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/
I wrote this essay for the catalogue of Uche Edochie and Tolu Aliki’s amazing show HALFWAY THROUGH A THOUSAND MILES. If you saw the exhibition, I hope you find convergent views. If you didn’t, I hope you see some of it through my words. There is colour, there are pure colours and light in the window of art called Nigeria. It is fresh and strong. Read on.
Witness- An account of Two Contemporaries
One can’t talk about the artwork better than the artist himself- his artwork is the first and original statement! It is a more daunting task when the artist also writes about his work. I will start by avoiding descriptions of individual pieces in this exhibition. Tolu Aliki and Uche Edochie share from their souls, presenting telling self-portraits. Let us enjoy the evidence before us- exuberant outbursts of colour celebrating life in its various nuances! Halfway through a Thousand Miles is a visual narrative of the journeys of two artists living in Lagos. History, destinations, aspirations are explored in a probing manner. There is the light humour, and then the melancholic palettes! The journey of life is about halfway gone and both artists share the limelight. There is no faulting the craftsmanship.
Aliki studied Mass Communications and spins titles like Colors of Passion, Intimate Moments, the Good Life, Shades of Love, etc, all thematically situated in sensuality and a heightened enjoyment of the finer things of life. The intention tends towards perfection, his cunning to erase traces of the method of application.
As the curator, Edochie sees ‘an unexpected beauty in the …heroism of (Nigeria’s) citizens’. His paintings are psychedelic flows that surprise in the transitions between two colours, keeping the palette fresh and airy. Edochie’s working experience is in 4 phases- the first two relate to art practice while the last two revolve around sexuality and relationships, topics that receive more hush treatment (unfortunately) than they should in these climes. Both artists compliment each other. On the one hand are the mature dark nuances of colour; on the other, we have the pastel, graphic colour of a dandy! So this combination works. Well. Even before he graduated from Art School, Edochie knew what needed to be done. He started to fill in the gaps in the interpretation of his work, writing at every opportunity. For both artists, Colour is applied as a labour of love. Colour is theme and light creates other illusions. Aliki brings his signature childlike stylization of form and use of pure colour to contrast the extravagant splays of Edochie’s strokes verging towards a dangerous, passionate cadence. Aliki’s work playfully, yet emphatically holds attention in its stylization of form, while Edochie masterfully weaves explosive colours through bodies making them shimmer like beings stepping into celestial lights.
The creative person lives with the fear of not communicating, of being misread! Fine art allows such an engagement with the audience. The picture is an open plain. In the pieces in this show, both artists explore the human condition and political narratives, a tendency that logically comes with maturity- the growing awareness of responsibilities, of family, of leadership, of leaving something worthwhile behind. The works presented insist on celebrating the resilience of the Nigerian spirit trying to get ahead despite the bad press, despite the daunting living conditions. The artists spin tales as witnesses of all that is good about Nigerians. In these climes, they find an eager audience willing to grab at anything that will increase the value of living here. The artworks are autobiographical and homemade. The viewer sees forms woven in emotional and emotive poses. Then there are the standalone portraits on flat backgrounds. We trudge through the dismal Nigerian life, with the strange energy of people driven by the baking hot tropical sun, flashing teeth bared in laughter (hopefully).
The connection is immediate. Back then in Nsukka, Edochie delighted in his eye for details, revealing objects as though with bionic vision. Life and its toll happened, and the artist sees all reality in shades of psychedelic, opium colours. The business of life must be taken face-up. Aliki responds with flat planes of pure colour balanced in contrasts that regale in the two-dimensional surface. And yet the brilliant colours insist on making subconscious connections with the viewer. The firmness of his hand is without a doubt.
One has to tread softly through the hall full of impassioned, sometimes raging colour. Life is the fierce performance without beginnings or end, a journey eclipsed by unfettered optimism that charges the space. The journey of a thousand miles must be taken, one step at a time. Or you miss the suggestions. Art flirts flatter and provokes all life. But we live in an age where Time and Space has been transcended in many ways. Halfway through looking at the works, one feels a familiarity. Tolu Aliki and Uche Edochie are our contemporaries. But there is the individuality of experience that should be investigated. There is so much effusive brilliance. There are the dark notes. The audience must speculate on this.
NB: THIS ESSAY IS FEATURED IN THE CATALOGUE FOR UCHE EDOCHIE AND TOLU ALIKI’S EXHIBITION HALFWAY THROUGH A THOUSAND MILES. This exhibition closed on the 14th of October, 2018. Follow Uche Edochie and Tolu Aliki on Instagram for more stories and pictures of their works. Also, the works for this show and other works by Uche Edochie can be found on http://www.ucheedochie.com.
A few times in the past I wanted to know what people say about me and do the Google search. There are images of my work with other references from this blog, etc. Now I think this blog has been a part culprit of putting me out there. Here is how about 10 years ago I read about tips for making one’s blog more relevant in online searches, and thus, driving more traffic.
One-first lesson is to use hashtags well. The other point is to try to mention famous people and important ideas so that your blog about bathing your dog in the garden comes up when people are searching for reviews on the latest BMW. That kind of stuff could happen because I mentioned the neighbor’s BMW car parked beside the lawn of my house in the article when trying to give my story some scene props!
Now I shared what one strategy of getting famous through disjointed storytelling. The flip side is when your product or whatever you were advertising (that caused you to start blogging in the first place) gets wrongfully associated with others. A few minutes ago, a friend sent me a website called Ranker- www.ranker.com. The particular webpage ranked famous artists from Nigeria. They mentioned some great names- Aina Onabolu, Demas Nwoko, Yusuf Grillo, Twins Seven Seven, Chike Aniakor, Obiora Udechukwu, and Felix Idubor, etc. Hey, I jumped to the good side. Right before the list is an intro that includes Keziah Jones as a famous Nigerian artist (fine artist)! I don’t know how or where these writers get their information from. No, I know Google is everybody’s friend! A quote from the introductory lines on Famous Artists of Nigeria gets specific ‘if you are a fine art lover use this list of celebrated Nigerian artists to discover some new paintings that you will enjoy.’
Ok, it just keeps getting worse. Which moron mentions Aina Onabolu with new paintings in the 21st century? Well, we are all bloggers. When one reads the post and images of artworks of the famous artists, the writer of the post on ranker.com commit a worse offense the works of other artists get wrongly linked with the images of the famous artists. Two of my paintings are posted on that page. One is ascribed to Obiora Udechukwu and the other to Chike Aniakor. I usually mention Obiora Udechukwu who is a mentor and my professor at Nsukka in some blog posts. Also, I must have written about Chike Aniakor, who was my professor also at the University of Nigeria, Nsukka. Ben Enwonwu’s painted is given to Aina Onabolu while Obiora Udechukwu’s painting appears twice as Ada Udechukwu’s and Tayo Adenaike’s works concurrently. Would have been cool to make the list of famous artists, but unfortunately, only images of my work are stolen. Then the authorship is given to others. The second image is part of a poster I designed for my 2013 solo exhibition Autobiographies and Beatitudes, which held at the Pan Atlantic University. The painting is titled The Mourners from The Blessed series, culled from Blessed are those who mourn, for they shall be comforted. The work was inspired by a period of mourning. I had lost my mother a few months ago and still could not live with the loss.
So Google’s search algorithms bring up images of my works when you type Obiora Udechukwu images. That’s how these things happen. Google can help show off how shallow some writers are. Or just lead you to enjoy great writing and stories behind the images. And a lazy journalist looking for cheap fame just downloads the image instead of visiting the site, adds up some stats from Wikipedia, and quickly posts. Sadly, the webpage shows the number of times people have viewed this misguided article a whopping 87.4 times, as at the time of writing this article. Maybe I should appropriate stuff for my blog and get up to a thousand views for one of my articles for a start. Maybe I should get famous for lying. The victims of such lies are everywhere. The one that got famous that way soon becomes a god with clay feet.
The image of The Mourners used in the Ranker.com article-https://nsoforanthony.wordpress.com/2017/08/17/my-dream-show-autobiography-and-beatitudes/ ;
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.
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.
There 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.
‘The subject matter of Creation is Chaos’-The Plasmic Image, Barnett Newman.
While working, I see the possibility of multiple stories jumping out from the artwork. It is a sort of cross-referencing, both directly and in the mind; at being explicit in a crude way that could rob the work of its ‘reading’ as poetry. Beyond visuals, one has forced in the literalness of text.
In moments of quiet, the various elements are then reunited with firm brushstrokes. I blur hard edges, bringing in smooth transitions and coherence to the formal elements of the picture. When I cut bits of magazine for their color, I am surprised by the sudden change that happens to the cutouts when they are ‘relocated’ into the canvas. They acquire separateness, an abstract nature. The soft pastel colors used in magazines have subtle transitions generally. I take the textures of cloth, hair and other patterns and start reinforcing. I take from here, forget it, come back to look at it again and again. The text of the magazine print suggests a complex fusion of ideas. That is how art mimics life- things do not stand-alone. Whole lines of disjointed phrases are included as the fast whiff of a brush.
Ruth, Orpah and Naomi are three women whose destinies are tied through marriage. Then, their characters evolved. This work deals with the theme of famine, migration and marriage, and how it affects the lives of three women from the biblical story of Ruth. The similarities in the cultures of the Jews and the Igbo people of Nigeria make it a familiar story. The work of Art is first an aesthetic statement, then come the stories of people seeing, interpreting and pushing deeper into the picture plane. We try to find sure footing when confronted with the otherworldly encounter with a painting. People take what will become theirs, and then there is the mindset of the artist- usually suggested by the title of the work. We must come again and again to see. Chaos becomes something beautiful.
Of course X is for xylophone, and a word mentioned in this video on Youtube! Mathijs Lieshout runs the 13th Floor Gallery, with spaces at Commissioner Street, and in Ansteys Building, in Johannesburg. Aha, for the second time, ‘X’is in the newsline. This post is about the opening of the exhibition Harzardous Diction at the 13th Floor Gallery, Commissioner Street, Johannesburg. Truly, in a land where silence was (is)the go-to code on so many issues: Language, Diction, and every other form of communication in Society is watched with suspicion and bias. But the silence hasn’t helped change stereotypes ever. So lets talk about everything from ‘A’ to ‘Zee’. It ought to be an inclusive narrative, not about ‘the other’ and capital ‘I’.
Click here to watch the video interview aired on SABC- https://youtu.be/VATrX3YD6rI. Also, see the show which begins today, February 26th, and runs till March 7th, 2017. Layziehound works with Matthews Tshuma, James Shield, Goodlord Shoyisa, Azael Langa, and Ntsika Dulwana on the exhibition. Addendum: I am the NIgerian artist mentioned towards the end of the interview. I am part of the team on another project To Build by Mathijs Lieshout- http://www.mathijslieshout.com. PS: Communication gets more complicated by the day. One must make out time to listen, then get involved.
A work of art can have a line of thought that suggests, an energy that moves you. It is fleeting, like a lingering kiss from a waking dream. The work represents the body of an artist’s history, his ‘matter’ in a way that reflects all that he struggles with. It can be torture being so personal, unveiling before the same raping public. In brief moments of tranquility, one remembers that everything must pass away in time. Abstract art puts words to the deepest emotions in such a concrete way. The message is obvious to the extent of causing laughter. Such an emotion does not suit the moment of execution, of course.
Some months back, I promised a friend that the series A Thousand Cattle, Two Hills will be pushed till I have a thousand artworks! Not being the most meticulous person/ artist, I have not been counting. I could always stop at some point and ask anyone to also add the number of ‘cattle’ portrayed in the pieces as ‘individual cattle’! ‘They say the system works but we wont let it(sang Tracy Chapman) I am still looking for that system. There is a formal redirection towards a disintegrating world, where bedlam reigns and colour Red is the new Green. Reality is a horror movie of whirling beasts floating in space. Its all bullshit, really. Await another life, or wake up screaming.