Category: Arts & Life

  • Glory Agbonita Ehizuenlen wins creative fashion designer of the Year at La Mode Green October Event 2023

    Glory Agbonita Ehizuenlen wins creative fashion designer of the Year at La Mode Green October Event 2023

    • By Daniel Usidamen

    M On Nigeria’s Independence Day October 1st, amid a sea of glamour, innovation, and cultural celebration, one designer stood out. Glory Agbonita Ehizuenlen took home one of the night’s highest honors at the 2023 La Mode Green October Event, winning Creative Fashion Designer of the Year for her exceptional contributions to the fashion industry.

    Held annually on October 1st, the Green October Event has grown into one of the most anticipated events on Nigeria’s fashion calendar. Organized by La Mode Magazine, the ceremony celebrates not only style and creativity but also inclusivity and social impact. This year’s edition, held at the Oriental Hotel in Lagos, brought together influential voices from fashion, entertainment, and philanthropy.

    For Glory, the award is more than a trophy—it’s a recognition of her artistic voice and the cultural narratives she preserves through her work. Known for her intricate use of indigenous textiles, beadwork, and symbolism rooted in Nigerian heritage, Glory has carved out a unique lane for herself—balancing contemporary elegance with deep ancestral storytelling.

    “To be recognized on this platform, among so many powerful creatives, is humbling,” she said. “Fashion is my way of honouring where I come from while reimagining where we can go. This award is for every woman, every artisan, and every culture keeper who dreams in fabric.”

    The selection process for the awards was no small feat. Winners were chosen through a dual process of public voting and expert evaluation, with a panel that included leading designers.

    Glory’s work continues to defy conventions and borders. Her collections have been featured on major runways and publications, positioning her as not just a Nigerian designer, but a pan-African creative force. Her pieces, often crafted in collaboration with local artisans, reflect a dedication to sustainability, culture preservation, and global relevance.

    This latest award marks a defining moment in Glory Agbonita’s career a testament to years of vision, resilience, and innovation.

    As the spotlight continues to shine on Africa’s creative economy, Glory’s win is a reminder of the global resonance of local stories told one stitch at a time.

  • The actor as the pastor

    The actor as the pastor

    Following his recent ordination as the Senior Pastor of Fountain of Life Church, Jimmy Odukoya finds himself under scrutiny for his choice of attire and appearance. The scrutiny intensified after the passing of his father. While some critics and certain members of the Christian community argue that a man of God should adhere to modest dressing and uphold a humble standard, many in his congregation vehemently disagree. DAMOLA KOLA-DARE reports

    Fate made him switch the silver screen for the pulpit. Jimmy Odukoya now has the onerous task of leading the Fountain of Life Church fold after his father, Taiwo Odukoya, 67, died in the United States on August 7. Jimmy, actor, musician, and first child of the late pastors Bimbo and Taiwo Odukoya, was elected senior pastor of the church on Sunday, September 17.

    Sources said he was nominated and elected chairman and chairman board of trustees of the Church, while his installation held on Saturday, September 30 at the church’s headquarters in Ilupeju, Lagos. It is a familiar terrain of sort to him; he had been a pastor in the youth wing of the church since 2012.  A source at the church said Jimmy is passionate about youth ministry and committed to teaching the word. Married to Oluwakemi Odukoya and with a daughter, the pastor featured prominently in Nollywood movies. He made his debut in 2016 with the movie, ‘Baby Shower.’

    Jimmy, a man of many parts

    Monikered “Lion of God” from birth, according to him, Jimmy played a lead role in Netflix’s ‘Woman King.’ He also featured in other films like ‘Lifting the Veil,’ ‘I am Nazzy,’ and ‘Oga Pastor,’ among a host of others. His exploits earned him a nomination for the Africa Magic Viewers’ Choice Award in the “Best Supporting Actor of the Year” category. Beyond the klieg lights of Nollywood, he is a motivational speaker, dancer, rapper and a fitness enthusiast.

    Before his father’s demise, he had granted an interview to Iretiola Doyle in 2021, stating that his role as a pastor does not interfere with his acting career. “How does being a pastor affect my acting career? I don’t believe it; some people have different opinions, one is if I am an actor, I should be a Christian actor, and I say there is no such thing,” he said. But in his new role as senior pastor and general overseer, it remains to be seen if he can now combine acting with it.

    How not to dress as a man of God? 

    For critics, his physical appearance does not mirror the calling of a minister of the gospel. They believe a church leader should be modest in dressing; there must be that puritanical aura. According to them, there must be a huge difference between Jimmy the actor and Jimmy the pastor. Much has been said about his elevation to the position of senior pastor, while his grooming is being questioned. Jimmy wears a big dreadlock, with a sturdy body and stocky biceps.

    Bishop Mike Okonkwo of The Redeemed Evangelical Mission (TREM), during the installation on Saturday, said: “I remember many years ago, big mummy (his wife) and I laid hands on your parents when this church started, and today, we are also laying hands on both of you. God does not use perfect instruments. He uses those who seem unqualified to the natural eye.”

    However, publisher/editor-in-chief, Christian Benefits magazine, Wole Olarinde, urged Jimmy to have a rethink and appear like a true priest. “I think the young man should have a rethink to cut the true picture of a priest conforming to the priestly etiquette. Of course, God can choose anyone either within and outside the family of a deceased church founder as the successor, but whoever is chosen to become the priest or pastor must conform both in character and manner to the priestly etiquette.

    “Bankers have dressing etiquette. Doctors have dressing etiquette. Lawyers have dressing etiquette. Muslim imams have dressing etiquette. Even it is against the police dressing etiquette for officers to wear a beard, not to even talk of wearing dreadlocks. Priests and pastors have dressing/appearance etiquette that people easily identify them with. So, that young man should conform to the priestly etiquette both in manner and character,” he said.

    My looks, appearance scripture-compliant, says Jimmy

    In a timely riposte, he told BBC in an interview that he found approval for his looks and calling in the scriptures. He said: “God has called me into this new season of my life. This new position is a big responsibility. All of my focus is here (on the church). As for my dreads, most people don’t know I can back up everything I do with (the) scripture.

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    “If you say I’m wrong to keep my hair as a pastor, I can tell you that God told Samson not to cut his hair in the Bible. That means long hair is not a bad thing. Also, if you say the pastor is keeping a beard, I can tell you that the Bible says that when Jesus was tortured, they pulled hair from his face.

    “If you say this pastor is putting on earrings, I can tell you that in the book of Exodus, when the children of Israel got out of Egypt and wanted to do golden calf, they collected jewelry, rings, and earrings from their sons and daughters. Anybody can do what they want. A personal opinion is different from saying something is sinful. You should not use your own personal opinion to judge me.

    “I was ordained as a minister in 2009 and became a pastor in the church in 2012. I was the lead pastor of the youth church until 2020 or 2021. With the things I’ve witnessed in life, there’s nothing that can shake me. I’ve lost two of the closest people to me—my father and mother—and, to an extent, some members of my family, including my aunt and grandparents. When the thing you feared most happens, then there’s nothing again. In all of this, my father was a strong man. He was full of life and energy,” he said.

    Inside Fountain of Life Church

    This reporter attended the church on Sunday, October 1. The main church auditorium was filled to the brim. Congregants were in full worship mode as the choir held everyone spellbound with their renditions. On came Jimmy with Rasta-like dreadlocks, thick beards, hand chain, silver necklace, stud earring on left ear, ring on both hands. His stocky biceps showed in his well-tailored attire. Critics argue that his late father, who appeared like the regular man of God, was a complete contrast.

    Spotting an ash-coloured Italian wool native dress and a pair of black shoes, Jimmy comes across as elite-level, smooth-talking, ultra-liberal televangelist. With springy legs and flexible body, like that of a ballet dancer, he displayed his dancing skills during worship and offering time. It was akin to a stage performance. During the sermon, he wowed and roused the congregation with his spiritual exhortation. He strutted the altar with spidery authority. He took his sermon, a continuation of the previous week, from Joshua 2 vs 18, which he tagged: “Scarlet Thread part 2.” Delving deeply into the scriptures, he stated that “Scarlet Thread” represents the redemptive power of blood of Jesus Christ.

    Some worshippers who spoke to The Nation were unanimous in their support for the new senior pastor. According to them, once a man of God can offer sound spiritual teachings, all other things like appearance, mode of dressing and hair style are inconsequential. They professed their love for him and his leadership, adding that once God chooses someone to lead, frivolities like style of dressing and others are less visible. One of them who simply identified herself as Helen, said: “We love him; he teaches the word. His teachings are sound and that’s what matters. He has been youth pastor in the church since 2012. You can see he delivered. That is the most important.”

    Another church member who preferred anonymity said: “Those who would stay, would stay; those who would go would go. We have no choice. Appearance doesn’t matter if God has chosen the person. Let’s see what God would do. Let’s ignore what people are saying. You were in our service today and you saw his delivery. It is bound to happen. People will criticise and probably judge, but it is nothing to worry about. He is accepted here.”

    Just as he said at the installation, God put him in the position and called him “worthy,” hence, the steely resolve to continue in the legacies of his late father and put a gloss on humanity.

  • ‘At 71, I am a restless expressionist’

    ‘At 71, I am a restless expressionist’

    At a preview of his solo exhibition tagged Visual retrospective 1975 to 2023, holding at Iwalewa Gallery, Lekki Phase One, Lagos, Prof. Salubi Onakufe, 71, speaks on his journey as artist who learnt much from his mentor, the legendary Dr. Bruce Onobrakpeya, his passion for the art and his experiences while in the US, Assistant Editor (Arts) OZOLUA UHAKHEME reports

    Founder, Oyoma Visual Arts Studio and Gallery, Warri, Delta State and member, Board of Directors, Bruce Onobrakpeya Foundation, Prof. Salubi Onakufe has described the nonagenarian master artist Dr. Bruce Onobrakpeya as his mentor and inspiration in the practice of art, saying he has been drinking from his fountain of knowledge and experience since 1964.  He stated that as a young artist, he had always wanted to work like Dr. Onobrakpeya to the extent that, while staying with him, he copied his styles and attitudes to work as studio artist. 

    Prof. Onakufe, who spoke at a preview of his forthcoming solo exhibition, tagged Visual retrospective 1975 to 2023, opening at Iwalewa Gallery, Lekii Lagos, on November 25, recalled that his Warri studio and home were inspired by Dr. Onobrakpeya. The solo exhibition will  feature 30 artworks.

    “I’ve copied him and I stayed with him during my youth service year, as I was always coming to his house in Mushin. My inspiration is Bruce Onobrakpeya. I wanted to work like him. He inspired me to build the home I am staying now; a two mighty buildings, which I turned into art studio.

    “The brain behind my career success is Dr. Onobrakpeya and I have been coming to his Lagos home since 1964. I have been working with him too. In fact, he has really inspired me. My father trained him and in turn he trained me through secondary school and polytechnic, before I got admission to study Fine Art in Auchi Polytechnic, and later scholarship and to United States. In fact, he is more than my mentor. He’s my inspiration,” he said. 

    Though turned 71, Prof. Onakufe is a workaholic, who is as agile and active in studio practice as his mentor who has been leading legion of Nigerian and international artists to the annual Harmattan workshop at Agbarha-Otor, Delta State since 1998. From his huge collection of paintings, sculptures, drawings and prints stored in Oyoma Visual Arts Studio and Gallery, he will be exhibiting some rare works for the Lagos audience, which he said, will be a one-off outing. “I am not sure I will take this route any more to show a large size of works in a single outing.

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    I can only show selected few in next exhibition,” he said. The artworks for the exhibition date back to the 80s while he was at the College of Education, Warri where he was at different times, Head of Department, Fine Art, College of Education Warri, three times Dean of The School of Vocational Education.

    Prof. Onakufe who is currently Faculty member, African- American University, Benin Republic, stated that the depth of an artist is known through his skill in drawing adding that most of his works are based on experiments.

    “I’m a very restless artist and I’m an expressionist. The little time I did realism was when we were at Auchi Polytechnic for the OND programme.

    “When I exhaust a theme, I move to another. I have one of the most critical themes, titled Insecurity vs Hope, on a very big canvass. I have over thirty large size paintings and prints on it. The most important thing that interests me so much is using local raw materials, instead of synthetic ones. I’ve really perfected on it and whatever medium I use I keep to it,” he said. 

    As a way to get round the high cost of canvass, Onakufe opted for the use of paper via printmaking. He said he is gradually shifting away from large canvasses to paper because according to him the greatest painting of Mona Lisa was not rendered as large size. 

    “So that is the concept I want to sell to Nigerian young artists. At the same time, the art school should be teaching students how to work on paper, we just need to leave canvas and if you have artwork in paper you travel light,” he reasoned.

    Asked if he will still be an artist when he reincarnates, he said: “Why not. It is a talent and talent is very rare. You have the domain, you have the talent and the skill domain and the intellectual domain and I am lucky I belong to the three domains.” 

  • LIMCAF appoints Okafor curator

    LIMCAF appoints Okafor curator

    Life In My City Art Festival (LIMCAF) has appointed Amarachi Okafor as its first professionally trained Nigerian female curator for this year’s festival. She joins the mix of art scholars and professionals who help in various capacities to support the objectives of LIMCAF.

    The first female curator was Ms Sieglinde Oehler, a German national then working in Enugu with the German Leprosy and Tuberculosis Relief Initiative (LTR). According to a statement by the festival organisers, Okafor will curate the grand finale exhibition holding between October 21 and 28 at the Institute of Management and Technology, Enugu. Of the total entries of 567, 111 works have been selected from the first and second stages of the exhibitions in 13 Regional Centres across the country. 

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    Okafor’s unique art practice is both international and very much rooted in the local. She works from Orie Studio, an art production and research space she founded, in Abuja. She has a BA (Painting), 2002; MFA (Sculpture), 2006 (both from University of Nigeria Nsukka); and MA in Curatorial Practice, 2012 from Falmouth University, Cornwall, UK earning the Art Department’s internship scholarship upon graduation. She was a recipient of the Unesco Aschberg artists’ award in 2007- leading to a residency at Lademoen Kustnerverksteder (LKV) in Trondheim Norway as well the Commonwealth Foundation Commonwealth Connections recipient in 2009. She has also been granted residencies to Nkd – Norway and to Popopstudios, Nassau- Bahamas.

    An acclaimed Nigerian painter, muralist and multimedia artist Ayo Aina is chair of the LIMCAF 2023 national jury panel. He studied painting at Ahmadu Bello University, Zaria, graduating as the best student in fine arts, and with the Nigerian Art Council Award in 1990, and MFA in 1996. For over three decades, he has practiced full-time, and participated in several exhibitions in Nigeria, UK, Italy and Dubai, and also in the Dakar Biennale.

    Other members of the panel include Sukanthy Visagapperumal-Egharevba, Otunba Oladotun Olatunbosun Alabi, Etiido Effiong William Inyang, Jacob Enemona Onoja, Professor Nkemdilim Angela Udeani and Ato Arinze.  The seven jurors are expected to select winners of the prizes ranging from ¦ 1million Overall Winner’s prize through category prizes of ¦ 500,000.00 to the ¦ 50,000.00 consolation prizes..

  • Women battle vulnerability to SGBV

    Women battle vulnerability to SGBV

    • By Emmanuel Chidi-Maha, Elizabeth Ganiyu and Kehinde Abayomi

    In the ongoing battle against Sexual and Gender-Based Violence (SGBV), the intersection of economic independence for women and financial support for organisations dedicated to women’s health and empowerment, has emerged as a potent force for change.

    The organisations are instrumental in the fight against SGBV. Among them is Ireti Resource Centre, an initiative of the Women’s Rights and Health Project (WRAHP), founded by Executive Director Bose Ironsi.

    The centre managed by Bose Ironsi was born out of the need for survivors of sexual and gender-based violence (SGBV) to find a safe space for shelter and empowerment. The organisation, which has provided access points for citizens to report SGBV, has recorded 823 cases inclusive of adults, children and People Living With Disabilities (PWDs) since establishment.

    Poverty, which limits victims who have suffered from violence from seeking justice has permeated through almost every facet of our Nigerian society. Majority of them sometimes lack transportation costs and resources to follow up on cases till justice is served. Economic empowerment for women also spreads across dismantling the foundations of gender inequality and emotional support. It allows women to break free from abusive relationships, access vital resources, and challenge traditional gender norms.

    The Deputy Vice-Chancellor (Development Services), University of Lagos (UNILAG), Prof. Ayodele Atsenuwa, who gave the keynote address on “Rebuilding Lives, Restoring Hope”, emphasised these.

    Her words: “Economic independence gave me the strength to escape violence and build a safer future for myself. Financially empowered women have greater access to resources such as legal assistance, counseling, and safe housing.

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    “They can seek help more readily, reducing the time spent in dangerous situations and increasing their chances of escaping SGBV. By participating in the workforce and becoming financially self-sufficient, women challenge traditional gender roles and norms. This shift in societal expectations contributes to a broader cultural change that promotes gender equality and reduces  SGBV acceptance ,” Atsenuwa said.

    These safe havens are dedicated to developing community education programmes in order to sensitise people on the dangers of SGBV in society and ways to reduce vulnerability to them. In doing this, funding is required in order to ensure complete effectiveness and efficiency in conveying the message.

    Survivors of SGBV often suffer in silence in order to avoid reinforcing stereotypes, stigma and fear. Prof. Atsenuwa, who is a Professor of Public Law, further expressed concern over this stating that “We can’t ignore the invisible scars; our silence perpetuates the cycle of violence. It’s time to speak up and seek help. Beyond physical scars, the emotional trauma runs deep. We need support, not just from family and friends but from society as a whole”.

    She also revealed how interventions for these survivors are not sustainable and as such, they lose trust in the bodies established to come to their rescue. This limited sustainability springs from inadequate funding as well as support.

    At the event, a poignant poem entitled, “Then Came Ireti” performed by journartist Evelyn D’Poet ignited something in the minds of the listeners. It spoke to the challenges that were being addressed, resonating deeply with the shared determination to make a positive change. Lines like “Will our day of joy be fair and bright?”, “Like eaglets calling to Mother Eagle,” “…Comes the call” and “…join hands…become a catalyst for change,” spoke volumes to the audience while motivating them to be the change.

    One of the collaborators with Ireti Resource Center in this solicitation for financial support, Rtd Justice Serifat Solebo acknowledged the good work that the center has been doing since its creation. “I want to thank you and the members of staff for the good job you’re doing by impacting lives because you have been working tirelessly and selflessly. Please let us continue to support and be impactful in the communities we come from,” she said. Other collaborative bodies are the Rule of Law and Anti-Corruption (RoLAC) represented by State Project Coordinator, Ijimakinwa Ajibola; Executive Secretary, Lagos State Domestic and Sexual Violence Agency, Titilola Adeniyi, ACTIONAID.

  • QFEST out to Connect the Dots

    QFEST out to Connect the Dots

    With the aim of capitalising on the recent migration of key players in creative industries 2023 Quramo Festival of Words (QFEST) seeks to encourage cross-continental cooperation.

    With theme: “Connecting the Dots,  the book fiesta, the seventh edition, seeks to foster collaboration across borders within the realms of film, literature, theatre, and publishing.

    Beginning from today, the five-day event will hold at Eko Hotels and Suites, Victoria Island, Lagos, will run till Sunday, October 8. It is put together by Quramo Publishing and sponsored by the Irish Embassy.

    According to co-founder of Quramo Publishing and QFEST, Mrs. Gbemi Shasore, the festival is born out of the reality that it’s easier to connect with the rest of the world from anywhere in Nigeria or Africa than it is to other Nigerian or African cities; while adding that the plan of this edition is to strengthen communication, travel, and distribution networks within our country and continent so that our products and content can sell and succeed on its own merit.  

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    Mrs. Shasore said: “The recent departure of key players in the Nigerian creative industries to other climes provides a major opportunity for cross-continental collaborations and high-level export of cultural values and literature. At Quramo, we remain committed to our vision to equip creatives for the expansion of the creative industries while fostering visibility for literary works that mirror real Nigerian and African experiences. The theme is a product of contemporary reality that it is easier to connect with the rest of the world from anywhere in Nigeria or Africa. It is now time to initiate and strengthen communication, travel and distribution networks within Nigeria and across borders.”

    QFEST is returning with 10 creative workshops, 8 panel discussions, 4 book author chats, a word slam contest, film screening, a stage play. And the co-founder of Quramo Publishing revealed that the Quramo Writers’ Prize (QWP) was launched in April 2017 to encourage new breed of African writers, adding that African award celebrates people who are working every day to develop their craft and record our continent’s original stories.

    OWP has produced winners, including Samuel Monye (2017), Michael Emmanuel (2018), Vivian Ibe (2019), Alex Kadiri (2020), Akintomiwa Akinnimi (2021) and Ibrahim Babtunde (2022). She noted that QWP also published Jesutofunmi Fekoya (2018 Longlist), Joan Thatiah (2019 Runner-up) and Aliyu Baba-Ari (2020 Runner-up).

  • How Yoruba culture resists slavery influence 

    How Yoruba culture resists slavery influence 

    Throne of Grace Church, Baltimore, United States, founder Bishop Kayode Fanilola has identified the spread of Yoruba traditional religion in Europe, Latin America and other parts of the world today as faith. He said the fact that Yoruba traditional religion has been embraced and its traction among blacks and non-blacks in America, Brazil, Trinidad and Tobago and Cuba was an indication that the worshipers have not lost touch with their roots.

    Fanilola, who was lead speaker at the September edition of the Yoruba Week Day worldwide, organised by the Egbe Ilana Oódua ìn USA, spoke on Worship in Nigeria: Yesterday, Today and the Future. 

    He said while attempts were made to purge the former slaves of their traditional worship in their various countries through conversion into Catholicism, they discreetly practised their religion by equating Ogun with St. Michael, Osun or Yemoja with St Mary, and St Jude with Sango.

    Fanilola explained that during such days, the former slaves who had memorized the cognomen of the various Yoruba deities recounted them in Yoruba Language, thereby perpetuating the faith.

     “Today, a major feature of Yoruba traditional religion, divination, through Ifa has been modernised and a software application which further popularised the computerised version of divination has been developed. This has been captured in my book, the ‘Digital Quest of the gods.”

    According to the cleric, who introduced the teaching of Yoruba at Lincoln University, Pennsylvania the observance of Olojo, Osun Osogbo and other festivals across the world and the establishment of Oyotunji village in South Carolina, gave credence to the revival of Yoruba traditional religion outside the shores of Nigeria.

    “Revival of Yoruba traditional religion especially by former slaves globally is very exciting, and if properly institutionalised in this progression, the Osun Osogbo, Olojo in Ife, and other festival in Yoruba land have the potential to attract pilgrims to the country, and it is a possible foreign exchange earner,” he said.

    Fanilola bemoaned what he described as the advent of religious fundamentalism and commercialisation of worshipers, by both pastors and Imams, in the guise of evoking the heavens for job provision, instead of motivating the flock to back their faith with corresponding measure of work.

    “Many pastors and Imams compel people to fast and pray for days in church and mosques, for divine healing, jobs and even admission, basic things provided through good governance in developed countries.

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    “Poverty among the people, inability to pay their medical bills and unemployment make people search for divine healing and other interventions. But, in developed countries, the government even provides unemployment benefits.

    “In one particular case, a pastor almost broke the marriage of a couple when he asked a housewife to sow the car gift from her husband as a seed to the church, in order to gain God’s blessings. The bubble burst when the husband discovered the disappearance of the car.’

    Dr. Bayo Omolola of Morgan State University, US, who spoke on the topic Governance in Yoruba land before the advent of colonization, said all cultures of Yoruba people have elements of worship.

    He alluded to governance in Yorubaland before colonial rule and the nexus between trade and governance. According to him, Yoruba kings depended on Ifa for divination to establish any truth and made enquiries before going to war. 

    He regretted, however, that importation of democracy had altered method of governance, especially in Yoruba land and eroded the cultures and respect hitherto accorded Yoruba Kings as evident from the disrespect meted out on some Yoruba Obas by former president Olusegun Obasanjo recently.

    To Gbade Adekunjo, co-ordinator of the programme, the workshop was part of efforts to promote Yoruba language, culture, and civilisation internationally, a need that informed the recent establishment of Voice of Yoruba Radio /TV.

    Dr. Remi Bamisile, noted that the group would not relent in revitalising and promoting culture, tradition and religion across the globe and also to showcase the Yoruba Language as an international language.

  • Artists explore Nigeria’s challenges in Joy

    Artists explore Nigeria’s challenges in Joy

    • By Elizabeth Ganiyu

    Despite the myriad of challenges Nigerians are facing these days, Guild of Professional Fine Artists of Nigeria is offering art enthusiasts and collectors some respite at an art exhibition tagged Joy. The group show, being organised by SMO Contemporary Art, is holding at Wheatbaker, Ikoyi Lagos.

    The exhibition, featuring 49 paintings, sketches, sculptures, and mixed media works, seeks to convey messages of hope and resilience, offering viewers a captivating journey through various themes that are both thought-provoking and introspective.

    As Nigeria grapples with numerous challenges, Joy offers a unique perspective through art, allowing viewers to engage with the complex emotions and realities facing the nation. The exhibition, which opened last Monday and will run till November 17, encourages reflection, dialogue, and a call for justice, equity, and healing.

    Curator of the exhibition and founder SMO Contemporary Art, Sandra Mbanefo Obiago, emphasized the profound impact of the artists featured in this exhibition, expressing her honour in curating such a distinguished group of senior artists and underlined their role as modern-day prophets who provide commentary on life’s complexities. The theme of joy serves as a lens through which these artists explore their unique perspectives on identity, family, love, peace, and safety, as well as the pressing issues facing the nation. 

    “As a nation, we’re facing a lot of challenges, it’s a very sober time of reflection and so these artists have shared with us, as I would say, sages or prophets. An artist is a prophet in terms of seeing what is not always so visible and making a commentary on life as it stands. So, this exhibition is a rich presentation of works that speak about the joy of identity, the importance of family, love, peace, safety and also looks at the realities of what we’re facing as a nation in terms of environmental, political, socio-economic issues, as we know there are people who are starting to queue for fuel and all kinds of issues that we’re facing as a country. The artworks represent a cry for justice, equity and healing in our nation so I’m delighted to have curated this kind of work,” Obiago said at the preview session last week.

    The artworks in Joy transcend traditional boundaries, touching on a range of topics. Some pieces, such as those by Gerry Nnubia, Duke Asidere, Diseye Tantua, and Tayo Quaye, act as potent political commentaries, addressing Nigeria’s socio-political challenges. Emenike Ogwo’s heavy impasto paintings, on the other hand, confront environmental issues arising from global warming, including desertification and flooding, underscoring their severe impact on rural and urban communities across Africa.

    “Joy” also delves into the essence of urban and rural life, emphasizing the significance of love, peace, and safety within families and communities, as depicted in the works of Gbenga Offo, Aimufia Osagie, Edosa Ogiugo, Fidelis Odogwu, among others. Portraits by George Edozie and Norbert Okpu celebrate Nigeria’s cultural diversity, while artists like Abiodun Olaku, Ade Ogundimu, and Joshua Nmesirionye explore cityscapes and universal themes, drawing attention to nature’s healing powers.

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    Gbenga Offo showcases the connection between music and the relationship between man and woman. His inspiration revolves around the theme of relationships, particularly his soft spot for women. Emenike Ogwo on the other hand addresses the issue of killings in Nigeria, using art as a medium to shed light on this pressing concern. Gerry Nnubia represents political and social issues, serving as a clarion call to humanity to embrace love as the bedrock of all solutions. 

    Bunmi Babatunde showcases motherhood in a different light intertwined with intimacy through the use of bronze and wood, exploring human anatomy. Alex Nwokolo, highlights the contributions to society’s development through art, focusing on landscapes, particularly those of Lagos. Edosa Ogiugo with three pieces created with pastel, oil, and charcoal, explores the after-hours of ceremonies and the anticipation of bringing home goodies. Norbert Okpu, celebrates memories, festivals, and the spirit of ‘Ekombi’, emphasising the importance of creating joy amid turmoil. Sam Ebohon represents thoughts and general disposition using vibrant colors to find balance and create a new reality. Adewumi Kehinde showcases three works that find joy in exaggerating the human figure. Joshua Nmesirionye, the Vice President of the guild with three works explores the galaxies and reinforces the existence of a spiritual realm beyond the physical.

    Director of the Yemisi Shyllon Museum of Art at Pan Atlantic University, Lagos Dr. Jess Castellote noted that “Joy” reflects the maturity and purpose in the creations of these diverse artists, each with a unique identity and voice. In a time of global upheaval and a collective cry for freedom, justice, and equity, these artists have chosen to present their manifestos for a more equitable planet.

    George Edozie, President of the Guild of Professional Fine Artists of Nigeria, highlighted the role of the Guild in nurturing both seasoned artists and younger generations through mentorship and support. The Guild, established in 2005, has made significant contributions to the development of contemporary art in Africa and has exhibited its members’ works globally. Edozie expressed ‘joy’ about collaborating with SMO and The Wheatbaker to showcase their latest body of work.

    Paul Kavanagh, General Manager, The Wheatbaker Hotel, underscored the importance of art in showcasing Nigeria’s culture and fostering connections with guests. He emphasized that art, whether in the form of paintings, crafts, or other mediums, plays a pivotal role in communicating the essence of a nation.

    His words: “When you’re talking to people and you’re able to show them the art, it’s so important, it’s one of the biggest differences we have as a business here in Nigeria. It doesn’t matter whether it’s art, craft, furniture, whatever it may be, we are proud to showcase it. For us at The Wheatbaker, our partnership with SMO which is a long-running one and it has been since the day we opened our doors. That goes a long way to say that partnerships and the way that people support each other is really important. The artists among us, you guys are changing the world’s perception about us with each picture you present.”

  • Lagos meets Amsterdam in 6 Hours

    Lagos meets Amsterdam in 6 Hours

    • By Elizabeth Ganiyu

    The collaborative art project, 6 Hours, by Bolaji Alonge and Ottograph Amsterdam, left audiences spellbound at its opening at Didi Museum, Victoria Island, Lagos.

    This exhibition explores life in the artists’ respective home cities of Lagos and Amsterdam, cities separated by a mere six-hour flight yet intrinsically connected by the fascinating contrasts and striking similarities that define urban existence.

    6 Hours pushed the boundaries between painting, street art, and photography, delivering an immersive experience that left art enthusiasts moved. Bolaji Alonge, aka Eyes of a Lagos Boy, and Ottograph, a Dutch street artist, united their talents for the first time, creating a stunning and resonant narrative.

    The exhibition embodied themes which included but were not limited to life in a megacity on the seashore, the vivacious world of dance, the rhythmic beats of music, the enigmatic allure of masquerades, and the liberating power of freedom of expression.

    Alonge, a journalist, artist, photographer, and actor who often unveils the beauty and intricacies of Lagos through his work, takes pleasure in conveying social messages, weaving them into the fabric of daily life in Nigeria.

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    Ottograph, a veteran muralist who has just made his debut in Nigeria in the global street art movement, employed vibrant and lively art forms to mirror societal narratives, inviting viewers to embark on their journey of introspection. Being his first time in Lagos, he regarded the experience as surreal. He observed both the striking similarities and intriguing differences between the multicultural cities of Lagos and Amsterdam: “I love it, it’s very special. I was thinking, for me, it’s almost like being in a movie. The traffic, the market, the beautiful people, and the picturesque beaches; it’s almost like a 3D movie for me. I’m really enjoying it. Lagos and Amsterdam are kind of like multicultural cities.”

    In a statement signed by the duo, it was noted that their collaborative effort received invaluable support from the Consulate General of the Kingdom of the Netherlands in Lagos. While celebrating artistic creativity, 6 Hours shed light on the societal issues affecting Nigeria’s art industry.

    Access to quality art education has remained a growing concern in Nigeria. The artists through collaborative work and workshops have inspired young talent while emphasising the need for enhanced art education opportunities. “I believe in spreading the knowledge of how we live today, using the internet, sharing our beauty and pride with the rest of the world. One of the best ways to document history is through photography, it brings the past back to life,” Alonge stated.

  • New gallery opens in Enugu October 8

    New gallery opens in Enugu October 8

    • From Damian Duruiheoma, Enugu

    Anew art space, Kachi James Gallery Grand, in Enugu, will open its doors to the public on  October 8, with a Night of Art and Entertainment. 

    The opening, taht promises an unforgettable night, will feature exhibitions, auctions, live performances.

    At a briefing on Monday, the founder of AI Movement, organiser of the event, Kachi Aghasili Ikwuegbu, said the unveiling would feature art enthusiasts, locals, and visitors experiencing the vibrant cultural entertainment. 

    Ikwuegbu said guests would be opportuned to enjoy cultural and futuristic art that redefines the boundary of artistic expression. 

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    “Collectors will have the exclusive privilege of participating in the live auction of take- away of some of the master-piece that have the potentials of increasing in value overtime.

    “The event will also have live performances that weave together tradition and innovation. Dancers will be on stage, bringing art to life through captivating movements as art is more purposeful with energy flowing through the veins.

    “For those looking to engage in hands-on creativity, the gallery will host a sip and paint corner. No artistic experience is required – participants are invited to embrace their inner artist in a fun and interactive setting”, he said.

    To complement the artistic atmosphere, Ikwuegbu said participants could indulge in delectable snacks and beverages as the fusion of art and flavour would be a treat for the senses.

    “The grand opening of Kachi James Gallery is poised to be a landmark event, bringing together the Enugu community to celebrate the diverse and rich tapestry of artistic expression. 

    “The Organisers-A1 Movement invite all Enugu residents and visitors to the Coal City and beyond to join in the cultural celebration”.