We are a few days away from ArtX Lagos and I am so excited about this. Will you be coming? The buzz of the art crowd is my biggest thrill! I look forward to all that.
I have also completed some of my most ambitious pieces till date. I have worked further on my series about the lives of a people ‘Citizens of Nowhere’. My recent visit to Kenya, Rwanda and Tanzania made me think again about leadership, and citizenship. Rwanda particularly was quite inspiring! There I met 5 brothers from the same parents who were given different surnames by their father. People would prefer to be known for them than get tied to ancient stereotypes that they may not appreciate, or even be aware of! I saw a people trying to make sense of life after witnessing a horrendous genocide. The story at the Kigali Genocide Memorial indicts many surprising parties! I really wanted to see the memorial to think again about the calls from various quarters in Nigeria (as in many other countries internationally) for a separation, for their own nation. One major lesson I took away was the fact of how Good leadership will always inspire followership and make people-friendly policies! It hit me how the great leader shone more and more brightly as I got into conversation with the citizens. So, after painting about sheepish sycophantic citizens in Dey Follow-Follow Nonsense and citizens who suddenly start becoming aware that they have been lied to (Follow-follow don Dey Open Eye)? In talking about good leadership, I painted The Radiance of the King is His People, how great leaders are praised, glorified by the masses. Their praises seem to make the King glow more, as I noticed when I visit kings’ palaces, or see much-loved politicians being appreciated by their followers. The strokes of my brush are indistinct in The Radiance of the King. I deliberately wanted to suggest rays playing over an anonymous crowd. Faceless, the passage of the king is in bursts of light, as he performs for the crowds. It is the King in audience being adored by his court; it is the King taking centre-stage to dance for his people at Ofala; it is the celebration of a great harvest season, it is the Durbar festival; or the performance of Eyo masquerades at the Oba’s palace; the coronation of the Obi of Benin; or even a political rally! The accomplishments of good governance are in the public spaces everywhere you go, be it in a few of our Nigerian states, or anywhere else. Some of the works I just described are over 9feet wide! I have also made smaller pieces of individuals living in this land called ‘Nowhere’, those who live at the fringes. They are the displaced people, the economic and political migrants, the tourists, the immigrants and those unwilling members of a union they are uncomfortable with! My pieces are personal documentation of the lives I have met, of living here. Like newspaper headlines, they are ‘daily’ living, contemporary. More often, I would prefer to suggest forms ‘coming to being’, taking shape. One gets the feeling of constant motion, of crowded, uncomfortable spaces that one can’t breathe into. The anonymous crowd repeats liveliness, and pieces of ‘bodies’ are spattered all over the canvas. It is more dissection at a surgeon’s table.
I have continued the series A Thousand Cattle, Two Hills, using the cow as a metaphor and central subject. The stories of the horrors of terrorism keep happening. About a week ago, it was the media reporting how about 27 people were killed by suspected Fulani herdsmen in a village in Plateau State. The more shocking thing was that the village was placed under a curfew, and the victims were kept ‘ under protection’ by the Nigerian army in a place at the time! More shocking was the fact of the absence of the army when the killers arrived at the scene! The killers come and then varnish into thin air. Some people suggest that they may be foreigners… Whether working on the series ‘A Thousand Cattle, Two Hills’, or on ‘Citizens of Nowhere’ the theme is still the same- it is about citizenship, governance, migrations, tribalism, nepotism, and disenfranchised people. All form is dealt with in a very impersonal manner, without detailing the parts in ways that could ‘intrude’ into the ‘feeling’ of the collective; the bond of shared aspirations