Tag: Alexis Galleries

In continuation of its avowed commitment to prosper Nigerian artists, the Alexis Galleries, Lagos, is showcasing a young and impressionist Nigerian artist, Oluwole Omofemi, an Ibadan-based painter in what is tagged experience. The exhibition opens on May 4. Edozie Udeze reports on this and his encounter with Omofemi in Lagos.

Oluwole Omofemi is a natural artist, unassuming and impressively made.  He is one of the foremost young artists of his generation who has come out with his own style and medium unequalled in the way that has made his signature easily distinguishable.  For him, every work on his canvas is dictated by his experiences over time.  This is why the title of his solo exhibition which starts on May 4 and ends on 11, at Alexis Galleries, Lagos is iriri.  Iriri means experience; experience in time and space, in everything that concerns his life from birth, through school and to the moment.

This is why the Alexis Galleries is delighted to host his first solo exhibition, according to Patty Mastrogiannis, owner of the gallery.  At a press preview of his works last week in Lagos, Mastrogiannis said: “Iriri (experience) is an art exhibition that focuses on the different life stages such as childhood, adolescent, adulthood and old age.  Indeed the works frequently resonate with deep appreciation of African fashion by rediscovering those forgotten hairdos and styles that gave the African person his/her special beauty and form.  In fact, Omofemi enjoys expressions in acrylic and oil and paints.  Those form his unique media which enable him to come out with vibrant expressive creative works”.

In other words, Omofemi who was born and bred and still lives in Ibadan, Oyo State, loves history; he finds it easier to rummage in ancient ways of life which also gives form to his choices of colours and experiments.

“Yes, this helps me to have profound interest in historical themes and early childhood experiences”, he said in an interview.  The hairstyles come in bold, attractive forms depicting women of the 1950s and 1960s.  Omofemi confesses that he is so intrigued by this old ways of life that he often goes to hair saloons to watch women do their thing.

He also borrows some of their old pictures for his works.  For those works on display for this exhibition, he told some young girls to pose for him for the purpose of painting them.  The result is that you see classical paintings of acrylic on oil, showing remarkable images in different forms and colours.  He said “I paint afro, yes, it is for me to remarkably refer to the past.  This is a neglected or rather forgotten aspect of our way of life.  I don’t want us to overlook the past completely.  This is why it strikes me to go back to it” he said.

A lot of our young girls do not want to appreciate their natural afro beauty anymore.  “So, it is for me to draw their attention to it that black is beautiful and it is by sticking to it that we will promote it.  Why should a lady bleach her skin, for instance?  It shows that she does not love her colour.  Same goes for her hairstyle too” he proffered, suppressing a yawn.

No doubt the exhibition will help to bring back old memories of fashion and style.  It will be time to put young Africans on their toes, saying: go back to your roots.  “It will help to understand every woman’s mysterious attitude towards her hair.  In I Corinthian verses 11 to 15, it says: ‘but for a woman, if her hair is abundant, it is a glory to her; for her hair is given to her for a covering’.  Therefore, a woman’s hair is the first most noticeable part of her beauty and this is what I basically try to convey”.

In what looks like the first of its kind in the history of exhibitions, iriri will have some set of women in attendance.  These women are tagged Niger wives, a set of over 300 foreign women married to Nigerian men.  Their foremost concern is to help the less-privileged in the society.  This is why they are involved and partnering with Alexis Galleries with their Braille Book Production Centre in this outing.  Braille Books Production Centre, Lagos, is a place that provides educational services for the blind and the visually-impaired pupils and adults in the larger society.  This has been ongoing for years.

Addressing the press on their roles in this regard, Mrs. Jean Obi, founder of the group and a Briton married to a Nigerian, said, “the centre was set up to equip visually impaired people for life.  We assist them via educational services with the aim to help them become self sufficient adults in the communities in which they live and work.  It is a non-profit, non-governmental centre founded in 1995”, she said while her colleagues nodded their understanding.

Obi has been living in Nigeria since 1962.  She worked with the West African Examinations Council (WAEC) where she taught herself how to produce Braille for the blind.  Today she has taken it to the next level and most of the proceeds from this exhibition will be channeled to the blind and that will encourage them to be more productive in the society.

The exhibition is also sponsored by Tiger, Pepsi, Mikano, Delta Airline, Wazobia TV, Nederbury, Cobranet Internet Service provider, Cool Fm , Art Café and The Homestores Limited.

Omofemi was educated at The Polytechnic Ibadan, where he had his Higher National Diploma in Fine Arts.  He is a member of a group of touring artists tagged ‘Coure de Diona based in Italy.  For now, his works have been variously collected by numerous art lovers and patrons in and outside Nigeria and he has participated in many group exhibitions world over.

 

With the theme of this year’s Artists-in-Residence programme by the Alexis Galleries as Simply Naija, ten young Nigerian artists were offered the opportunity to explore different artforms last month. Each artist was mandated to produce at least three artworks in an arrangement that enabled them to mingle, explore and experiment. Edozie Udeze who watched them at work, reports.

Agemo Francis sat leisurely on the bare floor, spreading his legs as if he was doing a yoga.  In front of him was spread a mat-like-cloth.  The surface had already been masked with some painted objects in assorted forms.  As he sat glued to the cloth, he swung his eyes from one end to the other.  He was not confused or uncertain of what to do.  His attention had just reverted to the different water colours lying there on the floor.  He mixed one and two to get his colour combination.

Agemo then twisted his face to see whether he got the actual picture he wanted.  He then looked up to see if he had got it right.  He was one of the fifteen Fine Artists who participated in the just concluded Artists-in-Residence programme organized in Lagos by the Alexis Galleries.  It was a pleasure watching him at work in the studios.  He preferred to sit on the floor to do his painting because of the nature of the artwork he was involved in.  In all, it was good to watch the artists in action, each facing his own work in his corner of the room.  The atmosphere smelt of different types of paints, water colours, charcoals, pencils and more.  But the artists kept to it; it is after all their work; their professional callings, what they have chosen to do to earn a living, to fulfill their aspiration.

Nobody gave Alexis a chance when it started Artists-in-Residence programme last year.  This was so because such a programme is not common in Nigeria.  Most Nigerian artists go abroad to engage in it where they also get all sorts of incentives for a certain period of time to enable them produce a number of works.  In the case of Alexis Artists-in-Residence programme spearheaded by Mrs. Patty Chidiac-Mastrogiannis and tagged fate, each artist was mandated to produce at least three works.  The period of the residency was ten days; ten days of intensive work, with just few moments of recreation, relaxation and other forms of frills.  The moments were given to the artists to get used to one another, a way to also help lessen tension and then allow ample time to create conducive atmosphere for proper friendship to develop.

As they worked, busy mixing colours and splashing them on their canvases, they had time to chat, indeed enough time also to meditate and be able to form rich and meaningful artworks.  They came from different backgrounds, different locations in Nigeria.  A few of them are self-taught artists, seeking therefore to be better exposed, taught and known through the programme.  It was time for them to prove that they can grow into more versatile and meaningful artists using the resources provided by the Alexis for the Residence to aspire higher.

But how did the artists get to know about the programme since Chidiac-Mastrogiannis did not advertise it in the papers?  “Oh”, she exclaimed, “they got to know through friends, through colleagues and mostly those who already knew about the programme and the time it starts.  Each artist was taken based on his merit.  When you come we look at your credentials; what you can prove as an artist, before we then sign you on to be a part of the show”, she explained.

“This will give them exposure”, she further stated and “whatever works they produce will be exhibited at the National Museums and Monuments, Onikan, Lagos, before the year runs out.  Each artist is asked to produce three works within the ten days they’d be here.  You have the right to engage in any medium of your choice.   Out of the fifteen artists, we have one sculptor.  He is the person over there doing his own work”, she said, pointing.

And truly, some of the images were amazing, depicting memories that showed a country at a crossroads, with the young artists juxtaposing their inner-thoughts into their canvases.  In those works no one could suppress the nagging dread the artists felt about Nigeria.  Some depicted hope, merely for the sake of it, while some have those deep, penetrating signs of sadness, incurred by years of incessant recourse to confusion and more.

As the artists shut themselves off from the flashlights of distractions, what they were able to produce truly reflected the larger society.  It is a society in a deep mess in nearly all facets.  “With this outing, the artists are able to mix with one another.  It helps to improve their level of professional output”, Chidiac-Mastrogiannis stressed, while speaking on the merits of this laudable programme she promptly initiated to improve the lot of visual artists not only in Nigeria, but across Africa.  “And with the group exhibition of these works coming up in Lagos by October, it will further enhance the import of the show”.

Room to explore

The first programme had just six artists.  While it has expanded to fifteen, it is to show that the programme is growing.  It is true that Artists-in-Residence gives artists space to explore their creativity, it could be seen that they were quite relaxed and in good moods too to depict their minds.  Not only that they were admitted for free, with some older artists coming in to mentor and teach them, some other professional collectors equally came in to prick their professional dexterity, nodding here and acknowledging them in some other places.  It was an awesome euphoria for those young artists to be so exposed, applauded and appraised even by the likes of Sam Ovraiti and others.

The programme states it clearly that the artists should not be restricted.  Quite clearly, in fact, they lived up to expectation.  The atmosphere was already defined in ways to provide good works.  Without being propelled or seen to be ill-fitting, the artists hit their themes hard on the head.  As at the 5th day, many of them had already produced two works going on to the third.  That was found to be encouraging and openly businesslike.  The theme of the programme titled Simply Naija also encouraged the minds of the artists to be guided correctly.  So this was a platform that was suited to show their different ideas of the issues that plaque the Nigerian society, even now as politics beckons.

Theirs seemed like strong latches that clicked in the right places.  They speedily tore through time, feeling the cool of the studios and the air that pervaded the landscape.  The days were spent judiciously to justify the energy expended to nurture the programme.  The ample room was large and turned out to be quite quizzical to smoothen the embers of the artists as they painted away.  There’s an intersection in the hall to allow for free movement and free mixing when the need arises.  With that sort of an endearing room for proper artistic escapades and exercise, the artists were able to narrow their minds to their works.

Artists speak

Heaps of finished works, in different media, filled the room.  Then a row of easels, boards and colours adorn the room, arranged like bricks, with each artist facing his own in a manner best suited to him.  It was a marvelous arrangement.

Yemi Uthman, one of the artists lives in Akute, Ogun State.  ‘But how did he get to hear or learn about the progamme?’  “Oh”, he exclaimed, while taking away his eyes from the board briefly, “she called me on phone”.  Uthman has been in touch with the Alexis, more so, with Chidiac-Mastrogiannis since 2012.  So it was easy for her to locate him when the programme was to kick off.  At that moment he had already done four works and was ready to top it with one more before the programme is over.  “Yes, I have done four works already.  I am prepared to do one more before the ten days elapse”, so said Uthman who has been a studio artist for fifteen years.  “Yes, I do acrylic on canvas.  And it is faster for me to engage in that medium.  In fact, it gives me enough room to show my passion, expanding on the messages I have in mind.  Art gives me joy, for it gives me every reason to make a living out of it”, Uthman said, going for his brush, while his eyes twinkled.

Akinbanji Osanyemi is from Ondo State but plies his trade at Asolo, near Ikorodu.  There he has his studio where he has engaged in serious artistic experiments in the past eight years. “I studied Economics”, he began, his eyes tilting for emphasis.  Then his eyes shifted in all manner of ideas which artworks can give to his change of profession. “That makes me a self-taught artist too”, he quickly added smiling. “I met Madam on instagram and then I discovered that this programme is a good idea for me I love the use of charcoal to do my artworks.  The glow it gives me cannot be quantified”, he disclosed, showing the charcoal already made into a lobe that looked like a crayon.  At some point Osanyemi was in the habit of using pencils for his works.  “But for this programme”, he said, “I chose to experiment in charcoals.  I love the flavour, the feel of it”, he further stated.  As at the time of this report, he had done two works.  Yet, he believed he would surpass that.

Agemo who painted a palace scene, situated a polygamous home where the man is seen to be ubiquitous.  “It is African”, he thundered.  “It is part of us already and you cannot kill it.  The man here has no son but one other ugly woman came and gave him a son, a heir to succeed him.  It is not the physical beauty here now that is the issue; it is the inner beauty that counts”, he explained.

Participating artists included: Yemi Uthman, Adetunji Afeez, Agemo Francis, Oluwaseun Ojebiyi, David Olatunde, Ali Raheem, Babatunde Kesa, Samuel Olayombo, Oyelusi Olasunkanmi, Darlington A. Chukuwueze, Aidex Iziogba, Inumoh Charles, Aliu Kabiru and Akinbanji Osanyemi.

The programme was sponsored by Frigoglass, Delta Airline, Amarula, Nederburg, Cobranet Internet Service Provider, Cool FM, Wazobia FM/TV, Chocolate Royal, Art Café and The Homestores Limited.  The show that started on the 11th of January ended on the 27th.

Patty Chidiac – Mastrogiannis is the owner and Chief Executive Officer (CEO) of Alexis Galleries, Lagos. She is the first to engage African artists in Artists’ Residence programmes in Nigeria. She also runs her art basically to grow the young ones and give back to the society. She says more in this encounter with Edozie Udeze. Excerpts

Patty Chidiac – Mastrogiannis is a woman of many ideas.  More than that, she is a great lover of art, someone who has devoted a greater part of her life paying attention to the promotion of local artist in Nigeria.  An enthusiastic art lover to the core, she has made Alexis Galleries a beacon of hope for Nigerian artists.  She has made the galleries a place where most unknown and upcoming Nigerian artists are made to see the light and begin in earnest to grow with the idea of receiving the best attention from the public, more so from art patrons.

At the moment, her gallery is running an exhibition titled Wooden Cloth, an exhibition of paintings, sculptures and mixed media involving Chukz  Okonkwo and Seye Morakinyo.  Located on Akin Olugbade Street, Victoria Island, Lagos, Alexis Galleries is where art is allowed to thrive, glitter and blossom.  In an interview, Patty who has taken so much pleasure in opening Nigerian and other African artists to artists’ residences programmes said, “Yes, I began the artists residences programme in Nigeria to encourage the growth of young artists.  I am not doing it for the reasons other people do their residences.  No.  I do mine so that the young can get the experiences of the old.  I was questioned on why I had an exhibition involving a master with a beginner.  That was purposely done to help the young one; to help him see and look up to the master.  And also the older artist got a lot of inspiration from the younger artist.  It is usually a win-win situation” she offered.

For her, artists need this sort of interaction or cross-fertilisation of ideas to thrive and embolden one another.  For her, the sector is large enough for all participants to be involved.  It shouldn’t be an isolationist concept or a master servant scenario where there is a yawning gap between the old and the young.  Arts should be open to all at all times.

And so Patty who is the Chief Executive Officer of Alexis Galleries believes that, “It is usually good to do your best.  Look, I was once told by a prominent artist that all the glories of Nigerian arts go to the Nigerian artists. I mean those who live abroad.  This is where the core of Nigerian artists live and also practice here in the country.  The heartbeat of Nigerian art is here in the country.  You have the Yaba College of Technology where art breaths; where artists are produced in one of the best environments you can ever imagine.  There are other art places, art universities in Nigeria where art is given its due attention.  And the artists do not get the glory here.  I want to show that it is in Nigeria and not just abroad where you get the core art.  All they showcase abroad originated from here.  I am not therefore in the gallery to get attention or get the artists for the residence from abroad.  No, that’s not the idea for me”.

Patty believes that come what may, charity begins at home.  “This is why I want to do my own here”.  It is not an easy task, however.  Most often Nigerian artists leave the shores of the country in search of residence programmes abroad.  There they are offered all sorts of opportunities, some good, some not too juicy, to engage in their trade for a specific period of time.  Some grow more from there and then refuse to come back home.  It is usually a good concept, for most of the artists may not have that sort of opening here at home.  This is what Alexis Galleries has come to fulfill in the professional lives of the local artists, mainly the younger ones who otherwise would have remained unsung or unknown for a longer time to come.

She explains further, “All I get from doing this is self-satisfaction, joy, yes, I do what I love.  That’s the truth.  I am happy doing it”, she enthused with a broad smile on her face.  It is indeed amazing to see Nigeria host artists from far and near in the manner you get it in places like Germany, Australia, USA, Canada, England, Austria and more.  And the CEO is pleased to be the one who is responsible for this awesome development.  “Yes, the artists also do a lot when they come in here for the progamme.  They show a lot of loyalty.  They are grateful, by sticking to their words, by maintaining their dignity.  There are lots to learn.  Well, there are good and bad everywhere, yet it is a good programme”, she proffered.

“Of course the sky is the limit when it comes to the art in Nigeria”, she noted.  She pointed out that so far she likes what she sees, but there is a snag there.  “Yes we do not have the kind of exposure we have abroad about residence programmes.  Most people talk about armed robbery in Nigeria, about 419 and no one talks about the good sides of the country”.  These negative syndromes sadden her so deeply.  Now, it is time to talk about the beauty; about the wonderful arts produced by Nigerian artists.  “We are wrongly promoted and I want to change that notion and point out the good things about Nigeria”, she said, beaming with hope and enthusiasm.  She went on, “I want the world to know that art is from here; that beauty is from here.  The whole Nigerian works of art you see all over the world emanate from here.  That indeed, is the idea behind the residence programme.  Let the attention now shift to Nigeria where the origin resides”.

Patty has been living in Nigeria for 42 years, doing her best to grow the art and contribute to the economy.  “Oh, I have been here for 42 years.  I am not a 419ner.  Yes, I have not cheated anybody (laughs).  So, I want to make that difference showing that we can promote the nation, we can grow its arts and ensure that its beauty prospers and glitters”.

Wherever she sees or spots a talented artist she goes for him or her.  “Yes, talent is key here.  Whenever we go for those to participate in the residence, we go for talent”, she confesses.  “You know with talent everything falls in from there.  Anyone who comes to me, I have to like their works, their concepts of the art and so on and so forth.  I don’t really have any specific criteria to choose participants.  You can be old, you can be young so long as your work is good”.  Looking at the level of the art in Nigeria, she said, “I think the art industry in Nigeria is unique, it is good, whether it is the creative art or the music industry.  It is time for the world to see what Nigerian artists do.  I think if this is done Nigerian art will be the best in the world”.

Concerning the Wooden Cloth exhibition which pulled quite a crowd at the opening, this art Amazon said, “It is good to show the art of Chukz Okonkwo and Seye Morakinyo.  Indeed Alexis Galleries is pleased to show their new works in this brazen form.  Okonkwo explores wood fibre and acrylic while Morakinyo explores mixed media of fabric, newspaper and acrylic in this exhibition titled Wooden Cloth.  For me, the approach which they chose shows the level of their draughtsmanship.  While Okonkwo’s works focus on female subjects which depict his obsession with female figures.  Therefore in Wooden Cloth he looks into what he called body shaming; a disturbing subject with his Before the Mirror Series”.

In furtherance of this concept, Okonkwo, trained at the Institute of Management and Technology (IMT), Enugu, shows that he has mastered the act of recycling with sawdust which he has been experimenting with for almost twenty years.  In the end, the result is fascinating with the colourful sculptures of wood fibre.  In it all, he shows traditional and contemporary medium in very versatile forms.  You can also trace his childhood background in his works.

As for Morakinyo, trained at the Auchi Polytechnic, Edo State, he uses multi-media approach to explore his forms.  This makes his works refreshingly different.  “You will find his expressions intriguing and spectacular”.  Patty averred.  Indeed, his unique way of portraying his thoughts on canvas are amazing and exciting.  He, together with Okonkwo, are influenced by the rich repertoire of works by their immediate environment.

By promoting art in the society, it is obvious that Patty goes beyond the ordinary.  Inside the galleries, you seem to be confronted by a gallaxy of museums.  There are lots of sculptures, ceramics, potteries, paintings, et al, all types.  You first think that this is an art alcove, a shrine of different objects with some of the best artifacts in modern arts.  This is what the Art Café itself symbolizes and the smell of rich arts, beckons as you enter the foyers.  The CEO is happy to welcome you into this abode of the most amazing collection of art pieces within reach.  She would smile and hover around to allow you fit into the groove; into the ambiance of impeccable arts.

“Yes, it is good to help artists, push them up and then watch them grow”, she says with a glitter on her face.  “I think the horizon of art in Nigeria is big.  If all people have a bit of conscience to say I am not doing this to make money but help to promote the art first, I think we can go places.  Galleries should first adopt this approach.  It is time to give to the society, whether you are in Nigeria, or in England or anywhere else, try to contribute to the growth of the society.

She admits the fact that sponsors help her art to thrive.  “Yes, we get sponsors, we get funds from sources.  And because of that we make sure our exhibitions are free, they are paid for by our sponsors.  We don’t hide the fact that we have sponsors and then overburden the artists.  So, we do the show, we get our commissions.  So we do not live off this.  For me, one day my name will be there that I did something great for the Nigerian art.  I want to give back to Nigeria.  Nigeria has given me a lot.  Wow, for 42 years! 42 years of my life, I want to give back.  Now, we are partnering with Breast Cancer Foundation and Autism and Sickle Cell Foundation and abuse of women to do more for the people.  We want to give back from these perspectives as well.  If you are black and you live here give back to the society.  But because I am white and I live here does not mean I cannot give back.  Please give back to the society”.

For one month Alexis Galleries kept six artists from Ghana, Ibadan, Abuja and Lagos under one roof for her maiden edition of artists-in-residence programme. The artists were John Oyedemi, Samuel Tete-Kancharn, Oyelusi Olasunkanmi, Olorunyemi Kolapo, Sunday Effiong and Oluwole Omofemi.

While sharing their experiences, the artists admitted that the first week of the programme was difficult as they tried to get acquaintted with one another. Oyedemi, who has been practicing art for more than twenty years and oldest among the artists, said the programme brought them closer. “When we started, we didn’t know we could be so connected to a point where we relate as brothers. So, the bond of friendship was created, though we were all from different places.”

The youngest among the artists, an Abuja-based painter and self-taught artist, Kolapo, who studied Pure and Applied Physics from Kogi State University, said, “The first week was a bit rough, because we were still battling to connect with one another. After one week, we discovered there was one artistic spirit running in our veins. We settled down to our principal project because at the core of every residency is the development of a project. Initially, there was no project at hand, but in the course of interactions; we were able to raise a project called Change, which reflected in our works in different ways.”

While Togolese-born Ghanaian painter and sculptor, Samuel Tete-Kancharn, described the programme as a great experience. He commended the curator for the all-expense paid programme and the sound atmosphere that defied distractions, “What we need is to build on the bodies of works. It is a good initiative and the curator deserves more appreciations for her efforts.

“For me, it is not just a residence but a good classroom teaching of art. Most of us would love to hide and paint in our studios, so that people don’t know what we are doing, but through the programme, we’ve learnt from each other.”

The organisers said the residence aims at promoting artists from across Africa and African Arts. “The artists have cross experiences, helped and inspired each other. It is of considerable importance to the up-and-coming, master and younger artists, and that is what we do at the gallery: lift the younger artists horning their creativity in the art world. It has also shown direction to one, definition in others and originality to others like Tete-Ketcharn, who was into a kind of painting and carving. Oyedemi introduced new lines into his paintings,” said the gallery owner, Patty Chidiac-Mastrogiannis.

Chidiac-Mastrogiannis said it was her desire to make a change in artists-in-residence in Nigeria. “The gallery has in eight years of existence supported artists in the promotion of their works and organization of exhibitions. We want to see how we can put the artists on a greater pedestal with our residences programmes, workshop and lectures. We hope to have minimum of two-art residence a year.”

She hinted that they plan to organise residence programmes for six artists every three or two months in the year. “We are trying to see how we can put the artists on a greater pedestal with our residency programmes, workshop and lectures.”

When asked how the artists made the list, she said: “We chose three young artists, two up-and-coming artists and a master. In the next edition, we hope to invite four artists from abroad and two local ones. There would be two established, two upcoming and two young artists.

She admitted that starting off with six artists was not an easy, revealing that the works from the residence will be showcased in October, this year.