Reality versus Social Media Noise

It seems that there are problems everywhere, especially online. Social media in so many ways has heightened our presence and fears from all the ills befalling mankind at the speed of sound. It all seems aimed at turning us into information explosion disorder wrecks( I am sure there is a name for that now). It is more painful when it is more difficult to decipher the true news from the fake. As if the events from everyday modern living hasn’t become so much more complicated! The other day I read through a comment by Reno Omokri, the former spokesperson to ex-President Goodluck Jonathan. He was questioning why Nigerian governments of the past did not tap into the progressive technologies of Biafra to move Nigeria forward. I will not bore you about the stories of war, or of the issue of Biafra here and now. But I was struck by some lines in the short essay by Omokri where he spoke of how Nnewi, a town in Southeast Nigeria, has moved on in creating a better environment for the indigenes, without waiting for government interventions that seem not to be coming. The Nnewi people have built roads, energy plants, etc. to make their place better.

It got me thinking- why scream and shout daily on social media platforms about all the neglect and misdeeds of government? The problems are still there, in fact, the last time I checked, I don’t know if I am getting more pessimistic with age; or that it is this- things are actually getting worse on Planet Earth? Again I pause, I deviate. Whatever the case, inspired by the forward-looking mindset of Reno Omokri’s essay, I have decided to begin to create personal solutions to the challenges of daily living! It sounds quite commonsense, but the thought flees us in real life situations.

There is a lot that people can do to make a better world without waiting for others to think for them, without looking to ‘government’ as it obtains in so-called ‘better societies’/ places where things work! The Internet and online communities are such a wonderful gift and treasure trove for accessing tons of useful information about nearly all of mankind’s issues. Social media allows the sharing of tips, tons of video tutorials to make handymen of all of us. Unfortunately, most of the active generation on this planet is still drooling over the possibilities of socializing, and sharing their daily lives on platforms that can possibly reach millions of people in no time. They waste the time interacting online, bickering and blabbing about all things bright and beautiful and screaming about all things ugly and stuff in-between. So much data is wasted. Instead of seeking out solutions for fighting the beast, we are powerful social commentator and armchair critics, with a honed knack for explaining out all the reasons that show how the government has failed, how all the world’s problems start and end with the politicians.

The best minds have studied the problems of contemporary living, and continue to churn out innovations and inventions to make this world a better place.

A few good men dream up solutions and ways of making the world a better place to live in. To survive, Man keeps creating, innovating, but in these days when knowledge has increased like waters covering the sea, we only hear the groans and whining of lazy loafers who think that ‘the grass must actually be greener on the other side’. With much information available to mankind, it is easier to be deceived, to believe the lie! Hopefully, we will wake up today to start looking for the solutions to the hazards of daily living. The solution, the nirvana we seek is here with us to make, to establish. The tools are online. The answers are here with us. The shared experience of living has allowed men in different societies and stages of development to come up with answers. We must use the time well to ask Google, or whatever you ask. Its already a better world elsewhere. We can bring that world here. Kingdom comes. Lets not escape into wasteful thinking of the other side. We are not really sure how it is ‘over there’. At the point you are now, where you are reading this, is the space that you must act to change the status quo. Just ask, and you shall receive answers. Be the problem solver, the visionary who sees a brighter tomorrow.

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Large paintings

To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view with a reducing glass. However, you paint the larger pictures, you are in it. It isn’t something you command- Barnett Newman.

So, my experience has been that of stepping into my work head on, walking in and living inside it. This is a refreshing way of reliving the experience of art, in connecting process to theme, action to passion and reason. The gesture of laying brushstrokes is mediated by the span and reach of the creator/artist. In the larger work, the limit is physical. But the spiritual predates all that. You finally see summaries. Catchphrases stay on the mind forUi longer in a complicated life. We can always wring the phrase to squeeze out meanings like wandwaving magician’s apprentices on off day in the workplace. The very act of doing is enough justification for being presented as ‘art’. Now one ties to the idea of the dignity of labor. Not a sweat is wasted as it falls to the brown earth. There is a system to all the chaos, to the broken form, to the patches of color pointedly placed.

Of Facial Masks and Masquerading in My Work

IMG_1649webTill Uncle Akaraka’s death, his home was the resting place of Ude Ebube, Nwa Agbayaka the great ancient masquerade from my mother’s village Abatu. Tall, light-skinned and handsome, Uncle Akaraka seemed to live for the moments that Ude Ebube arises from the land of spirits to jolt our world. Akaraka would march out in swag, holding a large bottle of Guinness Stout in one hand and a stick of cigarette in the other as he walks alongside the masquerade; a sheathed machete slung sideways down his waist. Those are the moments that the village saw my uncle, apart from occasional sightings when he sits and looks out to the street from the balcony of his one-storey building. As an undergraduate student I made reference to the masquerades in my thesis ‘Colonial Influences on the Art of Oguta’, (to be found in the Arts department at the University of Nigeria, Nsukka)

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Ajekwu masquerade of Umudei Village, Oguta, Imo StateL1150594web.jpg
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Ipu Afia Agu of two members of the Igbuu society, Oguta, Imo State, Nigeria

My hometown is made up of 28 tiny villages (more like clans, really). Each village has its masquerade(s). It is time to set the records straight about the masks in contemporary paintings, about the faces in my chaotic canvases.

Ude Ebube mmanwu-ihu-ekpo (spirit masquerade with the face of a mask) is like the masquerades found in the riverine communities in the Niger-Delta regions of Nigeria. She (mother to other smaller masquerades, some from neighboring villages) has taken the most prestigious titles for masquerades. She is a great spirit guided by a procession of three groups of people chanting praise songs- the first set of people are the youth in their boisterous dancing and parading; then there are the middle class followers who generally carry the medicines, the ofo, the magical hand fan that waves away evil spirits; then follow the old, the elderly who move slowly, gracefully with the great spirit. Age brings them closer to death, to the land of spirits from whence came Ude Ebube to celebrate with us, to rain blessings on her followers and admirers alike, to charge up the land of the living. Ude Ebube is an ancient spirit, and is guided by an old dibia, usually among the strongest in the land. As spirit, she knows everyone by name; she lives with the ancestors in the other world.

By writing I do not want to take away your interpretation of my work- I want to give you my memories. I grew up following the masquerades during the Christmas periods and in ushering in the New Year. All my childhood friends know that I will more likely abandon them at the drinking parlors to run after passing masquerades. Something in their performance resonated strongly. It went beyond ‘religion’.

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By the Blue Lake, Oguta, Imo State, Nigeria

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My young excitable mind often dreamt of these masquerades, of being chased by them through different disjointed towns to my village house. The dreams came even when I visited other lands. It was a tradition for Father to drive us to the village to celebrate the Christmas season. He loved our culture and people dearly, and would take us on rounds to visit as many relatives in the short 12 days of the holiday. He contributed to the upkeep and beautification of Ngajeme, our village masquerade. Dad would also bow in passing to the great masquerades of Oguta. He would draw a circle in the earth and place a gift of money and a bottle of kaikai (locally brewed gin) in it.

Masquerading was in my blood, as my mother was from the largest family in Abatu, the great masquerading village in Oguta. Her father Chief Okonya Okoroafor was a polygamous man. So I grew up with the spirits that seemed to float in space, whose ruffled movements were like gliding, their raffia-clad bodies shivering in the shards of the hot afternoon sun racing down to the great Ogbuide Lake. I recall the masquerades in my work- the faces, the ripple of movement, the excitement and the magic. Sometimes the masquerades fight over seniority and other skirmishes and their followers join in. Every time I work, the work is charged by these memories. It will happen again this Christmas and on New Year’s Day. The wooden gong will sound to call all together, to awaken the great spirits, to breach the gap between the land of the dead and the living. Call it fetish. I call it culture, part of my heritage. Let’s play. Meet you at the village centre.

You Don’t Always Have to Shoot To Kill, Love Leica!

L1137183I don’t recall if it was that article of the man who covered events with his small Leica that I saw in an edition of Vanity Fair magazine that did it. But it was easy to start getting bored with the APS-C sensor, full or medium frame cameras after shooting over 3000 images for 4 years in a row for a secondary school’s yearbook! Some of these things we do allows one to add the suffix ‘photographer’ in introductions.

I have intense bouts of love for things. This causes me to go to the limits till I fully own the object of my desire. At some point it was mobile phones. I read all the ‘To Do’ books on phones on my journeys from Ikeja to Victoria Island to visit the art galleries. (You recall those cheap small booklets that the authors peddled in the yellow buses?)I also ‘upgraded’ to the newer versions of mobile phones as soon as they came into the market. Those were the days when the Nokia phone reigned – from the famous 3300 to the 660, etcetera. The various models that hit the market were differentiated with mysterious ‘x’s, e’s after the number- that got me hooked, thinking something mind-blowing just landed on earth! I fell easy prey to the marketing strategies of those companies.

Later, I returned to my first love with cameras that dated to as far back as when I was in secondary school. My uncle gave me a Canon AE that used film. It served me well into university where it was easy to rub on young girls’ vanity of visualizing self as gorgeous. This I loved. It was akin to the recent love for taking selfies, using filters, Snapchat and Instagram.L1137810L1141498

For about 6 years, I was the parish photographer at the church in Ajah. I filled 5 terabytes of storage space with images from events, landscapes that spanned as far back as 2005. Photography was easy money for me while I pitched to sell paintings on the streets of Lagos. It was a way of looking intensely, closely at the world. I soon realized that it was not a perfect world. Beauty is affected by distance, by the space between the beautiful one and the viewer.

I made friends with Maigida, an Igbo seller of fairly used cameras and accessories on Lagos Island. It became routine to visit his shop weekly to gush over the latest cameras and lenses. He soon saw my love for photography and cameras, and would introduce me to his customers. I enjoyed sharing photography tips with them, and particularly meeting the old babas that must have been Pa Ojeikere’s contemporaries. They still shot with negative film.L1142228

The old ways of taking photographs intrigued me. I imbibed the patience, the comportment of the negative film days. I loved how each pose was well thought-out, each moment quietly recorded. One day, Maigida called to tell me of the new Leica cameras he just got from America. One of them looked a bit funny with a big body lens, but the other had a metallic retro look that I fell in love with. It reminded me of the Vanity Fair photographer. It dangled nicely at the right angle from my waist, and it shot madly crisp-sharp images! From the Elmarit 24mm f/2.8 ASPH lens, to the precise focusing, the pop-up flash, I knew I had found true love in my Leica X2.

It came at a point when I already understood that Photography was not about taking focused, crystal clear images. I had seen enough World Press Photos at exhibitions to convince me. My Leica was featherweight with monster-sized big performance. After carrying many heavy cameras with huge battery grip and flash attached, photography suddenly became a breeze. The idea became the reason for the shot. It wasn’t about the size of the camera any more.

With my Leica, the blades of grass showed up in colors that went near psychedelic. With the coming of age, one definitely needs to lighten the load of life. I capture the moments more frequently in a casual way. Moving around with a massively expensive camera has never been easier- the retro look of my Leica gives it a pass mark for street photography. Those area boys don’t know that my Leica got them covered. People still wonder if it is a film camera. I wonder how the little things in life can make precious memories. The L in my images does not just stand for images taken with my Leica. L is for Love- love of photography.

 

Abstract colors, More liberties

Detail of a work in progress, mixed media painting, 2017. 

In this blog, I have written extensively about my work, the creative process, and the figurative. It has become more important to dwell on the abstractions that seem to be taking centre-stage all around us.

Uli has shown us a way of looking at space, engaging it in a way that conveys meaning. Lines and shapes loaded with meaning are juxtaposed with negative bleak spaces that totally shriek in their silence.

Turning it around, the artist considers the power of that non-representational element as subject matter, relocation into deep meditation of color fields. Traditional notions of color no longer apply, nor restrain. Thus, color has gained an independence in its total abstraction- color is the new white noise in artistic communication.

The intention to emphasize local identity is lost on the new international that crosses borders at will. Appropriating passing fancies, one must acknowledge them as relevant memories; hallmarks from journeys, with a cognizance for seeing that in front lies an unfamiliar path that may demand new conversations/interactions. Or else, the artist becomes the bogeyman.

The body of work creates new imagery- exploring an eclectic embodiment- a morpheme of spatial representation. Visual elements are turned on their head- harmony, space, contrast, and balance. Everything is introverted to ‘work’ on the mind where it really counts. External superficialities are done away with in a signature economic style- the work is the reason. The reason is the work.

Reality is a dent on the conscience of the creative, holding ransom all notions and actions towards progress. Concurrently, one must hold on to fantasy- to the subconscious world of dreams as a vision for navigating the psychedelic, hybrid subcultures of today’s world. All accepted standards may fail in the circumstances; boundaries and borders melt away (standing only as a physical presence at the most). Time and Space suddenly embrace to become one experience.

Color is language, identity and representational subject serving all intents of the artist. Color can only be interpreted on a personal level, irreverent to all else. Herein lays the bane of the tribal art grouping- this melting point that allows no measures/ standards to retrain the use or absence of interpretative color.

Having learned drawing, we unlearn drawing. Drawing pretends to unravel the spatial feel of things, working as a witness to a ‘presence’. In turn around, drawing is the real presence. These are tangible existential ideas- generally cultures acknowledge an ‘other’ life separate from this one. Man then begins to ask his place- is this or that the ‘real’ life? To and fro, the tussle becomes the very matter of contention between Realism and Abstraction, the signifier and the amplifier.  

Our visual senses mediate in between engaging and nurturing the mind. Truth is- we know nothing. Let all knowledge begin from there to interrogate meaning.

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.