Tag: art

Reproducing other people’s idea or creativity without their permission (plagiarism), no doubt is a global problem. In more developed countries, offenders are made to pay for their crime but the case is the reverse in Nigeria even though this is killing the creative industry. Udemma Chukwuma reports. 

Port Harcourt based artist, Diseye Tantua, recently walked into an exhibition hall only for him to find the exact painting he made in 2011; a copied work of his on view. In shock, he wondered if “artists are recycling ideas, studying colours or in a hurry to make money from art.”

In the visual art circle some call plagiarism ‘post-modernism’, while the lay term is copy and paste. Intellectual property thievery, such as artwork, also known as plagiarism, piracy for the film and literary works, is crippling the Nigerian creative industry, according to research.

“Are we in art for the long haul or is it a get rich on the fast track?” Tantua wrote on his Facebook wall. On the wall he posted the original painting and the copied piece and this generated a lot of comments.

Even though it is an offence to copy someone else’s work for any reason but for research purposes and with permission of the original owner, people still throw caution to the wind and engage in the act.

Tolu Aliki, who has also fallen victim to plagiarism, is not surprised that people copy his work. “That happens all the time,” he said. “There’s nothing I can do. People that are close to me have done worse. My works look very simple but very difficult to make an exact copy. But I believe my brand is strong. All strong brands always have people copying them.”

Unlike Tantua, Aliki knows some of those duplicating his works, yet he chooses to do nothing about it. He alleges that a particular artist had copied many of his works but he won’t name him.

Why? “I want peace. People will say maybe he’s inspired by my works. That’s what people will say at end of the day. The guy is just wasting his time and energy. People will always know the difference. There can be only one Aliki at the end of the day.”

Photographer, Uche James Iroha, said photographers are not left out in this. Commenting on Tantua’s post on Facebook he said the major problem in the art sector in Nigeria is lack of platforms whether infrastructural or social.

“But I always reiterate that integrity is the most important ingredient. The issue gets hazier if you look at new medium like photography. Cultural terrorists have mass-produced and sold artists’ work straight from a soft copy they have submitted for catalogue production and publicity purposes. Art is the uncharted landscape where everyone is at survival frontline. We have made the grievous mistake of launching survival far ahead of passion and purpose. This artistic insurgence will not stop until something precisely needful happens. I believe we are approaching it.”

Oliver Enwonwu, the President of the Society of Nigerian Artists (SNA) has this to say about plagiarism: “Today, there’s a thin line between original and copied work. Many are of the opinion that no idea is truly original and that works of art that can be deemed original may have been appropriated from existing ones. Indeed, today appropriation is generally accepted by scholars and collectors alike as a valid means of creating art. However, I bring obvious cases of plagiarism to the public sphere and I am always happy to speak on issues of copyright at various fora.”

What gave rise to this? “A lot of factors could be deduced as the reason for this proliferation of thievery,” remarked, Charles Okereke, on Tantua’s Facebook post. “In the first place is hunger and despair, seconded by the get rich quick or die trying mentality and the third is the literacy level of the nation and its systems.”

Josiah C. Josiah is of the opinion that people practice plagiarism because they lack visions and ideas. “To me if you love an artist’s works or style, it’s not bad to build yours from his. Trying to copy his style makes you dumb but studying his style to build yours makes you wise. And truth be told, our institutions are also part of the crusaders of this act of plagiarism yes! When you offer mass admission to students who have no single interest in art just because you need their money, they become naïve. Most of them graduate without nothing in their brain not because they are dumb no but because that’s not where they belong. It’s a pity!”

In Enwonwu’s view plagiarism is one of the side effects of a rapidly expanding art sector. “In the last few years, there have been world class exhibitions by leading local galleries accompanied with exquisite catalogues. The advent of auction houses with staggering prices for Nigerian art has ensured that artists can earn more value for their work. The downside of this development is that weaker artists are often tempted to copy the works of their more established peers to not only gain quick recognition but to also benefit from increased sales.

“In the academia, plagiarism is also commonplace owing to increasing pressure to publish articles in order to ensure promotion at work. The results are often poorly researched articles that do little to improve the society.

Aside this, fingers are also pointing at the collectors, art dealers and majority are blaming the academic lecturers who encourage students to study and copy the works of masters as an assignment.

“We got it wrong from the foundation, the art schools need to enrich their curriculum (half of what a practicing professional artist needs to know is not taught).

“Each time I see copies of another artist’s work, it reminds me of a fashion programme: ‘Who Wore It Best?’ To copy has become a trend! See how far and fast we are falling and failing the generation coming,” Tantua said.

Aliki agreed that most of the people plagiarising the work of others “are young artists…they know not what they do.”

Can artists register their works with the Copyright Commission (NCC)? If yes, how many artists register their work(s) with the commission? “One can get a copyright. But I don’t think I have the time to run after some silly copyist so far the person didn’t sign Aliki on the work,” said the painter.”

You would be wondering how plagiarists have access to a work an artist produced in the private of his studio? It this era of camera phone and mobile devices, anything is possible. It was confirmed that some people attend exhibitions with cameras or phones and pretend to be making a call or taking selfies and take the image of the work and go back to reproduce the work.

Should copy copy of intellectual properties continue to reign because artist like Aliki wants peace? Shouldn’t offenders be punished?

“The charge of plagiarism is a serious one for all writers and researchers on art. Plagiarists are often seen as incompetent and incapable of developing and expressing their own thoughts and ideas. They are also perceived as dishonest and willing to deceive others for personal gain. Students who plagiarise may suffer severe penalties, ranging from failure in the assignment or expulsion from school,” asserted Enwonwu.

As ten Nigerian artists exhibit for charity for the Ovie Brume Foundation, Edozie Udeze writes on the nexus between art and development.

From the word go, visual arts have been used as the best format to mirror the society.  Most artists find it very encouraging to explore their world using impressions that appeal to the eyes.  This was what took place last weekend in Lagos when 10 Nigerian artists displayed their works in a group exhibition tagged The Genesis – a charity art exhibition.  The 10 artists were Abraham Uyovbiere, Akinola Ebenezer, Bimbo Adenugba, George Edozie, Gerald Chukwuma.  Others were Joshua Nmesirionye, Kunle Adegborioye, Osagie Aimufia, Segun Aiyesan and Wallace Ejoh.

The exhibition was put together by the Ovie Brume Foundation essentially to raise money to help young people in the area of education.  As the arrangement was made by the organizers of the show, 40% of the sales of the works would be channeled into the foundation to ensure that the young ones are developed intellectually, emotionally, socially, spiritually, physically and educationally.  This was why each artist was made to present 4 works each.

The works were among the best done by the artists and from the responses and appreciation shown by dignitaries that turned up for the show, it was clear that the works indeed appealed to the people.  The art works came in different sizes and styles just to display a variety that represented the beauty of the society.  And it was easier to see works that dug deep into the nuances of the Nigerian society.  The artists themselves are among the best the nation can boast of.

In her statement, the founder of Ovie-Brume Foundation, Evelyn Oputu said, “this foundation is delighted to present an exhibition of Nigerian art to showcase the works of contemporary Nigerian artists.  It is also to raise funds for the continuation of our programmes.  While art is sometimes relegated to a secondary role in human development, it is important in a number of ways.  Every culture develops some form of art which gives identity and purpose to its inhabitants through mutually understood symbols and serves as a means by which values and attitudes are passed down from one generation to the next,” she said.

She reiterated the need for people to appreciate works of art due to their role in promoting the cultures of the society. “Art thus plays an integral role on how a nation’s cultural identity is defined and perpetuated,”  Oputu decided.  To her, art is also an avenue for expressing emotions and ideas and this can serve as a means of communication that cuts across cultural, social, educational, and economic barriers.

Oputu whose love for the art is unequivocal, opined that if properly articulated, “Art is a language that we as human beings can all understand and this resonates with us all in some form, be it music, dance, drama or painting, just like those on display today.”

A former Managing Director of the Bank of Industry (BOI) Oputu reminded the people that her deep love for good etchings, profound paintings and rich sculptural pieces, has led her to make art an integral part of the Ovie Brume Foundation.  “In addition to holding weekly fine art classes for budding artiste at the Ovie Brume Youth Centre, we have funded the art scholarships in 3 leading art schools across the country.  This is so because we believe that the young ones should be encouraged to explore art as a means of self-expression.  They should also be taught to begin on time to appreciate art and recognize its importance in defining our cultural identity just as much as our music or fashion does.”

The artists coming under the aegis of the Alpha Art Group did not present works that point to the same communality.  The ideas expressed in the works vary in order to also pinpoint the deep cultural diversities in Nigeria.  In his work titled Horsemen at dawn, Uyovbiere did a deep impression of this sport that is widely known in the Northern part of Nigeria.  With deep etchings that showed his love for colours, Uyovbiere depicted the total beauty and aura of Horsemen in the throes of their game.  Highly valued as one of the best works on display, Uyovbiere opined that he loves to capture his works in feminine, romantic elegance.  “I love to portray natural movement as seen in this horsemen at dawn.  I love also to present works in soft, smooth curves with plenty of energy of light.”

Indeed, his 4 works deeply explored the true nature of people in their natural ways of life.  However, the works of other artistes threw more light on human nature, human existence and the like.  For instance, Ebenezer, an Ibadan-based artist whose works were more of portraitures, dwelt on the need to explore nature.  In wanderers, he depicted a people in search of succour; people who needed to settle down; but when there is no place to settle down so quickly, what is the next option?  Ebenezer is often guided by his love for colours, in which he does       so much as to deepen people’s appreciation of his numerous portraitures.

In Edozie’s works, one is compelled to see the exclusivity of the marks of Benin art.  Having been schooled in that form of art at the University of Benin, Edo State, Edozie uses his paintings to impose some sort of elegance on the people.  His works are sharp, easily distinguishable, with special appeal that radiates.  This is why in Eko si Kwalu ike, he warns that Lagos is tough indeed.  It is this assemblage of these rough edges into one form that makes it easier for one to see the toughness of Lagos.  It is an array of confusion made into one; its form is therefore in its total beauty.  But the collective will of the people goes on to show that with resilience, one can survive in Lagos.  It is then a city of all sorts of odds; odds that can be made into one big whole, for the total good of the people.

Moreover, Adegborioye’s works seemed to have captured most attention.  Now resident in London, Adegborioye took his time to explore the world of children in his works.  As a matter of fact, most of the guests wished to see him in person to explain the ideas behind his expression.  Unfortunately, he was not present.  However, in children of paradise, he gives hope to the hopeless and points the way forward.  He showed that the children love the life in which they are given the opportunity to explore.  Let them be allowed to grow into meaningful citizens of the world.  This is why they are children of paradise and this theme suits the motives of Ovie Brume Foundation as epitomized by Evelyn Oputu and her team.

In today’s world of creativity and amazing art, some of the world’s most compelling and creative works have been born out of the simplest and most abundant of materials: waste. But how durable are these artworks? Would collectors and art buyers get value for their money? Udemma Chukwuma writes

Art is consistently revolving. Out of wastes, artists are now creating beautiful things. They are becoming daring with the choice of materials they work with and are continuously trying their hands on new medium, recycling wastes and turning them into priceless artwork. Some of the materials for these emerging medium include ankara fabric, plastic, crown crock, newspaper, charcoal, corrugated iron, spoons, you name them.

Some artists who are using waste materials as medium

Artists such as Kolade Oshinowo, George Edozie, Peju Alatise, Yinka Sonibare are few of those using rags of ankara fabric to create masterpieces. Uchay Joel Chima, another known artist uses charcoal on board to create alluring works. Chima had also delved into working with strings on canvas and finishing it with paint.  Last year, Rom Isichei wowed those who came to view his new show. He created most of the works on display with all manner of cans, used tomatoes tines, paper collage, corrugated iron, as well as sawdust.

Interestingly, recycling old waste not only benefits the environment, but also breathes new life into old objects once seen as worthless. This is a case of one man’s meat is another man’s poison. But can the materials stand the test of time?

Why the sudden shift?

Olaleye Oluseyi Martins, Principal Lecturer at the Art and Designs Department, Ibarapa Polytechnic, Eruwa, Oyo State said, “People are tired of the old. They are consciously seeking a new world of new materials and method e.g. in ceramics, clay was only limited to the usage of artists, but the new material world has opened ‘clay’ up to the pharmacist, the engineers and even the doctors, who used it in preparing a Nano-particles gauze in stopping blood flow in a critical wound.”

The realm of creativity, Martins said, is populated; and with incentives so high, “every artist is trying to cut a niche for themselves, more so in this era of polluted environment. The mind of the artist is seriously working on alternative medium of execution for various reasons.”

Some critics are however of the view that many artists are running away from drawing, painting and sculpting, and embracing this new medium because they cannot cope. But disregarding this claim, Martins said, “Art is dynamic and evolving.  The modern world is even challenging, and greatly awakening the consciousness of everyone. And mind you, not only in art. I would like to conclude that the 21st century is having its strong impact on Arts as it does on science and computers…. Artists aren’t running from paintings and sculptures, but busy finding a better and modern ways of communicating with this generation that always wants things done “instantly.”

Prof. John Ogene, an art historian, aesthetician, critic and a lecturer at Delta State University said doing art for the sake of vogue is like gambling. It is not about escapism- running away from canon. Experimentation and sheer curiosity contributed to the trend. Historically, this kind of practice came to the fore in Nigeria during the austerity and SAP (Structural Adjustment Programme) years, when the cost of art materials was beyond the reach of the average artist in Nigeria. There may have been other historical influences which had nothing to do with austerity measure. There were also artists who borrowed a leaf from Western artists like Pablo Picasso and Marcel Duchamp. Picasso did not run away from painting and sculpture when he used waste or found objects for art.”

Art historian, critique and lecturer at the Kara State University, Morenike Fola Balogun in her view said “Trends change, so does taste…. Artists have always ‘stolen from each other.’ Artists like to explore, be unique and at times, different… I guess we are in the era when we are still going to see a lot of ideas, and innovations coming up as artistic expressions.”

She said art to her, “Is either God made or Man-made; art is not static. It evolves and artists steal from each other – consciously or unconsciously. The buyer can get value for his money in iron work, depending on the theme rendered and the skill put into the construction. The salt of every work is the construction. If it is well balanced, I think it should be okay; but if it is huge or massive, it will be better as an environment sculpture.”

According to her, artists stress process more than content. The level of abstraction she said “is more pronounced in the use of material, plastic, paper etc. The artists are more adventurous now, that is why we see so many brands now. The freedom to define their own terms has also helped the Nigerian artists.”

Can they stand the test of time?

For Ogene, the quality of new art materials being introduced in art-making cannot be guaranteed both in durability and toxicity. “It may well be a passing phase, where some may last, and others may not. Nevertheless, they remain art,” he said.

Explaining further on the durability of the materials, Ogene said “It largely depends on the buyer, in what connects his life experiences and emotions and how that taps into his memories of life and environment. Some buyers may feel it is worth the price after all, while others may see it as garbage.”

Balogun said, “Trends change, so does taste… Artists working with these medium are due to contacts with one another and other cultures. Artists have always ‘stolen from each other.’ They like to explore, be unique and at times different… I guess we are in the era when we are still going to see a lot of ideas, and innovations coming up as artistic expressions.”

She added that “the materials are durable; iron cannot decay, so also plastic, but the finishing also matters.”

While Martins also agrees with them, he said: “I have seen many artworks in recent times; be focused and set the target at the right cadre of your intending customers. Again don’t forget the cravings for African arts by foreigners but yet majority complains so much about weight and space in transits.”

Affirming that the materials are durable, he said: “Iron cannot decay; so also plastic. But the finishing also matters, depending on the choice at play. Any buyer would definitely get the value….” Martins said.