Kolade Oshionowo is one of the most classical visual artists in Nigeria. Recently artists of all genres gathered at the Grillo Pavilion, Ikorodu, Lagos, for the 5th Annual Visual Art Fiesta. The fiesta was in his honour. In this online interview with Professor Jerry Buhari of the Ahmadu Bello University, Zaria, Kaduna State, he gives insight into his many exploits, style, form and vision as an artist
What do you consider to be the role of art and the artist in the society today?
Artists are visionaries; they are the light that helps to mirror the society. Because of their rare gift, special skills and training, they see far beyond the ordinary. The artist is not only able to document, but he is also able to highlight issues of social, economic, political, cultural and the spiritual lives of his society, thereby enhancing and adding great values to the lives of the people.
How fundamentally different has the role changed with time, if it has?
I believe the role remains basically the same.
The female subject appears prominently and often predominates in your works whether it was in painting or drawing. What does that represent?
The use of female subject is a universal one and it has been so through the ages. The female is endowed with a form that is as complex as it is beautiful. The woman also adds to her beauty by wearing various forms of head gear and adding accessories such as ear rings, necklaces and bangles of various sizes and materials. The female body represents the beauty and challenges of motherhood. These I try to capture in my paintings.
Is the female form a motif or a message in itself?
The female form for me is a message. Nude female form will hardly be found in my paintings and drawings except those done as studio class assignment or during my years of teaching.
What is your opinion about family? What role does the woman play or should play?
I hold the family in high esteem. It is an interesting theme that I have explored and will continue to explore. Though I celebrate the family, I often times focus more attention on the plight of families in the distress as a result of economic down turn, civil strife, inter-communal clashes, political disturbances, all kinds of wars and natural disasters. All these resulting most times in refugee situation.
The woman is the key figure and particularly important in the family set up. She is the mother of the family. And in addition to all her huge matrimonial duties and responsibilities, she supports her husband in providing for the family.
Your compositions appear constantly centralised, clustered and in subdued palette. What are you trying to tell your viewers?
I wish you precede this particular question with ‘some’ rather than the generalised nature it conveys. Surely, I try to engage the viewer, making the eyes rest as much as possible on the painting.
I believe strongly as a painter in the strength of colours as a means of expression and I can oscillate from one end of the colour spectrum to the other. My use of colour depends on my mood and what I like to achieve in a particular painting. What I may not do is allow colour to overwhelm the structure of my painting. There must be a balance.
Let’s return to your choice of the palette again. Your colours appeared subdued rendering some of your images almost silhouettes. You appear to prefer cool or warm quiet colours rather than vibrant contrasting colours. Is there any specific meaning or reason?
That is my preference and style. I prefer dramatic use of colours rather than intensity. The most important thing for me in any work, either abstraction or realism, is quality.
What is the source of your models, especially the female models?
My models are usually people around me; family members, maids, willing relatives and family friends. Most of the figures are actual or a modification of the faces. Some are simply imaginary especially where the focus is on the costume or a subject matter other than portraiture.
I have not noticed the ‘gaze’. All I can say is that sometimes I try to attempt to let the eye of my models follow the viewer.
Whether lateral view or otherwise is a question of choice and preference at the point of composition.
What is and should be the role of photographs as reference for painters? Does it enhance or act as a barrier to creative expression?
The photograph as reference can serve as a spring-board in a creative process as means to an end. Of course I am not talking about commissioned works where only photographs of the subject are available.
My strong belief is that habitual wholesale copying from photographs hampers the growth of the art student or even the professional artist. I try to discourage my students as much as possible from the practice. The artist should be able to generate ideas. Where is the creativity if all you are doing is copying from photographs? In some of our institutions of higher learning outdoor painting and drawing assignments have been converted to indoors by the use of digital phone cameras, thereby short changing the learning process. Even life drawing classes are not spared!. The picture of the model is simply taken for further ‘downloading’ later. Even absentee students can benefit from the ‘downloading’. Such students don’t grow. They later on in their career resort to relying on existing images or copying other people’s works.
I believe the role of the teacher is very critical in this matter. The teacher should be more interested in the process of creativity rather than the submission of the finished work.
Tell us how you approach a typical favourite subject in your painting, from sketch to when you sign the work?
Once I have settled the matter of format and structure, my painting normally starts with my staining the canvas with selected colours. I do not like painting directly on the white surface. Once it’s dry I commence the sketch with a piece of charcoal leaving details as much as possible. Once I am convinced about the composition, I start application of colours. If it is mixed media painting with texture/college, glue is used as adhesive for fine sand, wood dust, tissue paper, fabrics, ropes, strands of native sponge etc. I often start the painting with acrylic to establish forms, composition and colours. When I am satisfied, I do further drawing into the painting and finish the painting with acrylic or with oil paint. For as long as I can remember I have had a habit of letting some areas of the charcoal drawing show through the painting. The painting is then subjected to days of interrogation, reviews and critique. Amendment and adjustments are made where necessary for a period of time before the painting is finally signed.
In the era of information and communication technology, what do you think are the challenges of the artist and the incredible possibilities ICT offers?
I am indeed glad to be alive in this era of ICT. At the click of the mouse you can view exhibitions going on around the world. Or view works hanging permanently in major museums and galleries around the globe at no cost. The artist is in constant touch with major art development and events in the international art circuit. Some times when I see what other artists are doing elsewhere I am simply humbled and challenged but inspired to do even better in my work. I believe the ICT should be an integral part of every artist’s studio. It is a useful tool. I also believe every artist should understand the basic application of Adobe Photoshop, Photo Paint, Photo Suite, Corel draw, 3D Imaging etc.
I had to learn and I am still learning aspects of these applications. Initially it was a pain in the neck, but now I am to a large extent IT-complaint!
