“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.
“It is only by selection, by elimination, and by emphasis that we get at the real meaning of things,”