Sunday 27 December 2015

Tamba... Female Spiritual Hygiene On Quaye’s Canvas


By Tajudeen Sowole
When female hygiene, as a subject, attracts the palette of an artist, the issue of crossing the line of 'decent' expression and presentation in creative context becomes relative as printmaker Tayo Quaye's adventure into painting suggests. Quaye, b. 1954 is a printmaker of over 40 years, widely traveled and currently showing his paintings for the first time in Nigeria.
 
Before 2 by Tayo Quaye.
Displayed under the title of The Tamba Series at Rele Gallery, Ikoyi, Lagos, the female figures are, arguably, the most graphic depiction of personal hygiene in art space of Lagos in recent times. Quaye’s last solo, an exhibition of prints was in 2000 at Nimbus Gallery, Ikoyi, Lagos.

 The current exhibition, so it appears, further stresses Rele Gallery's attitude towards creating “new ideas” to generate fresh art followers and collectors. Given the thickening texture of contemporaneity, the Tamba theme would be a delight for extremism performance artists such as Marina Abramvoic and Tracey Emin, though the cultural or spiritual origin of the theme remains a debate, which Quaye attempts to raise. But as a creative expression of an artist who is known for prints, Quaye's skill in painting derives so much strength from drawing, a crucial factor in lino and etching family of the print medium.

Segmented into series such as After Bath, Before and Tamba, the blue tone of nearly all the paintings suggest secretive or sacred perspective to the theme. From modern to the contemporary era, cultural or religious values always view personal hygiene, particularly of genital part of the body differently. In southwest of Nigeria, for example, using water for cleansing after discharging feces is a common cultural behaviour among Yoruba. Perhaps, from such hygiene process comes 'tamba', which has been the behavior of the people across generations. However, Quaye's focus on ‘tamba’ as a female issue is well understood given the sensitivity of hygiene in women’s privacy.  

 "Tamba is part of my childhood memory," says Quaye during a chat inside Rele Gallery few days after the opening. "Growing up, my mother - who is still alive - never told me to go and tamba." He insists that it has been a cultural behaviour among Yoruba that when a lady is old enough to start taking bath, the mother tells her to always ‘tamba.’ "It is different from cleaning after discharging feces." The emphasis, as he understands 'tamba' is on lady's cleanliness of genital part of the body, using water.  
   
The artist notes the disappearing culture of tamba among ladies during a period of 20 years while compiling the works. In fact, he argues that "ladies of today do not know what tamba means." Quaye finds "as disgusting," for example, "ladies using tissue paper or ‘toilet rolls’ instead of water after visiting the toilet." Indeed, the artist echoes thinking of most Yoruba men who derogatorily refer to such ladies as 'awon omo ti o ki n' tamba.' (Ladies who don't wash their genitals properly).
    
From a spiritual perspective of the theme, it appears that tamba has never declined among adherents of the Islamic faiths. Across gender, Muslims hold on to the hygiene of using water at every point of visiting the toilet for minor or major discharge of wastes. And for the fact that families in southwest of Nigeria interact across faiths, it is also common to note that some non-Muslim Yoruba ladies have imbibed the culture of tamba as part of private hygiene.
   
Given the cultural and faith background, what exactly is the origin of tamba? Quaye says his research has not exactly been definite as the origin of the word. But the spiritual and faith origin, he agrees, has been confirmed. "I spoke to one Imam who told me that the Quran places so much emphasis on tamba. So, it's a spiritual cleanliness for Muslims across gender," Quaye stresses.
  
And with Mallam (oil and charcoal on paper 1986), depicting back view of a male figure urinating in a crouch position, the cross-gender spiritual cleanliness of tamba in is confirmed. Beside the male figure, as captured on Quaye’s canvas, is a small water container, waiting to be used as part of the spiritual bathe of the man. The crouch position of the figure as captured in Quaye's work, interestingly, is a subject of debate among scholars of Islamic spiritual bath: opinions are divided on the implications of standing or crouching.
   
Based in northern Nigeria, the artist’s body of work, he discloses, took him so long to compile, "because it's difficult to get someone to pose for you in this part of the country."

   
Few prints such as After Bath 2 and 1, Isegun and Bather, included in the exhibition and catalogue remind followers the artist about his print background. Quaye was one of the students of master printmaker, Dr Bruce Onobrakpeya. Forty years after, the traces of Onobrakpeya's print technique still hovers over his art. Since his professional career, post-school, he has consistently been glued to the style and technique of prints, which is full of lines. It goes beyond been attracted to the technique, he says. "Printmaking is so vast that it is a course on its own in universities abroad." He recalls how, for example, he wanted to gain admission to study art at a U.S university, and the school "asked me to get a portfolio." 

Onobrakpeya, he explains, "was the only option that offered me apprenticeship." Though he ended up at Yaba College of Technology (YABATECH) Lagos, "the experience with Onobrakpeya prepared me well enough." For over 40 years of his career, despite majoring in painting at YABATECH, printmaking refused to create space for the former. "Printmaking is a very jealous medium; so, painting couldn't have crept in."

  Quaye's Tamba opened few weeks ahead of the third convention of Guild of Professional Artists of Nigeria (GFA). Being a foundation member of GFA, is Quaye honestly, satisfied that the essence of founding the group has been achieved? "To the best of my knowledge, GFA is still on track," Quaye, one of the few members who practise outside the Lagos base of the group argues.
 Like most members, he insists that GFA has restored professionalism to the fold of Nigerian visual arts circle. He agrees that indeed, art is very vulnerable to flooding of people who are not professional artists, but "it's important to draw the line." He recalls how the Society of Nigerian Artists (SNA)-organised art exhibitions in the past "used to promote professional artists."
 The coming of GFA, he boasts, has brought back professionalism into Nigerian art scene. "For GFA, the regular art exhibitions and auctions that feature works of members "show that the guild is on course."
  
Tayo Quaye.

In the first four years of GFA after its official launching in 2008, membership of the group was strictly by invitation. Currently, the seeming liberalism, which opened up membership to applications is still not all encompassing enough, so a section of critics insist. Quaye, in defense of the guild notes that every association has a certain level of exclusiveness. "Professional bodies like the Nigerian Bar Association (NBA), the medical doctorsN among others are not for everybody. So, the GFA cannot be an exception."
 For Rele, Tamba, which is running into the gallery's one- year anniversary brings the artist's skills to fore. "Best known for his accomplished prints, lino engravings and etchings, the artist with this exhibition will no doubt cement his legacy of artistic dexterity," says Rele in a gallery statement.  "The series climaxes with the Tamba Series the works from which the entire series derives its name. The pieces are a visual feast depending on whos looking- and it focuses (again) on woman and her anatomical complexities. Here, the artist insists on leaving it open to individual interpretation." 

 Quaye has exhibited in both solo and group exhibitions in U.S, Trinidad and Tobago, the U.K as his work is represented in several institutions and private collections across the world. His works, says Rele “can be found at the Victoria and Albert Museum, London and at the Smithsonian Museum in Washington D.C. “

How ‘Professionalised-Support’ boosted Ovbiebo’s Yet Another Place


 By Tajudeen Sowole
Involving sponsors and supporters of art from conception to the outlet point is, perhaps, taken for granted in most parts of developed climes. But when such commitment occurred in Nigeria as seen in the partnership that existed between sculptor, Richardson Ovbiebo and Hydrocarbon Advisors Limited (HAL), a hope of ‘professionalising’ corporate support for art brightened.
   
A section of the exhibition, Yet Another Place

 For Ovbiebo and HAL, the bonding produced the artist's solo art exhibition titled Yet Another Place, which was just shown at Omenka Gallery, Ikoyi, Lagos. As the exhibition came three years after Ovbiebo's last outing, in which door was used as a metaphor in highlighting domestic behaviourial patterns, he continued the probity, extending it to the concept of habitat in general.
  In the artist’s current show, a body of work that radiates his mood was viewed few days after formal opening of Yet Another Place, where the works were still on display.

After the door metaphor of his last solo show, Richardson brings a space infested with wheels, both in actual and conceptual sculpture forms. Also, his works in Yet Another Place, which have quite a number of metal sculptures deodorised in colours, confirm the increasing number of artists who are sacrificing natural metal texture on the alter of painterly art. It has been observed that natural metal pieces are on the decline in the Lagos art collection space, perhaps, surrendering to the mentality of ‘it’s not art if not painterly and colourful.’

 But in Something About Agent II and Aso Ebi Gele I and II, natural metal texture is retained, at least to an extent. And comes the real opportunity - for anyone who cares – to appreciate natural metal content as another floor piece Agent II offers that much.

 As a sculptor whose work thrives on the diverse application of materials, Ovbiebo , in this body of work also supports the blurring of line between art and designs, so suggests a set of works under Street Codes series. And quite of thematic importance is the complexity of defining shelter in urban cities of Nigeria, which the exhibition focuses.

The entire works in the exhibition, Ovbiebo explained, accounted for what he described as  “introspection.” Indeed, Yet Another Place offered the artist a broader space for expression, particularly, having shown traces of incendiary contents in the past, despite limited opportunity. But the depth of the themes exposed someone whose search for shelter, perhaps, has generated a traumatised definition of habitat.

  Releasing the trauma could not have come at a better time as HAL, a conscious supporter offered Ovbiebo the right ventilation.  Despite being incorporated four years ago, HAL, which started operation formally this year, strangely, is already involved in corporate sponsorship of art, so soon. 

   HAL, according to art patron, Hakeem Adedeji, “got involved in the exhibition since 2013.” He disclosed that the real aim of HAL was to take away “financial risk” from the mind of the artist so that there existed a full concentration on the studio work.

  HAL is an investment company with focus on the oil and gas industry, providing “independent financial advisory, capital raising restructuring & recapitalization, and mergers & acquisition solutions to medium and large players Nigerian and West African market.” But Adedeji, the man behind the company is not a strange name to the Nigerian art landscape when it comes to patronage. His experience, he said, informed him about the challenges artists always face in organisning art exhibitions.  “My experience dealing with artists across generations, over the years, has shown that most of the galleries do not invest in art exhibitions,” said Adedeji who is seen as a quiet collector.  “We got involved with Richardson by taking care of the cost of producing the works, right from start of the concept to the point of exhibition.”

  And of interest is his disclosure that when the works were ready, the partnership was not in any hurry to have an exhibition until when they got “the right time.” Indeed, such strategy is strange to the art scene in this part of the world; some artists hardly wait for the works to dry before heading to the gallery. 

  For HAL, it’s about “professionalising art support and sponsorship.” Adedeji has been collecting art since 1982, a passion he increased on his return to Nigeria ten years after.  Strangely however, Adedeji described himself as “a patron, not a collector.” He argued that collecting is just one of the passions he has built in art appreciation over the decades.

  He decried what he noted as unfair treatment of artists as “they are tossed around, even to collect their money after exhibiting or selling works.” So, for HAL, the patron assured that the “artist makes the money, we promote the brand.”

 He argued that understanding art patronage goes beyond gatecrashing into art as a passion. Sharing his experience in art patronage, Adedeji recalled how he regained his real sense of cultural value in the U.K. “My real sense of culture deciphered at 16 when I traveled to the U.K., despite the fact that I already had passion for art before I left.” 

Omenka Gallery noted that since Ovbiebo graduated in 2007 from Yaba College of Technology as a sculptor, he has participated in various group exhibitions at the gallery in Lagos.   

Saturday 26 December 2015

Between ‘Star Wars’ actor, John Boyega and Damilola Taylor


Remember the tragic Damilola Taylor, who was stabbed to death in 2007? The young lad, it has been revealed was a close pal of Nigerian-born actor and star of The Force Awakens, John Boyega.
  
John Goyega

The British tabloid, Mirror has quoted Damilola’s father, Richard Taylor saying Boyega was among the last people who saw his son before the tragic death. Taylor was said to have revealed this during the premiere of The Force Awakens.Boyega

Boyega has won worldwide acclaim for his role as rogue stormtrooper Finn in the movie.

Interestingly, Boyega  nominated the Damilola Taylor Trust as one of the 15 good causes to share £1.35million from the charitable initiative Star Wars: Force for Change. More http://www.mirror.co.uk/tv/tv-news/star-wars-hero-john-boyega-7059437

Sunday 20 December 2015

For Grove’s Art, A Rescue Mission With Indigenous Expertise


By Tajudeen Sowole

Without westernised preservation laboratory, a group of Osogbo-based Sacred Grove Artists appear to have perfected the art and science of sustaining aesthetics of old cultural works.

  

Osogbo Iya Moopo. Photo by: Adolphus Opara
With the support of volunteers under Susanne Wenger Adunni Olorisa Trust (AOT), set up to manage the legacy of the Austrian-born artist and mentor, the Sacred Grove Artists are currently embarking on campaign of Save Our Art! Save Our Heritage! Part of the campaign to Save Our Art! Save Our Heritage is an ongoing art exhibition scheduled to end in the first week of January at Wheatbaker, Ikoyi, Lagos. Most of the works on display are that of the New Sacred Art Movement artists, a group of loyalists who derive its professional callings from being beneficiaries of Wenger's mentorship. Recall that the group, in 2009, at Quintessence Gallery, Falomo. Ikoyi, showed A Legacy of Susanne Wenger: An Exhibition of the Artists of New Sacred Art Movement.

   As commendable as the efforts of the Trust and the Sacred Grove Artists is in getting the damaged works at the site restored, observers would argue that preservation requires advance technique aided by digital technology to sustain a proper management of the works. But there is nothing to worry about. The artists, according to co-chair, Save Our Art! Save Our Heritage! Robin Campbell, need little or no such input; the traditional and native technique in preservation, which has been used for over several decades are still resilient. She disclosed that even, Julius Berger, a well-known expert company in cement came to the grove and assured that the artists were on the right track in restoration and preservation, "though gave the artists little advice." In cements, and with assistants of some of the artists, most of the sculptures in the grove, were originally produced by Wenger (1915 -2009).

    Having sustained a global tangible cultural status as well as institutionalisation of the matriarch, Wenger (1915 -2009), the iconic Osun Osogbo Grove, southwest Nigeria is, clearly, frantically being rescued from losing its artistic contents of over four decades. In 2005, the global body, United Nations Educational Scientific and Cultural Organisation (UNESCO) conferred its prestigious Heritage Site on Osun Grove. But to sustain the cultural and artistic values of the site, the AOT is using the Save Our Art! Save Our Heritage! exhibition to raise fund and keep the works of restoration / preservation of the Grove alive.
   Inside Rufkatu Hall, on the first floor of Wheatbaker, some of the over 100 exhibits were on display for preview shortly before a formal opening of the exhibition and auction. Arguably, Save Our Art! Save Our Heritage! is the biggest post-Wenger exhibition or art gathering in Nigeria. Also on display were works of non-members of the Sacred Grove such as photographer, Adolphus Okpara and painter, Polly Alakija. Two of Wenger's works: a batik donated to the event by , Berlin and a painting were also on display. The batik, a colourful print, according to Robin Campbell, co-chair of Save Our Art! Save Our Heritage!

 "will be on auction."

       Chair of Save Our Art! Save Our Heritage! Mr Femi Akinsanya confirmed the eargerness of the old artists to train young ones. He noted how keeping the artists working at the grove require funding, Akinsanya said as a voluntary organisation, "there is a limit to what we can offer." He hoped that the  Save Our Art! Save Our Heritage exhibition will help attract attention to the nedds of the trust.

  Basically, funding susteinance of the grove is a challenge, which AOT is facing. One would think that the UNESCO listing of the site provided an advantage to generate tourist destination - outside the yearly Osun Osogbo Festival - that could at least sustain the preservation of the grove. The tourism drive, according to Adesanya, was an ongoing effort, which includes working with the National Commission for Museums and Monuments (NCMM) and government of State of Osun. He assured that "once the works of restoration are done at the grove tourism drive will be intensified."

   Wenger, who spent most of her over 40 years residence in Osogbo adopted the Yoruba culture and native religion just as she organised workshops for the indigenous artists.

Half A Century Of Brushing With Osogbo Master, Oyelami



By Tajudeen Sowole

Five decades of studio practice in the career of an artist is no doubt worth celebrating. And when the artist is a revered signature as Chief Muraina Oyelami, b. 1940, the celebration comes with special attention.

The Suitors, oil on board by Chief Muraina Oyelami.

However, it was a quiet and brief gathering on Thursday evening at an exhibition’s opening simply titled Muraina Oyelami, organised by Life House inside Constant Capital office, Ikoyi, Lagos. Not exactly a regular art space as the white walls were almost overran by the glass doors and windows.  
  Perhaps for the purpose of making art interact with non-regular space, the exhibition for Oyelami's 50 years in studio practice – ending January 28, 2016 - make a modest sense in expanding the horizon of art appreciation. 


 As the select guests of collectors, connoisseurs and aficionados trickled into Constant Capital, increasing in number with the pace of the disappearing mild harmattan daylight, the paintings of the celebrant glitter under the spotlights. In restricted three hours, the opening of the over one month exhibition provided an appetizer for further engagement with the paintings, most of which are less than one year old. One hoped that within the next month of the exhibition, the walls at Constant Capital would create space for few retrospection pieces that represent crucial periods of Oyelami's five decades in studio practice. An exhibition of such a landmark would be incomplete without, at least, few old works.


 Mostly in portraitures and streetscapes, Oyelami's work, over the decades, represent a great depth in native visual expression, which has also made incursion into international art lexicon across Europe and the U.S. For his 50th anniversary in studio practice, the artist's tradition as unshaken Nigerian modernist continues fearlessly, even in the surge of contemporaneity that is submerging and blurring the line of genuine creativity.


  Mounted like one piece, though "two separate works," The Suitor and Innocent, on the left side of the space’s entrance represent one of Oyelami's revered signatures in capturing emotions. In a more philosophical and spiritual context comes Cycle of Life, a two-figure piece radiating an aura of mysticism.

 For those who know the value of a master artist's periods in provenance, the works on display, apparently created for the 50 years celebration of Oyelami could make landmark collection. In fact, given the few number of the works and the landmark aura they radiated, whoever collect any of these pieces has something rare to treasure in Nigerian collection. 


 When life could be so short and unpredictable, hitting 50 years in a profession is like making a strong impact half way into a marathon. Very few artists have the boldness or opportunity to celebrate 50 years in studio practice. For Oyelami, did he envisage making the five decades mark when he chose to be an artist in his mid 20s?  "As a young artist, I didn't know I could make a profession out of art,"  Oyelami recalled during a three-minutes chat at the opening. "In fact, I didn't know I could sell a work of art until 1967 when my work was sold in London." Growing as a young artist, the upbringing then, he stressed, "was not to make art for sale; we were just enjoying the fun of creating art." 


  Oyelami is among the revered breed of Osogbo artists who stunned the west in the late 1960s through 1970s and consolidated their rise with the expanding space of African art later in the last decade of 20th century. As Chief Esa of his native home town, Iragbiji, in State of Osun, Oyelami has used his art to attract attention to his birth place.

 


Chief Muraina Oyelami.

Post-50 years of Oyelami's studio practice may not be as eventful in numerical context as the past.  But the artist is dreaming big towards a legacy that  ploughs back to the environment that has given him so much opportunity in life. "From now on, I have a project that is currently of priority to me," he disclosed. He was unable to explain details as the restricting hours of the event got closer .But a document sent later completesdetails of the project.

 It's an institution project called Abeni-Okin Institute Of Visual And Performing Arts (ABIVPA).


  Named after his mother’s oriki, ABIVPA, has as its  vision, according to the document: leaving a legacy in art and culture in Nigeria, creating a platform for training successors who can learn, understand, preserve and pass on our cultural heritage and on artistic work from drastic extinction. Goal: To help the young ones discover their various talents in visual and performing arts which include: acting, writing, chorography etc; promote tourism and languages. Mission:Promote policy and framework for development in Nigeria through sustained economic growth and transformation in arts and culture.


 Activities include: to admit and train the young ones especially those who have interest, as well as the talented ones in art and culture but are incapable of acquiring adequate training as a result of unavailability of fund. By this, they will be empowered to become independent, entrepreneurs, job creators and most importantly, become instrumental in the preservation of our Arts and culture.


  Some of the regular training workshops in ABIVPA include: workshop on Visual Arts that will make use of various media such as sculpture, pottery, painting, photography and textile dyeing; large statue, terracotta and textile collections will serve as teaching aids; making instruments and playing music

general objectives; contributing to people’s intellectual and artistic fulfillment; and enhancing the value of the cultural heritage and promoting cultural diversity.


Listed as “Specific objectives” include training educators and artists to teach art practices, promoting access to the arts for severely underprivileged youth, among others.

 Curator of the exhibition, Ugoma Adegoke noted the coincidence of Oyelami's 50 years studio practice celebration with quite a number of high profile art events of Nigerian art origin. "This was an extremely important year, filled with many milestones commemorating some of Nigeria's modern and contemporary masters," wrote Adegoke in the catalogue of the exhibition.  "Enwonwu in London, Grillo in Lagos, Anatsui in Venice... and now presenting a long-awaited solo exhibition of Oyelami after almost 20 years." 


 She saw the event as a  honour and opportunity for her "at this most important time in his career, and after nearly two years in conversation about collaborating." 


 Representative of Oba Rasheed Olabomi Odundun IV, Aragbiji of Iragbiji at the opening, Engr Yomi Taiwo recalled knowing Oyelami at University of Ife (now Obafemi Awolowo University, Osun State), since 1980. And still tracking the artist, Taiwo commended him for making Iragbiji a tourist attraction to the world. He however challenged Oyelami: "the challenge I am giving his is to ensure he internalise his works by making them domicile in Iragbiji, in a museum."


 If you were in elementary or secondary school in the 1970s with ambition of becoming an artist, it was most likely, you read about Oyelami, a Lagos-based artist Olu Ajayi narrated his tracking of the celebrant. "If you started reading about Oyelami only in higher institution, then you actually didn't prepare to be an artist; I have been reading about him much earlier as a kid," said Ajayi who saw three factors in in Oyelami. "In him are Muraina as an artist, Muraina the artist and Muraina the art."


  The revered spot of Oyelami, for example, was stressed in 2007 when a group exhibition titled Living Masters was shown at Terra Kulture, Victoria Island, Lagos. Organised by Mydrim Gallery with sponsor from GTB, the exhibition also featured works of Yusuf Grillo, Abayomi Barber, Bruce Onabrakpeya, Bisi Fakeye, David Dale, Isiaka Osunde, Kolade Oshinowo and El Anatsui.

  Oyelami began his career in arts in 1964 as one of the members and the first generation of the famous Osogbo art school initiated by Professor Ulli Beier and his wife Georgina.

A Textile-Inspired Journey of Void To Form on Adeshina's palette


By Tajudeen Sowole

 With a background in textile design, Ademola Adeshina uses the canvas broadly by appropriating fundamentals of art creation. Late arrival of visitors to the opening of the artist's solo art exhibition titled Void To Form at the moderate lobby space at Moorehouse Hotel, Ikoyi, Lagos, not withstanding, Adeshina had at least one guest with whom to share his findings about genesis or basics of art creation.

  

 In art parlance, content of forms such as styles and techniques are, perhaps, most often taken for granted as the results of individual artist's skills in whatever chosen medium. But Adeshina argues that before a form is achieved, there comes a proper articulation and usage of the blank space known in technical term as ‘void.’

  
 Being a textile artist, Adeshina should know better about the transition from void to form in the intellectual journey of appropriating creative contents. "It's like a child, fresh with blank mind. Whatever the child grows up with becomes the basis for a formative period," Adeshina tells his only guest during a tour of the works on display. "The child's mind is represented in my canvas, preparing for the sketches and paintings."

   
Taking art of textile design from the mills onto the canvas as seen in Adeshina's rendition of blue hues such as Family Circle, What Goes Round and Supplication as well as multi-colours like Proverbs -II, Eye Contacts and Symbols of Authority for examples afford a better appreciation of the depth of artistic contents in the end product that becomes fabric.

  
Apart from the artist's thematic focus on basics of transition from Void to Form, it's of interest seeing his walls accommodate non-textile art forms. In fact, portraitures in stylised realism and semi abstract or impressionism are two other forms pronounced on display.  

  
 In compartmented faces such as Fragments of Beauty, Nma (Beauty) Olori (King's Wife), and Oju Ewa,  an artist whose skills in design and patterns is very glarring, making the portraits appear like prints from the textile mills. Still on Adeshina's design skill as an asset, works like Migration, Exodus, The Way We Are and a collage of photograph cut out, Percepttion explain the srength of the artist in colour control. In vertical renditions, these works strengthens the eclectic textures of Adeshina's echibits.

 Still on the diversity of the displays, two works: a core abstract The Source and a landscape, Grazing also expose the artist's quality across genres and themes. Specifically, Grazing, which attempts to meet classic form would hardly be pushed aside, particularly in the artist's toning of greenery against a poetic blue sky. For The Source, there appears to be a thin line between the form as an abstraction and capturing of a water sprouting spot.

   
Taking the concept of Void To Form beyond art space, Adeshina expands his thoughts, noting, "Maturity is the 'form' of expressing those values and morals, which is embedded in every human."

  In his contribution to the brochure of Void To Form, Chief Adeniyi Adediran of Department of Fine and Applied Arts, Ladoke Akintola University of Technology, Ogbomoso notes that the exhibition presents Adeshina "as a bundle of divergent talents."

Saturday 19 December 2015

Waiting for broad appreciation of national art competition



By Tajudeen Sowole

As the depth of creativity in a yearly national art competition deepens, managing the efforts of the finalists for broader appreciation appears like a recurring challenge to the organisers.  But the 2015 edition has generated efforts in correcting the stunting of appreciation in finalists’ depth of creativity.   

  
Wining sculpture by Sebastine Ugwuoke

For the 2015 edition titled Future Histories, it took a last minute decision after on-the-spot agitation during the grand finale for the organisers, African Artists Foundation (AAF) and sponsors, Nigeria Breweries (NB) Plc to extend the public viewing to two days. Traditionally, the exhibition of the finalists’ works, in the previous editions lasted for just one day. 


 Shortly before the winners of Future Histories were announced, visitors had seen the works of the 11 finalists inside the two floors at Kongi's Harvest Gallery, Freedom Park, Lagos Island. Despite the choking space, the depths of creativity in most of the works were still very much alive.


While announcing the three winners, Head Jury, Kolade Oshinowo lamented that such great efforts of the finalists would end up being on display for just one day. But a respite came few minutes later from Corporate Affairs Adviser, NB Plc, Kufre Ekanem that the exhibition of the works, "has been extended till Sunday.”  The announcement meant that two days were, supposedly, added to the traditional one day-grand finale exhibition.


In the previous editions, the grand finale day was usually the only window available for public to see the exhibition. More worrisome, no traces of the winning works in most of the past seven editions ever surfaced anywhere. So, the question usually arises: are the works of the finalists perishables after the competition? Perhaps, viewing them in digital forms on the website of the organisers and individual artists is the best alternative. 


As Sebastine Ugwuoke (Grand Winner), Ngozi (Outstanding Concept) and May Okafor, (Outstanding Production) picked their prizes, one wondered: what happens to these works after the competition? The answer, for now, is imbedded in the prizes, which are: N2 million naira, solo exhibition and a trip to Dubai for the first place winner while Outstanding Concept and Outstanding Production get N1 million each.


In the future, as the theme of the 2015 edition suggests, it would be more exciting to see works of past finalists in the collections of public or private museums of contemporary art or institutions or sold at art auctions. As the organisers have listened to criticism about the need to change its head jury of over five editions, one hopes that in the next edition, wider public appreciation window and exposure would be given to the works of the finalists, particularly, the three winning prizes.


In August, 12 finalists: Adetunwase Adenle, Funmi Akindejoye, Michael Ametuo, Chinenye Emelogu, Maryam Kazeem, May Okafor, Komi Olafimihan, Ngozi Omeje, Babatunde Oyeyemi, Folami Razaq, Sabastine Ugwuoke and Stacey Okparavero were announced for the grand finale after an Artists Retreat in Lagos.

 Last year, Lines, Patches and Pathos by Erasmus Onyishi was announced the first prize winner inside Civic Centre hall, Victoria Island, Lagos under the head jury, the Prof El Anatsui. Two other winners for Outstanding Concept went to a game house-like titled The People’s Algorithm and the Butterfly Effect by Modupe Fadugba and Outstanding Production, The T’ Eye Meline by Paul Mbah.
 
 L-R: Event host, Arthur; Corporate Affairs Adviser, NB Plc, Mr. Kufre Ekanem; Hon. Commissioner for Arts and Culture, Lagos State, Mr. Folarin Coker; Winner, Sabastine Ugwuoke; Lead Judge, National Art Competition, Chief Kolade Oshinowo and Director, African Artists’ Foundation, Mr. Azu Nwagbogu at the grand finale of the 8th National Art Competition at Freedom Park, Lagos.

Emphasis on process of creating art started when the competition was about four editions old in 2011, which included a 14-day workshop in Abraka, Delta State.  A joint installation work of Uche Uzorka and Chike Obeago was adjudged the best at the 2011 edition, which had the theme tagged Documenting changes in our Nation.


At the grand finale of the 2015 edition, the Managing Director/Chief Executive Officer, NB Plc, Mr. Nicolaas Vervelde stated that the company’s sponsorship of the completion has been in line with “our philosophy of Winning with Nigeria.”        

  He also stressed how the yearly event has been among several initiatives of the company covering diverse areas such as talent development, youth empowerment, interventions in education, health and water across the country.

  
Vervelde commended AAF for being consistent with the completion: “We are grateful to our partners, the African Artists’ Foundation for sharing our Winning with Nigeria vision and for their commitment and dedication in making the competition a success over the years. Let me use this opportunity to thank the panel of judges led by Professor El Anatsui, for its tireless effort in assessing the artworks and the commitment to the growth of the National Arts competition.”

Artists’ guild elects Adejumo as new president


Olusegun Adejumo, President-elect, GFA
 
By Tajudeen Sowole
A new president for Guild of Professional Fine Artists of Nigeria (GFA) has emerged as Oluegun Adejumo was elected during the group's convention held at National Theatre, Iganmu, Lagos, few days ago. Adejumo scored 18 votes out of a total 21 to emerge the president-elect of GFA.
 The president-elect will be taking over from Abraham Uyovbisere whose tenure of two terms ends January next year.  Other members of the newly elected executive of GFA are Kehinde Sanwo, Vice President; George Edozie, Financial Secretary; and Bimbo Adenugba, Secretary-General. For the post of the president, Lekan Onabanjo, according to the outgoing executive members, contested against Adejumo.
  
 Apart from Sanwo, all the newly elected executive members were not part of the last administration. Interestingly, Adejumo and Sanwo are the oldest members of GFA among the incoming executives. Edozie and Adenugba were among the set of members inducted over two years ago.

  In 2008, the GFA's founding members voted the pioneering executive Edosa Ogiugo, president; Abiodun Olaku, Vice President; Alex Nwokolo, Financial Secretary; Sanwo, General Secretary; and Sam Ovraiti, Social Secretary. Two years after, Onabanjo replaced Ovraiti as Social Director.

  Aims and objectives of GFA include: to promote the appreciation of Fine Art in Nigeria; project the good image of professional artists in the society; establish ethical standards and rules that would encourage and enhance the proper practice of the profession in Nigeria; encourage interaction and unity between Nigerian and non - Nigerian professional Fine Artists and synergize and affiliate with any recognized art body; promote self-sustenance through professional art practice.

  Adejumo was born on September 30, 1965 in Lagos. He served as Assistant Lecturer, Painting at the Lagos State Polytechnic and later worked as a visualizer and illustrator at Advertising Techniques Limited from 1991 to 1992. He co-ordinated The Young Masters Art Trust. 

  As a resource person,  Adejumo had shared his knowledge in History of Nigerian Art, 2014, a forum at Red Door Gallery, Victoria Island, Lagos courtesy of The Nigeria Stock Exchange; in 2013 Breakfast With The Creatives, also at Red Door Gallery; Sharing My Work Experience in 2012 at Obafemi Awolowo University (OAU), Ile- Ife, Osun State; in 2011 at OAU Ife, Surviving As a Visual Artist in the 21st Century Nigeria; in 2008 Nigerians at Work at Africa Art Resource Centre (AARC), Lagos; and in 2007, Young Artist and His Market Place- Swimming Against the Tide at Art Zero, Lagos.

  Some of his past shows include Make a wish- fundraising exhibition in support of breast and cervical cancer, Bloom Project, City Hall, Lagos; 2007 Expressions, Sandiland Arcade, VI Lagos; 2004 Lately, Truview Gallery, Lagos; 1998 On Request, American Embassy guest house, Lagos 1997 Recent Paintings, Chevron Estate, Lagos 1994 Recent Paintings in watercolour, Fenchurch Gallery, Lagos; and 1992 Diverse Siblings, Centre Culturel Francaise, Alliance Francais, Lagos.
(Updated on Sunday, December 27, 2015)