those that rule not make mistakes, err in judgment? Are their policies sacrosanct, beatific? In governance, numbers count, election or no; how many people are carried along for the greatest good will matter the most. Is it really about how many years In Democracy, or about how many years Of Democracy? Only a few thousand of the one sixty million enjoy the full benefits. Who is fooling who?

Posted from WordPress for BlackBerry.

A Sad Love Story

IMG_3322-EditLove stories are quite poignant, especially sad stories. Six days ago, Sam Smith won four awards at the 57th annual Grammy Awards. In his acceptance speech, he thanked his ex for causing him so much heartache. Remember Jesus Christ, and so on? Sad love stories rock, still. They are apt to tell, particularly on Valentine’s Day, February 14th.Getty images

Maybe there are the exceptional fairytale endings that fall into place finally in the most unusual way. There was my dear friend Nkem (aka Sese). We had a wonderful friendship as boarding house mates at Federal Government College, Okigwe. We lived in the same dormitory. We were fourteen years-old, learning the ropes of love, discovering the amazing world of the opposite sex. He was in love at the time, but it wasn’t with me, with my younger sister. At the time, many of my friends were, too. See, I was the lucky guy with good looking sisters that got favors for that. In retrospect, I am not sure if I had many real friends, or just friends who had the hots for my sisters.Art

Love is a complex word spanning many dictionaries in definition. Nkem and I would share the closing hours of the day at his corner. He would prepare ‘solution’ (cold water beverages) and Oxford cabin biscuits spread with Blue Band margarine for me to eat. In return, I told him about my escapades with babes. That was how much he loved my ‘love’ stories, and I prided myself for them. After my first break-up, I had decided that love was all about striking while the iron was still hot-sex as soon as possible to cement the ‘love’! I had my reasons for becoming that way, way back then. That would be another story, for another Valentine’s Day.pablo-picasso- Marie-Thérèse Walter

On vacation, Sese and I lived in Owerri, about 20 minutes apart. So we often met to compare notes. I was the occasional love-doctor for him, the more experienced one. Many years later, as undergraduates (he was in Imo State University while I was in the University of Nigeria, Nsukka), we would reunite during holiday periods and talk about love. I had met and fallen in love with Kem in Nsukka, he with some girl in IMSU. One Valentine’s day, he commissioned me to make a portrait of both of them for his rented student’s apartment off-campus. I made an oil painting of him as a traditionally clad drummer playing for her, a dancer wearing native attire. It was made in blues. He loved it. He kept it in his bathroom. I don’t recall his reason for keeping it there. Our common friends whispered about Nkem’s obsession with this girl. I wasn’t sure if the girl was his girlfriend, or he was still asking her out. He was quite lavish with her. One holiday later, my friend Sese was dead. There were muted whispers that he committed suicide over the girl that didn’t love him. They said he was found dead in his bathroom, after drinking a solution of shaving powder. The girl of his dreams changed schools immediately after. She couldn’t survive the negative publicity at IMSU, living as the girl-who-a-guy-died-for (that would make a great title for a painting).

Sad love stories make for compelling telling, and keeps inspiring generations of artists and singers. We all have them, so we all love the retelling. It’s a love/hate relationship-the recollecting of the heady loves gone sour. We keep them in a space in our hearts, close to our most joyful moments, where tears mingle with smiles. It’s not a thin line between love and hate, its only time. Memories grow long. This is to all the girls that I have loved, so that you can see where I have been. Know what I have become. I don’t want to be hurt by love. I love you all, learning to love myself. The story continues. Till next Valentine’s Day.

Engaging the Enemy: The Voices of Interrupted Lives
Creative practice and political crusading could well be the subtheme for this exhibition. Through the ages, the role of the artist in society has been revised in various ways. From cave art to tomb art; shrine art to church art; homes to churches; Art has been the tool of hunters and magi, magicians and politicians, priests and the affluent in society serving their immediate needs and to answer the peculiar questions of their time. Interrupted Lives is a timely intervention that showcases the work of Creatives working in present day Nigeria, artists who live here, and who have, through the trauma of existence and malady and decline of the Nigerian dream, create critical works evaluating Experience, Society, Identity and the Affecting Politics.
As art movements emerged, artists constantly tried to rewrite the status quo of Art. In defining the role of Art, Picasso famously said that ‘painting is not done to decorate apartments. It is an instrument of war for attack and defence against the enemy’. The seven artists in the third art exhibition of the Lagos Book and Art Festival-Jelili Atiku, Nkechi Nwosu-Igbo, Tola Wewe, Sam Ovraiti, Duke Asidere, Abiodun Olaku, and Uche James-Iroha seem to have identified the ‘enemy’, and formed an ‘attack’ line.
Shocked society is frustrated by the anguish of our times-oil subsidy issues and bomb blasts, fuel and visa queues, anti-corruption wars and the crisis of leadership. Jelili Atiku, a sculptor and performance artist who graduated from the Ahmadu Bello University, Zaria is perhaps the most vocal in his protest performances against the flawed political fabric of Nigeria. The Program Chairman of the Committee of Relevant Art, Jahman Anikulapo calls the performances of Jelili Atiku ‘a revelation in the life of LABAF’, and thus, has exhibited him in three of their past exhibitions. Born in 1968, Atiku felt the first sense of loss at an early age. His father, a soldier during the Nigerian Civil died upon his return from the warfront. The poignant story of the circumstances surrounding his father’s death came to him from his mother. Early after graduating from Zaria, Atiku recalls the beatings he received from military men when he tried to enter his uncle’s petrol station at Ejigbo, Lagos. He soon understood the gestures of the human body in trauma; and soon began using the language of the body in Performances protesting against the political state of the nation. As a ‘multimedia political artist’, his works have been featured in exhibitions across the African continent and in Europe. The principle preoccupation, as Jelili Atiku sees it, of the artist is to expand human consciousness of the ills in Society through his work. Politics dictates, and the artist counters.
In January 2009, Uche James-Iroha was given the Prince Claus award in recognition of his work as a photographer. The University of Port Harcourt graduate of Fine Art majored in sculpture, but upon graduating, took to photography, becoming a pioneer member of Depth of Field, a group of photographers that included Kelechi Amadi-Obi. Uche James-Iroha has chosen to investigate space and light using the photographic medium to create strong conceptual black and white images. He believes that colour distracts from the importance of what is being said. Over the years, he has been exhibited at the Goethe Institut, Lagos, at the Biennales in Dakar, Senegal; and as one of the artists that represented the Nigerian exhibition in Manchester at the recently concluded London Summer Olympics. In 2010, he edited a book of photographs and drawings titled Unifying Africa, illustrating football’s relevance and calming effect on the troubled societies in Africa. This artist is a major force that has informed a wider acceptance of Photography in Nigeria as a key medium of expressive artistic content. His committed practise has, over the years, influenced a new stock of light-stalkers who have embraced the immediacy of the translation of ideas inherent in digital photography that allows multiple writings and investigation of Line, Light and Space.
The myriads of aborted dreams, forced exiles, nomadic border crossings, and dislocation has numbed the psyche of youth in Nigeria. As the artistic part of this exhibition of the Arts, the conveners of the exhibition, the Committee for Relevant Art (CORA) presents this group of artists whose practice typify the communicative creative response to the times we live in. Nkechi Nwosu-Igbo, in an introductory post on Interrupted Lives (on her Facebook wall) pointedly notes how artists seem to have turned from narrative that engage the issues of the day that affect Society at large; preferring instead to represent individualistic ideals, interrupted lives. In shock, artists seem to have withdrawn into personal worlds and longings, and allusions to the dissipation of the human spirit. Their response and discourse is an outcry that questions the numbness and reticent undercurrent one feels sustains tolerance of these chaotic days. When these voices merge, the effect is the deafening scream of Interrupted Lives.
Nkechi Nwosu-Igbo has consistently confronted existential issues-gender differences, the plight of women in Society, and the state of the nation. One recalls the poignant title of one of her past exhibitions ‘Not Ready to Walk
Away’, a defiant grandstanding against the daunting odds that featured poetic phrases that described her multi-coloured textural works.
Nkechi Nwosu-Igbo studied Fine and Applied Arts at the University of Nigeria, Nsukka and majored in Painting. Since then, she has shown a strong sense of poetic interpretation and tongue-twisting in the themes of her paintings and installations, crowning it with a publication of poems. Two factors come to play when confronted by her work- the theme of her works, and the physical presence of the art work.
On occasion, Nwosu-Igbo shows containment and a bias for the Nsukka School preferred referencing of traditional Uli, and paints the familiar partitioned windows filled with symbols drawn largely from traditional Uli art forms; but rises again to soar with powerful installations that engage Space in an emotional, personalised design that delimits the lines between Art and Audience. When she breaks free from the limiting positioning within the context of Nsukka Uli (as often happens in her installations and poetic verse), her works gain a new strength that synthesizes Experience into a personal revelation and discourse with her environment. She is married to Uche Edochie, a young painter who gained prominence in the late nineties and whose works had much patronage and success in Lagos galleries. Her engagements as curator of exhibitions (particularly for recent LABAF exhibitions) and agitator for critical contextual evaluation and collaborative
work between artists have increased her prominence and visibility in the Nigerian Art scene.
In October, at the opening of the art exhibition titled The Ankara Portraits, of Gary Stevens’ art works which opened at the Omenka Gallery in Ikoyi, one had a rare meeting with Abiodun Olaku. He confessed that it has been a while since he last attended an exhibition opening, and then explains a political commentary that applies to an understanding of his landscapes. With a long list of collectors waiting, it is hard to assess a sizeable number of his works in one location for either an exhibition or a comprehensive reading. Abiodun Olaku studied Art at the Yaba College of Technology. Upon graduation, he teamed up with other artists to form the Universal Studios of Art, located in grounds of the National Theatre, Lagos. Over the years, many young artists have worked as apprentices under him. This has given him a first-hand witness of the weakness of the formal system of art education in Nigeria. At various times, he has been quite vocal in his assessment of the content and material of Art, its subject and presentation, and the poor management of the Arts.
His poignant landscapes stress the atmosphere, and are realistic documentations of the environment. Building up monochromatic colour, he glazes over the work to achieve the trademark luminance. Colour is last applied after the right contrasts between light and shade has been achieved. Olaku consistently illustrates the changing seasons, the trail of light passing through exuberant, popular human life-of horse riders, durbar, and a love for the outdoors. Tola Wewe, alongside Sam Ovraiti and Duke Asidere are some of the Independence generation artists (so-called by Jess Castellote in his blog A View from My Corner when writing on popular Nigerian artists born within that period) Following a lucrative season and years of success as one of the most exhibited and patronised painters working in Nigeria, Tola Wewe was appointed Commissioner for Arts and Culture in Ondo State. Born Adetola Wewe in 1959 in Shabomi-Okitipupa, he studied Art at the University of Ile Ife. He is one of the founding members of the Ona group of artists. His study of the Ijaw water-spirit mask and the narrative of Yoruba folktales have led to an outstanding body of work interlaced with Ona symbols. One senses the awareness of the works of the Oshogbo artists and traditional adire cloth motifs, and a close affinity to the rainforests and mangroves around him. His
canvas is engaged with the vegetal patterns of his space, and translates a modern realisation of native tales. During his Masters’ degree program at the University of Ibadan, his research into the Ijaw water-spirit mask precipitated in the re-evaluation of form. In his words, he is ‘the vehicle, and they are the drivers’. He mirrors the environment in a possessed flow of energy, ‘communicating with the spirits of the ancestors’. This analogy ties his work to that of Suzanne Wenger, an artist who worked in nearby Oshogbo. Her renovation of shrines and other paintings bear the markings of that spiritual linkage, albeit in a more profuse way, that Tola Wewe talks about in explaining his creative process. Wewe’s recreation of the moonlight tales of his childhood addresses the new man in society, spotlighting the experiences and ideas of the creative person.
Duke Asidere has maintained a vibrant and expressionist palette of colours in his paintings executed in open air on the streets by his studio at Egbeda, Lagos State. After graduating from Ahmadu Bello University, Zaria, he received a Master of Fine Art from the same school that enabled him to lecture for a short while at Auchi Polytechnic. His works show a familiarity with the works of
Ben Osaghae and Gani Odutokun, who he acknowledges are strong influences on his work, alongside the works of the Expressionists. In an interview with Tajudeen Sowole, on Duke Asidere’s 50th birthday anniversary, he bemoaned the ‘laid back attitude of artists’ in addressing issues related to the state of the nation. Artists’ commentaries have ignored (to a large extent), the political intrigues of post-military era Nigeria. Duke Asidere’s works emit the vibrant energy of creative ingenuity, and soul-searching of an artist living in troubled times. The positive and negative spaces are balanced intuitively without reliance to familiar paradigms of perspective, with a firm knowledge of the human form that arguably surpasses that of some of his better known contemporaries.
The tendency to relate the image of the Man emerging from the turbulence and disaster of our Politics and Times seems to be a recurring theme in the work of the artists presented in Interrupted Lives. The narrative has become a personal address of shared aspirations. With a shared experience of lecturing alongside Duke Asidere at the Auchi Polytechnic, Sam Ovraiti has a formidable reputation as an international water-colourist. Born in Zaria, he studied General Painting and Art at Auchi Polytechnic, Edo State, and later moved on to the University of Benin where he acquired a Masters in Fine Art. The associations reveal an appreciation of realistic form (as witnessed in works from students of the University of Benin); a spatial application of colour irrelevant to considerations of formal depth (as in the works of the other colourists of Auchi Polytechnic) His works exhibit a personal sense of balancing of shapes in the landscapes that are the occasional subject of his work either relating to experience, or rendition of the human form. He allows the expressive properties of his chosen medium, be it watercolour, oil colour or acrylics, to add character to his work, and deliberately reveals the gestures involved in the picture-making process. He have inspired artists from Auchi, notably Chika Idu, a water-colourist from the same school whose paintings show a stylistic association. Ovraiti wields a great presence on the Lagos Art scene, and is member to many of the Art associations. He has also attended workshops for artists, particularly the Harmattan workshops of Bruce Onobrakpeya which has become a regular stop-over. The workshop is a retreat
inspired by those organised by Uli Beier in Oshogbo, a meeting point for artists that has created productive collaborations. Ovraiti’s works has strong similarities with those of Ike-Francis, his friend and fellow painter who studied at the Universities of Port Harcourt and of Nigeria, Nsukka. This amazing similarity is in the interpretation of human form, particularly in their paintings. Ike-Francis ventures into multi-media installations while Sam Ovraiti has focused on a traditional painting style that continually promote a very modern culture as evidenced in the fashion statements of his models.
In realising the theme of the exhibition, Nkechi Nwosu-Igbo has highlighted some of the most vibrant and active artists in Lagos, people whose works show a deep reading of the nuances and turbulence of their times. The Committee for Relevant Art has again shown a commitment to promoting critical platforms for artists to evaluate their output, to access their role in Society. A similar intervention was the interactive session at Bisi Silva’s CCA of photographs from the strikes against President Jonathan’s subsidy removal gift on New Year’s Day. Hopefully, in coming days, more artists will articulate their angst into creative outpourings that will bring the needed change in our Socio-political world. Honestly, we are all part of the deluge, a community of peoples with truncated dreams, living interrupted lives.
Anthony Nsofor, Studio Master, The Clay Wall Ltd, Suite C228 Ikota Shopping Complex, Rd 2, VGC, Lagos.

Engaging the Enemy: The Voices of Interrupted Lives

Creative practice and political crusading could well be the subtheme for this exhibition. Through the ages, the role of the artist in society has been revised in various ways. From cave art to tomb art; shrine art to church art; homes to churches; Art has been the tool of hunters and magi, magicians and politicians, priests and the affluent in society serving their immediate needs and to answer the peculiar questions of their time. Interrupted Lives is a timely intervention that showcases the work of Creatives working in present day Nigeria, artists who live here, and who have, through the trauma of existence and malady and decline of the Nigerian dream, create critical works evaluating Experience, Society, Identity and the Affecting Politics.

As art movements emerged, artists constantly tried to rewrite the status quo of Art. In defining the role of Art, Picasso famously said that ‘painting is not done to decorate apartments. It is an instrument of war for attack and defence against the enemy’. The seven artists in the third art exhibition of the Lagos Book and Art Festival-Jelili Atiku, Nkechi Nwosu-Igbo, Tola Wewe, Sam Ovraiti, Duke Asidere, Abiodun Olaku, and Uche James-Iroha seem to have identified the ‘enemy’, and formed an ‘attack’ line.

Shocked society is frustrated by the anguish of our times-oil subsidy issues and bomb blasts, fuel and visa queues, anti-corruption wars and the crisis of leadership. Jelili Atiku, a sculptor and performance artist who graduated from the Ahmadu Bello University, Zaria is perhaps the most vocal in his protest performances against the flawed political fabric of Nigeria. The Program Chairman of the Committee of Relevant Art, Jahman Anikulapo calls the performances of Jelili Atiku ‘a revelation in the life of LABAF’, and thus, has exhibited him in three of their past exhibitions. Born in 1968, Atiku felt the first sense of loss at an early age. His father, a soldier during the Nigerian Civil died upon his return from the warfront. The poignant story of the circumstances surrounding his father’s death came to him from his mother. Early after graduating from Zaria, Atiku recalls the beatings he received from military men when he tried to enter his uncle’s petrol station at Ejigbo, Lagos. He soon understood the gestures of the human body in trauma; and soon began using the language of the body in Performances protesting against the political state of the nation. As a ‘multimedia political artist’, his works have been featured in exhibitions across the African continent and in Europe. The principle preoccupation, as Jelili Atiku sees it, of the artist is to expand human consciousness of the ills in Society through his work. Politics dictates, and the artist counters.

In January 2009, Uche James-Iroha was given the Prince Claus award in recognition of his work as a photographer. The University of Port Harcourt graduate of Fine Art majored in sculpture, but upon graduating, took to photography, becoming a pioneer member of Depth of Field, a group of photographers that included Kelechi Amadi-Obi. Uche James-Iroha has chosen to investigate space and light using the photographic medium to create strong conceptual black and white images. He believes that colour distracts from the importance of what is being said. Over the years, he has been exhibited at the Goethe Institut, Lagos, at the Biennales in Dakar, Senegal; and as one of the artists that represented the Nigerian exhibition in Manchester at the recently concluded London Summer Olympics. In 2010, he edited a book of photographs and drawings titled Unifying Africa, illustrating football’s relevance and calming effect on the troubled societies in Africa. This artist is a major force that has informed a wider acceptance of Photography in Nigeria as a key medium of expressive artistic content. His committed practise has, over the years, influenced a new stock of light-stalkers who have embraced the immediacy of the translation of ideas inherent in digital photography that allows multiple writings and investigation of Line, Light and Space.

The myriads of aborted dreams, forced exiles, nomadic border crossings, and dislocation has numbed the psyche of youth in Nigeria. As the artistic part of this exhibition of the Arts, the conveners of the exhibition, the Committee for Relevant Art (CORA) presents this group of artists whose practice typify the communicative creative response to the times we live in. Nkechi Nwosu-Igbo, in an introductory post on Interrupted Lives (on her Facebook wall) pointedly notes how artists seem to have turned from narrative that engage the issues of the day that affect Society at large; preferring instead to represent individualistic ideals, interrupted lives. In shock, artists seem to have withdrawn into personal worlds and longings, and allusions to the dissipation of the human spirit. Their response and discourse is an outcry that questions the numbness and reticent undercurrent one feels sustains tolerance of these chaotic days. When these voices merge, the effect is the deafening scream of Interrupted Lives.

Nkechi Nwosu-Igbo has consistently confronted existential issues-gender differences, the plight of women in Society, and the state of the nation. One recalls the poignant title of one of her past exhibitions ‘Not Ready to Walk Away’, a defiant grandstanding against the daunting odds that featured poetic phrases that described her multi-coloured textural works.

Nkechi Nwosu-Igbo studied Fine and Applied Arts at the University of Nigeria, Nsukka and majored in Painting. Since then, she has shown a strong sense of poetic interpretation and tongue-twisting in the themes of her paintings and installations, crowning it with a publication of poems. Two factors come to play when confronted by her work- the theme of her works, and the physical presence of the art work.     

On occasion, Nwosu-Igbo shows containment and a bias for the Nsukka School preferred referencing of traditional Uli, and paints the familiar partitioned windows filled with symbols drawn largely from traditional Uli art forms; but rises again to soar with powerful installations that engage Space in an emotional, personalised design that delimits the lines between Art and Audience. When she breaks free from the limiting positioning within the context of Nsukka Uli (as often happens in her installations and poetic verse), her works gain a new strength that synthesizes Experience into a personal revelation and discourse with her environment. She is married to Uche Edochie, a young painter who gained prominence in the late nineties and whose works had much patronage and success in Lagos galleries. Her engagements as curator of exhibitions (particularly for recent LABAF exhibitions) and agitator for critical contextual evaluation and collaborative work between artists have increased her prominence and visibility in the Nigerian Art scene.

In October, at the opening of the art exhibition titled The Ankara Portraits, of Gary Stevens’ art works which opened at the Omenka Gallery in Ikoyi, one had a rare meeting with Abiodun Olaku. He confessed that it has been a while since he last attended an exhibition opening, and then explains a political commentary that applies to an understanding of his landscapes. With a long list of collectors waiting, it is hard to assess a sizeable number of his works in one location for either an exhibition or a comprehensive reading. Abiodun Olaku studied Art at the Yaba College of Technology. Upon graduation, he teamed up with other artists to form the Universal Studios of Art, located in grounds of the National Theatre, Lagos. Over the years, many young artists have worked as apprentices under him. This has given him a first-hand witness of the weakness of the formal system of art education in Nigeria. At various times, he has been quite vocal in his assessment of the content and material of Art, its subject and presentation, and the poor management of the Arts.

His poignant landscapes stress the atmosphere, and are realistic documentations of the environment. Building up monochromatic colour, he glazes over the work to achieve the trademark luminance. Colour is last applied after the right contrasts between light and shade has been achieved. Olaku consistently illustrates the changing seasons, the trail of light passing through exuberant, popular human life-of horse riders, durbar, and a love for the outdoors.

Tola Wewe, alongside Sam Ovraiti and Duke Asidere are some of the Independence generation artists (so-called by Jess Castellote in his blog A View from My Corner when writing on popular Nigerian artists born within that period) Following a lucrative season and years of success as one of the most exhibited and patronised painters working in Nigeria, Tola Wewe was appointed Commissioner for Arts and Culture in Ondo State. Born Adetola Wewe in 1959 in Shabomi-Okitipupa, he studied Art at the University of Ile Ife. He is one of the founding members of the Ona group of artists. His study of the Ijaw water-spirit mask and the narrative of Yoruba folktales have led to an outstanding body of work interlaced with Ona symbols. One senses the awareness of the works of the Oshogbo artists and traditional adire cloth motifs, and a close affinity to the rainforests and mangroves around him. His canvas is engaged with the vegetal patterns of his space, and translates a modern realisation of native tales. During his Masters’ degree program at the University of Ibadan, his research into the Ijaw water-spirit mask precipitated in the re-evaluation of form. In his words, he is ‘the vehicle, and they are the drivers’. He mirrors the environment in a possessed flow of energy, ‘communicating with the spirits of the ancestors’. This analogy ties his work to that of Suzanne Wenger, an artist who worked in nearby Oshogbo. Her renovation of shrines and other paintings bear the markings of that spiritual linkage, albeit in a more profuse way, that Tola Wewe talks about in explaining his creative process. Wewe’s recreation of the moonlight tales of his childhood addresses the new man in society, spotlighting the experiences and ideas of the creative person.

Duke Asidere has maintained a vibrant and expressionist palette of colours in his paintings executed in open air on the streets by his studio at Egbeda, Lagos State. After graduating from Ahmadu Bello University, Zaria, he received a Master of Fine Art from the same school that enabled him to lecture for a short while at Auchi Polytechnic. His works show a familiarity with the works of Ben Osaghae and Gani Odutokun, who he acknowledges are strong influences on his work, alongside the works of the Expressionists. In an interview with Tajudeen Sowole, on Duke Asidere’s 50th birthday anniversary, he bemoaned the ‘laid back attitude of artists’ in addressing issues related to the state of the nation. Artists’ commentaries have ignored (to a large extent), the political intrigues of post-military era Nigeria. Duke Asidere’s works emit the vibrant energy of creative ingenuity, and soul-searching of an artist living in troubled times. The positive and negative spaces are balanced intuitively without reliance to familiar paradigms of perspective, with a firm knowledge of the human form that arguably surpasses that of some of his better known contemporaries.     

The tendency to relate the image of the Man emerging from the turbulence and disaster of our Politics and Times seems to be a recurring theme in the work of the artists presented in Interrupted Lives. The narrative has become a personal address of shared aspirations. With a shared experience of lecturing alongside Duke Asidere at the Auchi Polytechnic, Sam Ovraiti has a formidable reputation as an international water-colourist. Born in Zaria, he studied General Painting and Art at Auchi Polytechnic, Edo State, and later moved on to the University of Benin where he acquired a Masters in Fine Art. The associations reveal an appreciation of realistic form (as witnessed in works from students of the University of Benin); a spatial application of colour irrelevant to considerations of formal depth (as in the works of the other colourists of Auchi Polytechnic) His works exhibit a personal sense of balancing of shapes in the landscapes that are the occasional subject of his work either relating to experience, or rendition of the human form.  He allows the expressive properties of his chosen medium, be it watercolour, oil colour or acrylics, to add character to his work, and deliberately reveals the gestures involved in the picture-making process. He have inspired artists from Auchi, notably Chika Idu, a water-colourist from the same school whose paintings show a stylistic association. Ovraiti wields a great presence on the Lagos Art scene, and is member to many of the Art associations. He has also attended workshops for artists, particularly the Harmattan workshops of Bruce Onobrakpeya which has become a regular stop-over. The workshop is a retreat inspired by those organised by Uli Beier in Oshogbo, a meeting point for artists that has created productive collaborations. Ovraiti’s works has strong similarities with those of Ike-Francis, his friend and fellow painter who studied at the Universities of Port Harcourt and of Nigeria, Nsukka. This amazing similarity is in the interpretation of human form, particularly in their paintings. Ike-Francis ventures into multi-media installations while Sam Ovraiti has focused on a traditional painting style that continually promote a very modern culture as evidenced in the fashion statements of his models.               

In realising the theme of the exhibition, Nkechi Nwosu-Igbo has highlighted some of the most vibrant and active artists in Lagos, people whose works show a deep reading of the nuances and turbulence of their times. The Committee for Relevant Art has again shown a commitment to promoting critical platforms for artists to evaluate their output, to access their role in Society. A similar intervention was the interactive session at Bisi Silva’s CCA of photographs from the strikes against President Jonathan’s subsidy removal gift on New Year’s Day. Hopefully, in coming days, more artists will articulate their angst into creative outpourings that will bring the needed change in our Socio-political world. Honestly, we are all part of the deluge, a community of peoples with truncated dreams, living interrupted lives.