Phillip Omoruyi is a sculptor, an artist from Benin, Edo State. His workshop is at the National Theatre, Lagos, where he uses woods to form figures and other images. He has been a studio artist for some time now and loves also to transform his Benin sculptures into modern forms of art. Edozie Udeze who engaged him in his studio got to understand more from this determined artist whose masks and other figures differ remarkably from others.
Benin art has prospered from time immemorial. It is one of the most revered forms of art in Nigeria and by extension Africa. In those days when the British warlords invaded the Benin Kingdom, the richness of the bronze and wood works were some of the attractions to the rampaging British overlords. Today, most artists of Benin origin have done so much to ensure that this tradition is not left behind. An encounter with Philip Omoruyi, a sculptor from Benin who plies his art at the National Council for Arts and Culture (NCAC) at the National Theatre, Iganmu, Lagos, shows truly that Benin art transcends time, location and space.
How did he come to the NCAC premises? “The information came to me through a friend, and we are from the same place. I needed a place to establish a studio.” He responded in an interview. “Before I came to this particular place I was at the Universal Studios of Art (USA) where I worked with other artists. I stayed there for about one year. But then, I wanted to have a place of my own; a place where there’s enough space for my sculpting works. Even before I went to USA, I was practicing art on my own. Then when this space became available, I was asked by the NCAC to move in”.
The premises of NCAC, according to Omoruyi is meant primarily for the art. “That is why it was possible for me to be here”, he declared with a huge smile on his face. “Usually the management of NCAC should provide for the artist residency programmes. It is one of their cardinal programmes. That is why they could engage an artist who is looking for a space to work. It is not only part of government’s policy, but also a way to encourage artists to grow. Most of the younger ones who cannot afford to have their workshops elsewhere can equally approach them for space’, he explained.
For a long time, some of the kiosks and huts within the premises of NCAC were either fallow or being used for other purposes. But basically the crafts shops department of this federal government parastatal needed the presence of practicing artists to add to the beauty of the establishment. This therefore is one of the reasons Omoruyi’s presence at this time becomes a welcome development.
He is a sculptor; a sculptor who has refused to forget the traditional art of his people. “Yes, I sculpt on woods”, he answered with a lot of aplomb. “When I sculpt on woods I produce contemporary art. This is what I do a lot. I am not totally into Benin art or what is considered ancient Benin art. Even though at apprentice level, I learnt in Benin before I moved over to Lagos, that does not make my art totally ancient or Benin-oriented. So, when I came to Lagos, I modernized my art to suit the contemporary times”.
Now very deep into the what he described as art with a lot of innovation, Omoruyi brought his vast knowledge of his people to deepen his wood works, images and figures. “I do not do bronze works”, he quickly countered. “All my works centre on woods and I sculpt different objects and figures that suit contemporary works at the moment”.
Surrounded by woods and some old iron rods and relics, the workshop looked like a shrine. There were some old art works that littered here and there that helped to make the studio more appealing to the eye. Amidst all these, sat Omoruyi, brooding.
It was a hot afternoon. The sun was blazing at its highest. He was bare-bodied trying to figure out what to do with a giant wood in front of him. His gaze was steady and his eyes tilted left and right. You could feel he was relaxing. Yes, as an artist, Omoruyi needed at that moment a recourse into himself to discover what figure or image to carve on that smooth, giant wood in front of him.
“I need to get some ideas clear in my head”, he said in defence. “From different sources, I get the woods”, he said. “At times I get from Benin or Abeokuta. Before now these woods were not too expensive. We could easily afford them. But nowadays, things are very difficult. The price of woods have risen to high heaven. Some foreigners have even come in to export some of our woods. So those of us who buy from those markets have to face stiff competition”.
As it is, it is those quality woods which an artist uses to produce quality works that have now become an essential commodity. “Yes, those are the ones the foreigners export – those mahogany types. But then, when I work, I try to zero my attention to both male and female figures. I do not do animal figures or images all the time. I can only do that when I am commissioned to do so. I also do modern masks, those wonderful masks of contemporary times. Not masquerades so to speak – what I do is try to discover and explore my own type of masks, only known to me. This is why I often think deep to be able to arrive at that level where I can figure out my own peculiar masks images”.
When it comes to masquerade images, Omoruyi also endeavours to be different. “Here also, I create my own type of masquerade images. I do not do the old or familiar ones. Even masquerade is different from masks and whatever it is I have my own unique images to create”. Like most artists who make it big from commissioned works, Omoruyi equally gets some contracts from time to time. “Commissioned works come from time to time”, he admitted without hesitation. “It can come through an exhibition where your works are on display. An interested buyer or patron can approach you to do one or two wood works for him or her. So this is why it is always important to be involved in exhibitions. It doesn’t matter whether it is group or solo”.
Beyond the exposure at exhibition, Omoruyi confessed that there have been times when some friends and colleagues connected him to people who gave him commissioned works to do. “In the main, commissioned works do not come quite often. At times it comes once in three or four months. But whenever it comes, it is good for the artist”.
His concern mostly now is how to always market his works. In this regard, he is not alone. Most artists battle the issue from time to time. “Oh, marketing our works is often an issue”, he said as his forehead suddenly wore furrows. “Why I say it is an issue is because we the artists do not really have close relationship with end consumers and buyers. So for this, we market our works indirectly through the galleries, art collectors. This way, we have some of the works sold or shown elsewhere”. This goes on also to highlight the importance of private galleries in the chain of art distribution and sales in the society.
Contemporary art can go places when both the artists and gallery owners continue to work in synergy to promote the sector. For many times in the past, he was involved in exhibitions where he was able to display some of his best works. “I have been involved in a couple of group exhibitions”, he said with a smile. “They were all in Lagos and were beautiful moments for me. Benin art is becoming more modern now. This is so because most artists want to diversify, move away from the mundane. Art has to grow; it has to catch up with the times. It is to make people realize that this thing is not juju or shrine or whatever. It is art and it can be contemporary as well”.
For now, a lot of these artists have brought in what Omoruyi described as “western art to fit into our ancient system. Together, both have now helped to make Benin art move modern, more glorious. We now marry everything together to have an appeal that is entirely irresistible.
“Nobody can actually say when Benin art started. It is as old as the people, as the kingdom itself. We do not have the ability to properly date our history in Africa. But it is clear that Benin art was in existence more than 300 years before the arrival of the British. They were even surprised to see the extent of the growth of Benin art when they came. This was why when they waged war against our people they took away many of these rich works to Britain”.
The war, he reasoned, was one of the strategies to carte away the works. “Up till today, the Idia mask is still in British custody. Is that right”, he asked in a rather sorrowful voice. “Even the queen Idia mask was done by an unknown artist. Up till today no one knows who did it. It is one of the most classical masks of all times. This is why it represented the whole black race at FESTAC’77. By and large, Benin art is one of the most recognizable in the world today”.
However, Benin art did not start from the royal family per se. Omoruyi lent his voice, “No it did not begin from the royal family. What happened was that a lot of artists would sculpt or paint and then present to the Oba as a gift. This way, the palace became a beehive of assorted arts. When the British invaded the palace and saw them all, they became overtly jealous. The arts were like assets to the palace. The Idia mask is rich, an ivory done on six inch size, yet it is an enviiable work of art”, he explained with the big flair of an artist in love with his people.
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