Three years after his death, one of Nigeria’s master artists, Yusuf Grillo, gets his first posthumous solo exhibition, which showcases paintings that were never seen in public during his lifetime. Titled Yusuf Grillo: Like You’ve Never Seen, the exhibition opened recently at Yusuf Grillo Museum, 28, Ogunlowo Street, Ikeja, Lagos. Among the works on display were paintings, mixed media among others as old as the 1970s and recent as 2018.
“This is an exhibition with a dierence, focusing on the rarely seen, and never before exhibited conceptual works for bigger scale commissions; such as mosaic murals, stained glass church windows and bas-relief sculptures that the master artist produced during the prime years of his life,” Executive Director, GRILLO Art Limited, Morayo Anthonio stated while announcing the exhibition.
“Although the artist never intended these works to be publicly exhibited as paintings, seeing as they were just a means to a more impressive end; the care with which they were kept within his studio betrays the worth and significance of these preparatory artworks,” she added.
Read Also: I can swear with Qur’an I never stole as Kaduna Governor — El-Rufai
Anthonio disclosed that uncovering the collection was so exciting that the need to share them with the general public became necessary as part of the third year memorial event of the late master. She stated that quite some other works in sculptures, shown before, will be exhibited alongside the newly uncovered paintings. “While the focal point of the exhibition will be these nine conceptual paintings, other previously exhibited paintings will also be on show as well as marquette of sculpture commissions undertaken by the artist at various periods of his life,” she noted.
As part of plans to sustain Grillo’s legacy, Anthonio announced that the next event will be a private art auction scheduled to hold before the end of the year. “For the collectors who have long sought an opportunity to add a Grillo to their collections, will be odered by a private auction sale featuring one original and limited edition prints of five of the conceptual works,” she said.
Renowned artist and former Deputy Rector Yaba College of Technology, Kolade Oshinowo, described Grillo as one who allowed him stand on his shoulders to look into the horizons adding that he elevated many people and supported fairness and justice.
“He was a man who allowed me to stand on his shoulders to look into the horizons, if anybody will do that for another human, you should hold that person in high esteem. He elevated so many people without thinking about it. That was the major legacy he passed on to all. It’s not all about money. The relationship is quite important,” he said.
Commending the children of Grillo for showcasing the works and making their father proud, he said: “Apart from Grillo himself, I think we should talk about the children. What they have done is magnificent, what they have done will make any parent proud to have converted this place and the thought of doing this, I must praise them. They have decided to ensure that the legacy lives on and alive. For Yusuf Grillo to a lot of us, he’s not dead. He’s in our hearts because he endeared himself to all of us.”
Art patron and collector, Prince Yemisi Shyllon while praising Grillo, encouraged all to touch lives one way or another. He said that as an art collector, Grillo works of art will never die as they are in Yemisi Shyllon Museum where they are displayed for the benefit of humanity.
“Yusuf Grillo can never die because his works are in the Yemisi Shyllon Museum. Artists never die. We collect and ensure those works are in places where when they are gone, where they are displayed, they can be useful to humanity.
“This man is not just an artist. He was the builder of people and the builder of resources. I am here not because I’m invited, or because I collect art. I’m joining others to celebrate a great man, a man who made an impact in our lives and others. I just wanted to encourage you all, let us touch lives in our own small ways, let us leave a good legacy behind,” he added.
Curator of the exhibition, Kehinde Sanwo described the event as ‘a ground-breaking posthumous exhibition.’ noting that the ‘unprecedented collections have been carefully selected,’ to bring what he perceived as ‘a fresh perspective to Grillo’s innovative style and artistic prowess.’
The inclusion of some of the familiar works of Grillo into the exhibition, according to Sanwo, will keep the trajectory of the artist alive. “Maquettes of commissioned sculptures, carved wooden partition stand and wooden stools will be on display, providing a comprehensive understanding of Grillo’s artistic trajectory,” Sanwo said, adding that the exhibition is a testament to his boundless creativity and his enduring legacy as a leading figure in modern art.
Art lecturer at the Ahmadu Bello University, Zaria Prof. Jerry Buhari noted in the exhibition brochure that the show is giving art followers an inspiring example and lessons in applying three key words of ‘archiving, preservation and presentation’ to celebrate creative professionals, living or departed. Buhari urged living artists to take lesson from the exhibition as regards future of their creativity. The scholar also directed similar message of preservation and presentation to cultural institutions to consider the importance of documenting, and preserving art for posterity.
Buhari captured some of the medium and techniques of Grillo within the context of the late artist’s contribution to modern Nigerian art. “The images in the catalogue have as an introduction, a rare and excellent black-and-white lateral view portrait of the artist,” Buhari said. “It captures his youthful look gazing into a world he is in, worlds he has gone through and experienced, worlds he will create and conquer,” he added.
Born in 1934, in Lagos, Grillo graduated in Fine Arts from the Nigerian College of Arts, Science and Technology, Zaria in 1960. He was a member of the Zaria Arts Society, a group of students that spearheaded an artistic revolution that challenged the norms of colonial education. In the late 1950s, the Zaria Art Society embraced a theory of “Natural Synthesis,” fusing indigenous Nigerian themes with European techniques. This initiative gave rise to the appellation “Zaria Rebels” by which the Zaria Art Society is often referred to.
