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Tag: Duke Asidere

  • Therapeutic side of Asidere’s sketches

    There are good reasons to look forward to Duke Asidere’s forthcoming solo exhibition. One of these is that the exhibition, titled: Sketches & Therapy, will feature 150 sketches by the artist.

    It opens at the Hourglass Gallery’s new space on Victoria Island, Lagos, on Saturday by 4 pm. The opening will feature a book presentation of the artist’s sketches by Dozie Igweze, the gallery owner.

    Here is the story behind this book of sketches. Igweze and Asidere had discussed it for many years. They agreed it would be better to create a document of the sketches rather than having them simply dispersed to individuals. Besides, they thought it would be important to enlighten the public more about art. This would include acquainting them with creating art, the ideas behind the works and the conflicts the artist encounters during the creative process.

    However, the book project was shelved as other more urgent endeavours obtruded into their schedules. Asidere would continue to do the expected: hold several solo exhibitions. As for Igweze, that would be the impetus he needed to write his first art book, titled: The Storyteller of Agbarha-Otor – the Visual Tales of Bruce Onobrakpeya.

    On this coffee-table book, he wrote about the renowned Nigerian artist, Bruce Onobrakpeya, exploring his early influences and highlighting how these influences impacted on his art.  

    In 2016, the duo thought the time was ripe to produce the book. Now, the collectors would have a bird’s eye view of all the artworks without having to collect them all. As Igweze’s second book, it opens the creative vent for the third one, which he says he is writing on the pioneer Nigerian artist, Abayomi Barber.

    Meanwhile, the sketches featuring at the exhibition, which ends April 6, were the fallout of the artist’s two-year stint at the Delta State Polytechnic’s Art department, which desperately needed a visual arts lecturer. Asidere had joined the staff of the Ogwashi-Uku-based tertiary institution in 2004. This was years after he  resigned from the Auchi Polytechnic, where he had lectured between 1990 and 1995 with the likes of Sam Ovraiti and the late Ben Osaghae prior to his relocation to Lagos for full-time studio practice.

    The Ahmadu Bello University-trained artist had agreed to work at the Delta State Polytechnic, because the job offered him not only the opportunity to serve, but also provided a chance for reflection and self-healing from the emotional turmoil he was then experiencing.

    He sought to unburden himself, regain his sanity and renew his spirit through the sketches he did within this period. His pencil strokes  evoked his inner quest to make some meaning from out of his experiences. As he travelled through Asaba expressway, the inner roads of Asaba, Ogwashi-Uku and Ubulu-Unor, he sketched the people he  encountered during his journey. He also sketched the models in his art classes as well as his students.

    For Asidere, the sketches were aimed at capturing fleeting moments and quickly documenting emotional states. Any attempt to render them on canvas would dilute the intensity of his emotions. Hence, he opted for the spontaneity of pencil on paper. He wouldn’t want to lose even a second in putting down his ideas for his viewers.

    The sketches, as therapeutic outlets, are no preambles to bigger works. They are indeed, fully-formed artworks. The artist has always treated sketches as the end products. He lets the viewer into the true state of his mind with the sketches he called “The Empty Room” series, in which he depicted the room he stayed in while at the Delta State Polytechnic. The sparsely-furnished room had only a mattress on the floor, a picture on the wall and few other items.

    This room reflected the loneliness and emptiness of his life at the time while he sketched what flitted through his mind on paper as though he was writing them down in a diary. Or, perhaps, they could be described as a travel journal since they share the artist’s experiences on the road.

    The artist also used some of the sketches as post mortems of his already completed artworks. With them, he, so to speak, revisits his original oil paintings in the form of sketches. He mulls over the figures, mulling over how he could have done things differently, like change some of the colours.

    His figures seethe and froth with so much energy and vitality, evoking movement rather than passivity. Through them, he tells his story of the country, which for him is one of hope, love, desperation, optimism and despair. With them, he decries the dysfunctional society he lives in and operates from. The viewer not only discerns the emotional impetus behind them, but also identifies with some of these emotions.

    Born in Lagos in 1961 to a sailor with the Elder Dempster Company, Asidere was exposed to the early strong influences of his mother, who ran the household while the man of the house was away. It was thanks to these influences that women feature as strong powerful figures in his art. In a homage to his mother, he also explored the strength and bravery of the women around him.

    Averse to conformity, he developed his style of figurative expressions. Since 1995, when he established his art studio in Lagos, he produced works that suggested the exploration of the streets of Lagos. He captures the energy and chaos of these street, chafes at the insanity of the local politics, the country’s decrepit infrastructure and the declining standards of living.

    Years under the guidance of the late Gani Odutokun at the Ahmadu Bello University in Zaria rubbed off on his artistic sensibilities. So did his years at the Auchi Polytechnic.

    The exhibition, which will be the first since the Hourglass Gallery relocated to its bigger space on Victoria Island from Ikoyi, will pave the way for others of its kind, Igweze promises.

  • Asidere’s Open Studio goes to new location

    Six years ago, one of 0 Nigeria’s renowned artist’s, Duke Asidere, launched PlayspotStudio in Egbeda, Lagos with Protest Art concept in focus. It was a studio he started out of passion for artists to interact    through workshops, open studio and seminars.

    Today, the studio has opened at Gbagada area of Lagos, leaving its maiden location as a result of undue traffic that has delayed its activities over the past few months. At its large freshly white painted space at the ground floor of a two-floor building, artists and friends of Asidere gathered to interact with him over his works in the new space which is more accessible. As a visual arts parlance, Playspot Studio is not uncommon. It has always gathered artists for interaction and exchange of ideas in an informal setting.

    At the new space which opened last week, Asidere assures that Playspot will continue its workshops in the coming years, “It will be more expansive and inclusive,” he said. He invites non-artists such as collectors, other observers of art and members of the press to come to Playspot Studio for an engaging muse on art, while disclosing that his solo exhibition of 12 paintings and few drawings will take place at Omenka Gallery mid next year.

    During the interaction on social values and decadence that abode today, Asidere insisted that art must engage societal issues. He advised that before artist could use their art to address societal ills, they must internally cleanse themselves, adding that artists need to lift their game and conduct themselves professionally, “Art has the power to change our society for the better only if artists take the lead,” he said.

    Art critic and advisor, MrTajudeen Sowole during the interactive session urged artists to invest their time in promoting art appreciation. He said: “Every artist should take a cue from Asidere’sPlayspot Studio by organising art workshops for people at the grassroots, particularly youths. When youths identify with art, they will patronise artists when they become adults irrespective of their professions.”

    For Asidere’s impactful workshops during the time he was at Orelope area of Egbeda, Sowole recalled how Asidereorganised a workshop for 30 artists who took form of street painting as part of activities that marked his 50th birthday, “I commend Asidere for taking art to the people via his Orelope workshops organised by Playspot in five spots across Lagos few years ago. I can assure you that from next year, Playspotwill continue the workshop here in its new space, Gbagada,” he said.

    Asidere who is a full time studio artist was first trained in Ahmadu Bello University, Zaria (ABU) with first class honours in painting and a MFA in painting from the same school. He once worked as a lecturer at the Federal Polytechnic, Auchi, Edo.

  • The coming of Bloom (I)

    It is the moment to showcase the masters of the contemporary art in Nigeria. Come Saturday, December 8th, all roads will lead to the Alexis Galleries, Lagos, where 14 of Nigeria’s artists will be on display, in what is termed The Bloom I, reports Edozie Udeze

    Theirs is what you can conveniently describe as ‘by their fruits you shall know them’.  Theirs consist of good fruits that have shown what good and responsible arts should be over the years.  Come December 8th, all roads will therefore lead to Alexis Galleries, Victoria Island, Lagos, where the masters will be holding their exhibition.  These masters of the art have been on the scene between twenty to thirty-five years, ensuring that their paintings spell out who they are and what defines their profound devotion to the creation of ideas and ideals.

    Titled The Bloom I and led by the following artists – Sam Ovraiti, Duke Asidere, Dominque Zinkpe, Zinno Orara, Segun Aiyesan, George Edozie, Fidelis Odogwu, Diseye Tantua, Reuben Ugbine, Abiodun Olaku, Gab Awusa.  John Oyedemi, Alex Nwokolo, Edosa Ogiugo and Gbenga Offo, it is the assemblage of the best crop of Nigeria’s younger masters since the time of the likes of Aina Onabolu, Ben Enwonwu, Uche Okeke and the rest.  These are artists who create from their inner souls; who rummage effusively in different and convincing art forms to hold the society spellbound.

    At a press briefing in Lagos to usher in this blooming moment, five of the fourteen artists present threw more light on the concepts of the outing.  But before that, the CEO of Alexis Galleries, Patty Chidiac Mastrogiannis made it clear that these great artists have stood the test of time.   “Yes, their works are an exquisite crossover between traditional and contemporary art.  This is the sort of skill they have impressed on global art connoisseurs in their various exhibitions across the world.  They have achieved this feat by brilliant fidelity to their traditional roots, while also playing on the contemporary artistic genre.  These works are wonderful”, Patty, an avid lover of creativity enthused, promising that the society would use this opportunity to view the best art can offer in Nigeria come December 8th.

    Ovraiti in his remarks described theirs as works that are created from the inner soul.  He said, “I am happy to meet Patty one-on-one for the first time and I am glad that I am part of this inaugural event.  Most times when people start things like this we clap and sheer them on.  This is what we need to do for Patty, I mean 14 of us involved in this exhibition.  It is a project that is so significant and will make name in itself.  I began to draw when I was eleven years.  For me then there was no alternative for I had wanted to be an artist.  So I became an artist, for even then I didn’t know much.  My works have to be things from my inner being; something from the soul.  For me art is food for the soul; it comes from the inner formation of the artist who creates it.  But it is not everyone that will love your art.  Yet, you have to form it and for those who love what you do you are encouraged to aspire higher and higher”.

    Ovraiti who is deeply in love with colours and female images described the combination of both as the best gift of nature.  “My sisters are big girls now.  I have been able to see arts from their perspectives, those moments of love and happiness that blossom in them.  Today my daughters are named after my sisters and when I paint women I do so, because they are exquisite works of God.  So far I have painted 600 girls.  In fact, I did this within then years.  It is a way of plying into the soul of women, for their images attract the eye.  Anywhere I go and see beautiful women, I admire them.  The colourful dresses they put on help to ignite the society and make life softer.  You can always see the nature of God in women.  They are love and love is life.

    In one of his works for the exhibition titled We are stronger together, he displays different colours of different beauties and razzmatazz.  “It is let’s come together, and fight and achieve our aims.  That is the essence of the work”, he said.  He also has ‘that same market’.

    In his works, Awusa equally rummages in the beauty of women which he confessed began the moment he went into painting.  “Yes, I paint women too much”, he began as a broad smile registered on his face.  “I look at the figure of women from different angles when I want to paint.  In my work here titled Mood swing, it shows that at any time, a woman’s mood can change”.  In a bread winner, another of his works Awusa brought to the fore the foremost role women play these days to keep the family intact.  ‘Yes, women play bigger roles in the homes these days.  Check out the entertainment industry where they have taken over.  For me, men and women are equal before God and my works are used to make eloquent statements in that regard”.

    As for Edozie, who loves to title his works in the Igbo language, the work Nne Nkisi is significant, for it explores the idiocy of both the leader and the led in Africa.  The work subtitled golden fish has no hiding place where he uses the symbolism of fishes to show how many Africans who have perished on the sea while trying to cross over to Europe. “when they die, those fishes feed fat on their corpses.  I suppose other fishes should swim over to that area to partake in the milieu”.

    But beyond that, it is time to use the work to dissect the role of the society in this era of second slavery in Africa.  While leaders do not help to manage African affairs well enough, the youths, in connivance with their parents in most cases, willingly and voluntarily move to Europe to be slaves under the guise of seeking for greener pastures.  The work Ikpoku chi also spells this out more vividly especially when the female prostitutes from Nigeria are made to swear oaths of allegiance in this matter.

    Tantua who drove in from Port Harcourt, Rivers State, for the briefing, narrated how he now uses old cars and other automobiles to create his art.  “I do so and smile to the banks,” he declared.  “I use parts of old cars to make furniture.  And also on my works I make jokes, or drawings which is functional structure, one of the works here for the exhibition.  The second work is titled Stay your lane.  The jokes make you laugh, make you soften down.  Indeed my works are simple and easy to understand.  When you feel the art like I do, you have to be different; you have to be cool about it.  I consume and also appreciate the art”, he said.  This is why his works consist of his day to day diary of events; life’s many problems and so on.  And anywhere he goes, he collects jokes on the way to embellish and enrich his works and so on.

    In the main, Patty promised to make this event an annual one where she picks the masters to showcase on stage thereby moving the art to the next level.  She said, “Alexis Galleries wishes to establish an ongoing relationship with the commune of artists so that together, we can renew and sustain our artistic vision for mutual benefits and for the good of our respective communities and countries.

    Each artist will be showing two pieces and the exhibition runs till to December 22, 2018.  The exhibition is supported by Pepsi, Maikano, Delta Airline, Amarula, Nederburg, Cobranet Internet Service Provder, Cool FM, Wazobia FM/TV, Chocolate Royal, The Avenue Suites, Art Café and The Homestores Limited.

    “We have supported artists to organize and showcase their works and talents through numerous exhibitions, as we desire to take the Nigerian artists to greater heights in strengthening the ever vibrant Nigerian Art Circle.”

  • ‘Our works are treasures’

    Infinite Treasures brings 12 great artists together to show how each tackles the same theme for six years. The viewer is encouraged to notice where these masters of infinite treasures converge, and why they remain distinct. UDEMMA CHUKWUMA, who has monitored their progress, writes.

    Consistency is a key element in the art, especially now that competition has gained ground in the art scene. Upcoming artists are desirous of breaking boundaries while established ones are working to remain relevant. For over 30 years some artists have channeled the course in the Nigerian art community and have made impact with their various styles, media and techniques.

    Twelve like-minded artists: Reuben Ugbine, Abiodun Olaku, Bunmi Babatunde; Sam Ovraiti; Duke Asidere, Edosa Ogiugo Alex Nwokolo, Fidelis Odogwu, Joshua Nmesirionye, Diseye Tantua, Felix Osiemi and grandmaster Kolade Oshinowo, are showing five works each at Terra Kulture, Tiamiyu Savage, Victoria Island, Lagos in the sixth edition of Infinite Treasures which will run for more than a week.

    Their works speak volumes with fierce energies and elemental artistic presence, which seem to frighten off modern curators from their corridor. As they document contemporary issue, they pour out their souls on their canvas, as well as show you what Fine Art should be.

    Mufu Onifade said: “It is still the same principles, which produce art of pure spiritual inclination and hunger for perfection that gave birth to this annual harvest of masterpieces called Infinite Treasures.”

    Their quest remains the same; to safeguard an art enterprise that takes care of the professional artists’ welfare, satisfies collectors and updates the public of the seamless effort of the artists and contributes to the country’s GPD.

    What is different this year from the previous ones? Tantua known for his pop-art, is revisiting his old style “which is the basics of art, using forms and drama to tell stories.”

    His piece titled Rest; a drawing on textured flat television panel depicts a woman resting beside a basin, though uncomfortable. Inspired by the stories of women who do odd jobs to support their families. “I’m bring in their stories to the consciousness of the people who are ready to connect.”

    The second piece titled We found Joy depicts two boys sitting on a wheelbarrow One fascinating thing about the drawings by this Port Harcourt-based artist, is that he uses spoilt television panel as his canvas to capture his message ‘because I don’t want to get stagnant working on canvas.’

    “This pieces might be a bit difficult for people to carry, but the intension of those works are not for collectors to say they want to hold it or not, because I am interested in the works myself.  I did it to satisfy my soul. I bring out my soul into my work. Not every work I create is for money. Some works are created for attention, as an experiment which you tried out as an expression,” he said.

    Odogwu has mastered the act to bend metal to submission. “In printing they do colour separation in graphics, but I’m doing metal separation, so you see different layers trying to show you the face of the subject, when you look at it you will see the face, but this piece is not just flat, but it has panels. So, I was inspired to do metal separation from colour separation in graphics,” according to him.

    One of his sculptures Sisters is a three-panel fused together. This, he explained that “if you look at their faces, they’re almost identical, but the way and manner they dress is different, what I tried to do is to show even if we were born the same day, or from the same village, or we are all artists, the way and manner we handle issue, would be different, we maybe heading to the same direction, but the way and manner we handle issues, might be different but we will get to the same spot we are going to.”

    For this exhibition, Ogiugo continues with his bold lines and his regular “figurative process to make a commentary on social issues. A drawing he titled Smile is a combination of charcoal and pastel, “it’s actually the smile of victory over the illegal sharing of our common wealth. I’m using my work as a means of lending my voice.”

    Olaku in his artistic expression, predictable as he is as conservative artist has been consistent with night scene of landscape and figurative paintings.

    “I’m always tied to the theme of my last solo exhibition titled Stimulus.  Each piece is created in such a manner to stair the emotions of the viewer. Whatever story I’m telling caught across lots of human activities. Essentially we are provoked to create activities with our immediacy; sometime in real forms, sometimes in visual form, when things touch certain spot within, I think it is enough stimulus to create and tell a story that is convincing enough to capture the essences of it.”

    Olaku’s five spectacular paintings he will be showing are masterfully created, though he confessed it was not easy for him to put them together due to the train of collectors waiting for his work.

    Explorative artist Nmesirionye, in line with his exploration. “I’m looking at the human face (series called the realm) based on human forms, focusing on the human face. I tend to explore the phycology of the face; the human face can be inviting or repairing. I’m looking at mood.”

    Aside documentation, they are contributing to economic growth of the nation and mentoring younger artists. Their objective is to achieves a multiple purpose that takes care of them as professional full time studio artists. To satisfy the infinite craving of deserving collector and updates the public of the seamless effort of the recognised brands in the art industry. The theme evolved from Distinction to Infinite Treasures.