The Nation Newspaper

Tag: art

  • A dying art

    What would you do if opportunity beckons for you to come back home to Nigeria after spending years in the United States of America (USA)? From what you can gather, the level of intellectual discourse you were used to before you left is a far cry from what is presently obtained. Should you remain in the US with its state-of-the art education facilities or return to contribute your quota toward the development of Nigeria? This is the dilemma a former colleague faces as he determines to take a decision that could make or mar his future.

    I saw in him an individual who truly loves Nigeria. After spending close to an hour on phone discussing about intellectuals and social critics in both countries, he was baffled that things are worse now than when he left. “All the news I seem to hear from Nigeria is practically about one bomb blast or the other; what is really happening on ground”? How did we derail and get to this ridiculous level? He queried.

    He told me that there is not a university in the US or Canada where you will not find, at a minimum, one Nigerian professor or professional. There is not a single hospital where you will not find Nigerian medical doctors and or nurses and other professionals. There is not a single private or public institution anywhere in the US that you will not find Nigerian students. He said the same may be true of the UK. These intellectuals and professionals dispersed because successive Nigerian governments, military and civilian, did not give rooms for intellectuals and professionals.

    Those of us who grew up listening to – and reading – the likes of the late Gani Fawehinmi; Beko Ransome-Kuti; Bala Usman, J. F. Ade-Ajayi; Eskor Toyo; Biodun Jeyifo; Claude Ake; Olatunji Dare; Kole Omotosho; Tam-David-West; Tai Solarin; Grace Alele Williams; Niyi Osundare and a host of others would’ve been appalled that intellectual pursuit and social criticism is a dying art in Nigeria. These and other individuals I cannot all mention because of space would never remain silent in the midst of injustice. Beko and Gani, for instance, spent time in detention because they refused to remain quiet.

    One thing is certain; there is a price to be paid for silence and cowardice in the face of oppression and injustice. What we see today is the majority joining the government bandwagon because of expected crumbs. Nigeria is now paying the price for abandoning intellectual pursuits. We already see the decay in the system. We see this in our national priority. We see it in how and what our country is becoming. And we see it in the pervasiveness of hopelessness and in the moral and political corruption that have come to characterise our country. Is this our Nigeria?

    Why do I love intellectuals? I do because they are men and women who have committed their lives and times to the pursuit and or dissemination of rigorous ideas and serious knowledge. They can be found in all areas of life – including music, arts and culture, medicine, mathematics, economics, politics, law, philosophy, and literary criticism.

    Beside the university or institution-based intellectuals, there are the public intellectuals who, for the most part, are engaged in very public discourses within the public sphere. However, it should be pointed out that there are times when it is difficult to differentiate between public intellectualism and political activism — or between political activists and social critics. The lines are sometimes blurred; however, all exist to make society better.

    I still recollect the days of military rule when many of these men and women were labelled “radicals” or “leftists.” Retired Colonel Lawan Gwadabe was once quoted as saying the government abhors “undue radicalism.” But those who knew better knew that these were the salt of our nation. They were the nation’s conscience.

    Many – during the military era- were prosecuted, persecuted, harassed, jailed, or sent into exile. Civilian administrations also contributed to the malaise. In the end, some of our best and brightest who could not stand mediocrity left in search of stability and greener pastures elsewhere.

    That was how our decent toward infamy began. Gradually, the distasteful and impermissible became permissible and sacred. It became the norm to not only steal, but to loot. It became acceptable to be a professional “intellectual” sycophant. They revere men and women with inferior IQ and dubious character, all because of crumbs from the master’s table.

    Those who study how societies develop and progress know too well that we need a bourgeoning class of intellectuals to highlight alternative paths to development. Without them, our society may stagnate, regress or even disintegrate. Even as brutal and repressive and unpredictable as some military regimes were, the Nigerian intellectual class, along with a budding class of social critics, helped to keep the government in check. But today, things have changed. Nigeria is different.

    We have lost fair grounds already, but we can still make amends for future generations by repositioning our universities to take their rightful place in the knowledge economy. We can incorporate the Japanese example where graduate teachers are the best paid public servants. There was a time in Nigeria when the salaries of professors were in tandem with that of a federal permanent secretary.  Today however – and despite the increased workload of professors – a distinct pay differential has emerged between apex positions in the civil service and those of senior academics.  Ironically, it is this sense of unfair disparity that has turned our academics into perpetual agitators with destructive consequences for the academic calendar.

    I am yet to hear from my former colleague if he has decided to leave the safety nest of the US for the unpredictable waters of Nigeria.

     

    Farewell Jude Isiguzo

    Last Saturday morning, the Group Sports Editor, Ade Ojeikere sent me a short but despairing BB message: “Jude Isiguzo is dead.” The news hit me like a thunderbolt. I replied immediately; what, how, when? “This morning,” was his short reply. I was confused.

    I first met Jude when he joined us in the now rested The Comet as a reporter, we bonded immediately. The bond got tighter when I later knew he was the brother of Mr. Ikeddy Isiguzo, a mentor and friend who is also the chairman of the editorial board of Vanguard newspaper. He used to send messages to his brother through me – we didn’t have mobile phones then.

    When I lost Ngozi (my late wife) in 2012, Jude was among the delegation that paid me a condolence visit; he was amiable and always unruffled. He takes life the way it comes. Just like the late Edo Ugbagwu, he was friend to almost everyone. This is why we all felt this untimely loss. I remembered the story Ngozi told me of how his wife threw a surprised birthday party for him by feeding the entire newsroom.

    For the short time I interacted with him before I left full time journalism, I noticed he had a good sense of humour; no matter how serious an issue is, Jude will inject humour into it and lighten the burden and mood. Even when he visited, he still had a smile on his face while encouraging me to take heart and be confident that Ngozi is in a better place. He would not hurt a fly as he always wears what became his trademark smile.

    I must also add that he was a very free-minded fellow; I can’t remember ever seeing him getting angry or quarrelling with anybody.

    My condolence goes to his lovely young wife, Gwendaline and his family. Jude was simply a good man. May his soul find rest with our Lord.

  • Sterling Bank to reward winners of The Art Competition

    Sterling Bank to reward winners of The Art Competition

    Three winners of the Art Competition sponsored by Sterling Bank Plc, will tomorrow be rewarded with N1 million each by the lender.

    The competition was opened to children between the ages of five to 12 who were asked to come up with a drawing or a write-up on the bank of their dream.

    The competition commenced in May 2014 with over 1000 entries received by the bank from aspiring young artists.

    The bank’s Group Head, Strategy & Communications, Mr. Shina Atilola in a statement said that the Managing Director & Chief Executive of the Bank, Mr. Yemi Adeola will personally present the prize money to the top three winners while seven others who made it to the last 10 will also get consolation cash prizes.

    Mr. Shina Atilola said: “We introduced the project to encourage students improve on innovation and critical thinking. We opened the project to students between ages five to 12. Basically, the kids are allowed to design and create the bank of their imagination which could be expressed as a painting, drawing, writing or even through a presentation.

    The most creative ideas will be shortlisted for various prizes. The first, second and third prize winners will go home with scholarship awards of N500,000, N300,000 and N200,000 respectively. There will also be other cash awards, gadgets and other prizes to be won. This initiative is aimed at identifying talents and harnessing same for global competitiveness”.

    Mr. Atilola who assured that the Bank will continue to invest in child education especially in the area of financial literacy explained that unless the private sector comes in to support education in the country, the challenges facing the sector may continue to hamper the growth of the sector in the country.

  • Ogun trains Fine Art pupils

    A total of 50 pupils  – all budding fine artists – males and females, converged on the Ogun State’s Gallery of Arts Hall, June 12 Cultural Centre, Abeokuta, for a five-day training in practical artwork.

    The participants, drawn from selected public secondary schools in the state, were tutored by professionals on how they could hone their talent to make them excel in any of the branches of art – painting, ceramic, textile design, and sculpture among others.

    The workshop tagged: ‘Ogun Arts Heritage’, which also featured career talk, among others, was organised by the state’s Ministry of Culture and Tourism and sponsored by the GTBank, Custodian, Sovereign Trust Insurance and First Marina Trust Ltd.

    The Commissioner for Culture and Tourism, Mrs Yewande Amusan, said the programme, which would be continuous, seeks to develop and strengthen the children’s interest, skills and talents in art.

    Mrs Amusan noted that in this modern age, art goes beyond “drawing,” adding that  the state is bent on  exposing the kids to possibilities in art, that they can create wealth from waste via art and create employment for themselves and others in future using art.

    She said: “We want to encourage our children to express themselves and develop their skills in arts. The essence is to expose them to professionals in the field, who would teach them the techniques they need to acquire to become career person in arts, create wealth from waste and also create employment.

    “Art is not just about drawing it is also about communication, making those kids to see prospect in art and to fall in love with it.”

    Mr Lekan Onobanjor, Head resource person from Harmattan Workshop, advised the pupils on the need to dream big about art work, define what they hope to become in future and to set goals as well as vehicles for attaining them.

    He said: “You should benchmark and dream to be a better fine artist, aspire to have great people look at your art work. You also dream of representing Nigeria in the global art competition.

    “Feel free to dream what you want to be in life. Without dream, you can’t go far and you don’t just stop at dreaming, you have to make it happen. People who want to be great mathematicians always practice mathematics; you see them  solving maths problems always.

    “So, if you want to excel in art, you must practice it regularly. You can’t just fold your hands and believe God will help you out. No. It doesn’t work that way. Do practice to be perfect.

    Define yourself.  Do you want to be a great painter, ceramic, sculptor, fashion designer?

    “Make your vision clear to make it easier for you to execute. If you want to be a painter, set goals for yourself and don’t think you are too young to dream, set long term and short term goals and also define how to reach your goals.

    “And know that gossiping and idling about will not take you to your goal. So be focused and committed to be becoming successful career person in any field of arts.”

     

  • Young at Art holiday workshop is 10

    Young at Art is 10. The holiday art workshop made its debut in 2004 as a yearly event for children and young adults between the ages of four and 19.

    Young At Art Children Creative Workshop  started on August 4, 2004 at Specifics Gallery in Ikeja, Lagos, with only three participants: two boys and a girl – the children of the founder Biodun Omolayo.

    According to the organiser, this year’s anniversary will hold in the  second week of next month because most of the people involved would have been back from summer vacation. “We do not want anyone connected with Young at Art to be left out,” it was said.

    Activities marking the anniversary include Special Creative Workshop for children from selected orphanages, homes and public schools in Lagos; presentation of photo book featuring its old and new members with all the activities from inception to date; presentation of special paper on the Role Of Children Creative Education In National Development; and anniversary dinner; awards for the initiative’s facilitators, class governors, parents, supporters, sponsors and the media.

    According to Omolayo, the art initiative has grown without losing focus of the original vision of developing the creative potential of the child for future benefits of the larger society along with engaging the best human and material resources to develop a happy creative well-motivated and culturally-sound child.

    The initiative has since added other events, such as May 27 Children Day and Free Art Workshops, especially for children from public schools, orphanages and the physically challenged. In addition, the initiative provides employment opportunities for undergraduates and graduates on permanent and part time.

    Its quarterly publications Young at Art Express is distributed free to schools, colleges, organisation and missions across Nigeria.

    The initiative, an institution operating through Biodun Omolayo Art Gallery is also consultant to the British Council Lagos  It has facilitated a one week art workshops Young at Art 100 for teachers of junior and senior secondary schools sponsored by the British Council, to celebrate Nigerian centenary. “We are looking forward to having workshops in Mathematics in other to assist those children who are weak in the subject, since some of the parents complain that a lot of the children who love art seem not  good enough in Mathematics,” Omolayo discloses the future pals of the workshop.

    Part of its plan is to have our own permanent facility where the children can camp during the workshop. This will be referred to as Young at Art Village.

  • ‘My race against time’

    ‘My race against time’

    Art is beauty; it is the gem of life. Art fuels your power of perception and vision; and how wonderful it is to emulate God in the art of creativity. The artist connects with nature, the sublime terrains of the universe, and the community because he is the mirror of society. “He maybe a prophet sometimes crying and screaming in the wilderness for those who care to listen. He is a friend of the muse. What can be more exhilarating?” asked Morgan Nwanguma rhetorically as he takes Yetunde Oladeinde into his world

    Tell us about some of your works.

    I practice in various mediums and modes of expression, all culminating in making me a well rounded creative agent – a complete artist: My creative energies find expressions in the visual arts such as painting, graphics designing, etc. On the other hand, I am a poet and creative writer with a couple of unpublished books lying on the shelves for now.  As a painter my works are rendered in two major mediums – oil painting and watercolours. My watercolours are a celebration of spontaneous colours and ‘happy accidents’, in which you capture the fleeting moments, your patience is put to test while you take a breath of fresh air in visual poetry as I usually refer to my works in that whimsical medium of expression.

    Oil painting affords me the freedom to express hard and deep concepts. I am able to execute concepts on a larger scale and of course a more durable format such as the canvas. The oil medium no doubt is the king of painting or two dimensional medium of expression. But in all, my paintings and drawings in whatever medium, will cut across impressionistic, and semi-abstract expressions most of the time. Sometimes too I would also delve into the surreal when there is the urge to express some ethereal impulses. One of my favourite paintings in this mode is the one I titled ‘Time is against you’. It is a race against time, and we are all involved in it. Therefore whatever is there to be done must be done right now, because you lose this moment, it is gone forever.

    What are some of the exhibitions and projects in which you have participated?

    I have had the privilege of having my works shown in various parts of the country and a few times abroad. My works also are proudly adorning so many private homes in Nigeria. Some adorn the walls of corporate entities as well as galleries. In foreign lands I am proud also to say that my works are in private collections in places such as – USA, Russia, Spain, Kenya, Venezuela, Taiwan, U.K., and Germany. My most memorable exhibition so far is my third solo show at DIDI Museum, Victoria Island in 1999, titled ‘Lyrical Expressions’. I am also a curator, and so have handled quite a few curatorial projects for group shows. A good example of these is ‘The Pains, The Tears, The Regrets’ – an art exhibition on violence against women by (LRRDC), also in 1999, at the National Museum in Lagos.

    What are some of the challenges encountered as an artist?

    The artist in Nigeria encounters similar kind of challenges that other professionals come face to face with such as the lack of adequate social infrastructure, e.g. inadequate power supply, unorganised public transport system, etc. And sometimes, there may be slightly different kinds of challenges in that our low level of development has a serious negative impact on art and artists. Patronage is low and there is just a hand full of dedicated art patrons and collectors out there. The level of enlightenment is low and government has no interest whatsoever. Quality art materials are all imported and as such are very expensive to acquire. You should pity the student artists as they have to go through gruelling times to pull through art school these days.

    How do you cope with some of these challenges?

    The artist should learn to stay focused; whatever you do, keep your eye on the ball. It does not matter if you take a different route, but just know where you are going. And that is what I am doing. I try to diversify as much as possible and be determined to succeed. I have also learnt to improvise where necessary.

    Let’s talk about some of your memorable moments as an artist.

    When I am in front of my easel bringing to birth yet another creation and I enjoy what I am seeing, that pleases me; when I create from my computer a graphic concept, watching it grow from idea, to design, and to production, I am full of gratitude. I also love exhibitions: it is the melting pot for creative synergy and a meeting point for kindred spirits – everyone that matters in the art society. There you rub minds with fellow artists, art writers, patrons, connoisseurs, and art lovers alike.

    Who or what do you consider as the greatest influence in your life?

    This is a hard question for me. I have admired a mixture of both Nigerian and foreign artists over the years. It may be due to my personal idiosyncrasies or exposure, I do not know. But I have been a great admirer of the works of the impressionists, e.g. Turner, Constable; the chiaroscuro master – Rembrandt, and the great British portraitist – Sir Joshua Reynolds, etc. Back home, I am excited by the woks of Abayomi Baber, two great watercolourists – Obiora Udechukwu and Sam Ovraiti. Other big influences on me have been Olu Oguibe, and my affable lecturer, the late Gani Odutokun.

    I am deeply moved by lush romantic landscapes, and so I love to portray them. Right now I am working on a series of these in oil. The quaintness and serenity of unspoilt country landscapes is a wonderful experience and inspiration. These, coupled with our variegated cultures have had a great influence on me.

    How would you describe the achievements of Nigerian artists?

    Nigerian artists over the past recent decades have attained great milestones: The standard and quality of works you see these days are remarkably high, and in the course of these the artists have continued to conquer new frontiers that were hitherto great barriers. Our works have gained international fame and recognition as many of our practitioners have become internationally acclaimed. So much of Nigerian art is already getting into international auctions abroad.

    If you had to compare what they are doing with those in the diaspora, what would you say?

    In terms of quality of output, I would like to place them at par. But the real difference is that undoubtedly our Nigerian colleagues abroad, especially in the advanced world continue to have an edge over us: There the level of art appreciation and patronage is higher; the working environment is more conducive to productive ventures.

    Where do you hope to see Nigerian Arts in the next 10 years?

    In the next decade from now Nigerian art will be more visible on the global scheme of things. This is what I hope to see. We need more discipline though, and greater exposure right from the training ground to the studios. We can get there.

    Tell us about some of your mentors in the arts and what you admire about them.

    The great Bruce Onobrakpeya (Dr.) is one of them. Both from the distance and even personal contact, this great icon of Africa has taught me many things. Sam Ovraiti is a great watercolourist who has helped to keep me on that course. I have followed his works with keen interest over the years even though he does not know it.

    If you had to advise younger artists what would you tell them?

    The younger artists should be focused; they should try to master their craft in the course of their work by exploring materials and techniques. It is very important to hone your skills and not be too engrossed with chasing after the money. But if they are consistent, they are bound to be successful. It is not at all a bad idea for an artist to graduate from the art school and still go into apprenticeship under a master – it all depends on what you want out of the practice. It is also not a bad idea for the artist to first of all look for paid employment while he is still practising; it does a lot of psychological cushioning.

    The younger artists and indeed Nigerian artists should form groups like is done in advanced climes. It is a big pity Nigerians, including the artists are not very cooperative; they should learn to share ideas. A lot of selfish tendencies abound, and this is not healthy for growth.

  • Redefining the art

    Redefining the art

    A moving sculpture known as kinetic metal sculpture, which consists of three-in-one Eyo masqueraders, roves left and right. The amazing sculpture stood tall in the exhibition hall, moving consistently and attracting viewers to the exhibition. It was mounted on a base. Titled: A New Good State, it is created by multitalented artist, Biodun Badmos. The exhibition was held at Timothy Adebanjo Fasuyi Gallery (TAFAS), Ikeja, Lagos.

    Participants were Adeola Balogun, Dudu Emmanuel, Bolaji Ogunwo, Biodun Badmos, Odiakose Onyeka, Ojetunde Sheriff and renowned artist, Chief Adebanjo Fasuyi.

    Another intriguing aspect of the exhibition was a particular sculpture titled: Sound Spiration, a musical symbol known as G-clef, created in such a magnificent way with black, silver and red metal, including a shiny saxophone. They were put together by Adeola Balogun.

    Other paintings of mixed media, water colour, oil paint and acrylic were also on display. Among them was a piece by Bolaji Ogunwo, titled: Aqua. The artist captured the settlers in the waterside of Okobaba area of Lagos, although there are certain fanciful elements in the artwork. But you cannot really make out what the work is all about until you have a closer look at it because of the choice of colour and composition he uses to achieve the piece.

    Ogunwo exhibited another work titled: I Have a Dream; depicting a young lady sitting down on a cushion outside the house in the sun. The reflection of the sun is very strong on the subject leaving a shadow on the backgroundground. “I Have a Dream is a concept that catches various attention as it dwells on early marriage, which has been the subject matter of the day.

    If the theme of the exhibition: Redefinition; is anything to go by, one cannot tell what to expect in the next 10 years from the visual art industry. The exhibition reveals that more techniques may emerge in the nearest future. The show provides a measure of relief for those who came to view the artworks exhibited.

  • Detroit art boosters offer $330m in bankruptcy

    Supporters of the Detroit Institute of Arts pledged to pay $330 million to help resolve the city’s record bankruptcy and save its Picassos and Van Goghs from going on the auction block.

    The donors want to the money go to retirees, whose pensions may be underfunded by as much as $3.5 billion and who have challenged the city’s right to be in bankruptcy. In return, the Detroit Institute of Arts, or DIA, collection would be protected in any bankruptcy settlement, according to a statement e-mailed today by the U.S. District Court in Detroit.

    “All recognise that if these two goals can be accomplished, a third absolutely critical goal of facilitating the revitalisation of the city in the aftermath of the bankruptcy will be greatly advanced,” according to the statement.

    Detroit filed the ChapterNine case in July claiming it cannot pay about $18 billion in debt while providing essential services to the city’s 700,000 residents. Creditors have pressed city officials to consider selling some art, or finding some other way to use the DIA to raise money.

    Last month, New York-based Christie’s Inc. said DIA art that had been purchased with taxpayer money was worth as much as $866 million.

    The DIA has opposed any sale, citing a legal opinion from Michigan’s attorney general in June that concluded the art is held in a charitable trust and can’t be part of any auction to satisfy the city’s debts.

    U.S. District Judge Gerald Rosen, who is chief of the federal court in Detroit, is overseeing a group of mediators who are trying to help the city and its creditors negotiate an end to the bankruptcy.

    A committee headed by the presidents of the Ford Foundation, the Kresge Foundation, the John S. and James L. Knight Foundation and the Community Foundation for Southeast Michigan would oversee efforts to raise money for the bankruptcy, according to the statement.

    The art institute’s operations are funded by a special property tax in three surrounding counties that generate $23 million a year in revenue. Sale of the art collection to pay creditors could result in repeal of the tax, museum officials have said.

    The collection includes Diego Rivera’s two-story tall murals from 1933 titled “Detroit Industry,” as well as pieces by Edgar Degas, Pablo Picasso and Vincent van Gogh.

    Kevyn Orr, the city’s emergency financial manager, hired Christie’s Inc. to value the art. He hasn’t said whether the city plans to sell any pieces to pay creditors.

    The proposal was first reported by the Detroit Free Press. Afterward, city art booster Paul Schaap offered an additional $5 million.

    Using donations exclusively to boost pensions may be difficult without support from bondholders and other unsecured creditors, Jim Spiotto, a bankruptcy attorney with Chapman Strategic Advisors LLC, said in an interview.

    That’s because under the U.S. Bankruptcy Code similar debts must be treated the same. The federal judge overseeing the case, Steven Rhodes, has said the pension debt is unsecured and similar to some of Detroit’s bonds.

    Making the donations exclusive to pensions would be easier than trying to force a sale on the DIA, said Spiotto, who has helped museums restructure debt outside of bankruptcy.

    “There are lots of ways of trying to structure” a donations deal, Spiotto said. “Clearly what they are doing is far easier than trying to monetize the art through a sale.”

    A group of art foundations said the proposal was intended to be part of a larger plan to adjust the city’s debt. Rhodes has said he would like the city to file that plan in March. In addition to the Ford, Knight and Kresge foundations, the group includes the William Davidson Foundation, Fred A. and Barbara M. Erb Family Foundation, Hudson-Webber Foundation, the McGregor Fund and the Charles Stewart Mott Foundation, they said in an e-mailed statement.

  • Black Passionate Art Gallery opens in Benin City

    A group, Chidis Black Passionate Concepts (CBPK) and Black Passionate Art Gallery, has opened in Benin City, the Edo State capital.

    The art and fashion company, which is supported by the Youth Enterprise with Innovation in Nigeria, seeks to be world class art company, providing aesthetic, functional and educational solutions through visual arts, Fashion and culture promotions.

    Its Chief Executive Officer (CEO), Chidi Ubamadu said: ‘‘We are committed to sharing our unique history, celebrating our rich cultures and preserving the African heritage through the production and sales of genuine African art works, the promotion of arts and culture among other services. We are also committed to ensure ready availability of professional quality art products and services in Benin City, in order to adequately satisfy customers’ needs locally and beyond, provide appropriate job and income opportunities for visual art practitioners and other creative minds in their appropriate fields

    “We seek to contribute meaningfully to the promotion and preservation of the rich African cultural heritage, we aspire to catalyse, in our own small way the revitalisation and sustenance of Art professionalism, practice and market in Benin City as an important global art centre by providing a thoroughly professional art gallery experience as well as regular and innovative art exhibitions here in Benin City,” he added.

    Works displayed at the recently opened art gallery include a mixture of single media forms, mixed media and collections made from genuine African traditional materials sourced locally to keep true to the heritage and the gallery stocks.

    Also on display were a good range of art works based on various cultures, cutting across multiple generations of artists which also capture an interesting variety of traditional and western themes.

    Visitors at the launch had a rare privilege to buy and own original works of art from some of Nigeria’s best.

    Some of the exhibiting artists include: Njoku Kenneth, known for his bronze works; Festus Enofe with his mesmerising wood carvings; Eddison Ekwueme, a prolific sculptor/painter; Ohiole Ohiwere, working in bronze, brass and poly marble; Simeon Ijoye, a water colourist; Lawani Sunday, Paul Ehizelen, Femi Williams, among others from the prestigious Auchi Art school, Eugene Aghimien and Gbenga Akintunde, young masters from the Benin and Ife schools of art.

  • ‘My art is my diary’

    ‘My art is my diary’

    The select audience, comprising renowned art scholars and patrons such as Prof John Pepper-Clark, Prof. Bruce Onobrakpeya, Chief Rasheed Gbadamosi, Prince Yemisi Shyllon, Joe Obiago and Oliver Enwonwu, were unmoved by the long wait. The celebrator, Prof. Uche Okeke, who turned 80, was yet to appear at the venue of the birthday celebration hours after the 4pm start off time. Still, in his absence, speakers took turns to reflect back on the doggedness and resilience of the art scholar who has been on a wheel chair since February 2007 following a stroke attack.

    Last Sunday, Prof. Okeke ‘stood’ tall among his associates and relations who gathered to celebrate him. It was an evening of prayers and encomiums from friends, associates and relations who recalled the works of the great artist, poet and illustrator. The venue of the party organised by his children as part of activities to mark his 80th birthday, was the Kongi Gallery Hall, Freedom Park, Broad Street, Lagos. One of his children, Mr. Chindo El-Farid Uche-Okeke, was the compere.

    At exactly 6.51 pm, about three hours into the celebration, supported by his wife, Kaego, and children he rode triumphantly on the wheel chair into a cheering audience that stood up singing. Okeke, who wore a top made from earth-colour Ankara on a pair of milk trousers, offered a broad smile to all in appreciation of the honour. Though he did not say ‘thank you’, his body language and the expression on his face, said it all.

    The retired art teacher at the University of Nigeria, Nsukka and founder, Asele Institute, Nimo in Anambra State, who is famed for illustrating the late Chinua Achebe’s popular book, Things Fall Apart, considered his art as a visual diary of ideas he has nurtured over time.

    “Time is, therefore, of utmost importance to me, taking pride over place in my scales of values. Yet, I am an environmentalist of some sort, for I believe I can create my own world out of elements from my past and from the history of man on earth. For me, art has always signified the search for values. These values do not necessarily change but fall and rise with historical man as he tarries here and returns to the place of the dead,” he said in a graffitti on the wall of the hall.

    Prof. Pepper-Clark described Prof Okeke as a versatile artist who got published by Mbari Club as a writer before his contemporaries. He also noted that Okeke’s pioneer group of visual artists from Zaria was larger than the writers association and that they made their mark more than the poets. Prof. Clark recalled that Prof. Okeke was one of the early pioneer visual artists who came to the University College Ibadan, when the Mbari Club was just formed.

    The literary icon also used the reminiscences to talk about their school days at Ibadan. He recalled the old rivalry between the then Principal of University College, Ibadan and the Rector of the Nigerian College of Arts, Science and Technology, Zaria saying ‘there was rivalry between the two heads of the colleges on who has more degrees than the other. But, all the campuses of the Nigerian College of Art, Science and Technology, Zaria were looking up to us at Ibadan.’

    Nobel Laureate, Prof. Wole Soyinka who came midway into the celebration observed that the creative energies and the camaraderie enjoyed by artists and writers in the days of the Mbari Club at Ibadan cannot be replicated today. “Unfortunately, it is impossible to replicate what happened when the Mbari Club started at Ibadan. We can’t enjoy the same things again. But, there is a muse of creativity that I happened to be here without notice,” he said. Soyinka who joined the celebration later was at his office to pick up his mails when he knew about the celebration.

    Founder of Omooba Yemisi Adedoyin Shyllon Art Foundation, Prince Yemisi Shyllon, said Prof. Okeke pioneered the development of Uli art that gave birth to great disciples such as El Anatsui, Obiora Udechukwu among others at the University of Nigeria, Nsukka.

    “I have benefitted from the great works of Okeke. We pray God to grant him good health and long life,” Shyllon added.

    Prof Onobrakpeya, a classmate of Prof Okeke at Zaria, described the evening as an occasion to thank God for Okeke’s life and all his endowments as a visionary artist, father and citizen. “We pray God that he should get better, well and the artistic endowments should be productive and extend from now till future. We are asking that Asele Institute should be upgraded in order for his legacies to spread,” Onobrakpeya said in an emotion-laden voice. President, Society of Nigerian Artists, (SNA) Oliver Enwonwu said Prof. Okeke ‘s extraordinary career saw him rise from his student days (1957- 61) at the Nigerian College of Arts, Science and Technology, now Ahmadu Bello University, to one of the most important figures in the history of modern Nigerian art.

    “His career begins as a clerk in the department of labour at Jos, takes off as the head of the Visual Art Section, Refugees Affairs Committee of the Biafran Directorate of Propaganda in 1968, and reaches its climax as the head of the Department of Fine Arts, University of Nigeria, Nsukka. Indeed, much of his legacy rests not only on his role as a founding member of the Zaria Art Society which later became the Society of Nigerian Artists, but his contribution to a modern Nigerian visual language,” he said.

    Continuing, he said: “Prof Uche Okeke, we the executive of the Society of Nigerian Artists and indeed all our members are here to celebrate you.Enduring success never comes easily. It takes the struggles of life to grow strength. It takes a good fight for principles to build fortitude. It takes crises to gain courage and it takes singleness of purpose to reach a goal. This, Prof Christopher Uchefunna Okeke, describes your life story. On this occasion of your 80th birthday, we all salute you and say; May God bless you. May you prosper and live long in good health.”

    Others who spoke included Chief Rasheed Gbadamosi, Mr. Ashim Nwoko, son of Demas Nwoko.

    The family used the evening to announce the launch of Uche Okeke Foundation holing next year as well as the publication of a book on Uche Okeke’s seminal works. Also, a giant birthday cake was cut by the celebrant in an evening that witnessed lots of back slapping and exchange of pleasantries among arts community members present.

  • Art collector makes case for private museums

    In a few months, Nigeria will host the world economic forum for Africa and artworks collections, including Chief Solomon Ogbonna‘s, will be among those to be showcased, the Minister of Tourism, Culture and National Orientation, Chief Edem Duke, has said.

    He said he was amazed by the magnitude of artworks in the care of a private collector, adding they are treasures that tell the history of a hundred years ago. He noted that such treasures should not be hidden from public view. He noted that not all Nigerians can preserve historic art for the benefit of the country as they would be enticed by money to sell them.

    “I praise this patriotic citizen. Nigeria owes you a huge debt because your artworks can compete with those in the National Museum of Nigeria,” he said.

    Duke, who praised Ogbonna for preserving the enormous art works, urged other Nigerians with similar collections to emulate him in developing private and government-owned museums. According to him, the most thriving museums in the world are privately owned. He spoke at the house of Ogbonna at Ajah, a Lagos suburb.

    Duke said: “For 37 years, the National Theatre has been there, people have ridiculed the President for abandoning it. That is why a decision has been taken to revive the place. The government is not transforming it into a hotel, neither would it be sold. But it is going to rehabilitate the dirty areas surrounding it for investors who are ready to redefine the place”.

    Ogbonna is involved in the advocacy aimed at protecting and preserving the art, culture and tradition of his people, especially those being eroded by western influence. He is seeking moral assistance and support of the government in creating a standard museum that will exhibit his artworks for Nigerians and the world.

    His words: “We should preserve art because it encompasses our culture and history, and culture shouldn’t die because of culture imperialism. The preservation of the art, culture and tradition of the people is a vision flowing in the blood of my family. My grandfather is an art collector, and so is my father,” he said.

    He said art is a form of culture and an extension of the mind and nothing would strengthen people as much as a proper appreciation and understanding of their history as recorded by their own people, in their own language.