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Tag: visual arts

  • Biochemist Mohammed finds expression in visual arts

    Biochemist Mohammed finds expression in visual arts

    Dauda Mohammed is a graduate of Bio-chemistry from the University of Ilorin, Kwara State. But today, he has turned his attention to visual arts. A self-taught artist, Mohammed is embarking on a solo exhibition at the Signature Beyond Gallery Lagos, with the theme: Toys for Troys. He speaks to Edozie Udeze on a number of issues pertaining to the theme, what pushed him to switch over from Science to Arts.

    Dauda Mohammed is a Fine Artist, well-versed in pointillism, application screw, Mosaic, acrylic and paints. You might as well regard him as an experimentalist, multi-talented visual artist. But that is not the main story. The main story is that Mohammed is a self-taught artist. A graduate of Bio-chemistry from the University of Ilorin, Kwara State, he switched over to fine arts years after graduation. Having spent a number of years undergoing self-tutelage, Mohammed, in 2015, abandoned his work as a banker to go into full time studio art practice. It is indeed amazing to see how pure Science and core Art have merged or fused together in the professional career life of Dauda Mohammed.

    It amazing also that Mohammed’s art  works are expressive and impressionistic, dwelling upon the core essence of acrylic on board, a medium that juxtaposes pointillism to produce very daring effusive visual pieces. Now as his solo exhibition holds at the famous Signature Gallery, Ikoyi, Lagos, noted for its high regards for quality art pieces, Mohammed even shows a theme that is more confounding than ever. It is titled Toys for Troys, a theme that is a recourse into time; into history. The exhibition is thrilling, the works are enthralling and totally in consonance with the historical tenets it choses to explore.

    In an interview, Mohammed held nothing back. “Yes I am a studio artist based in Lagos”. At Omole and Arepo areas of the city where he has his two studios his works speak for him. “I am from Kogi State, Okun speaking Yoruba by origin. The craze I have for automobile in my works is deliberate. Like the theme Toys for Troys, it is for the war of Troys in Europe in those days. The Troys fought many wars in Europe. These are the types of automobiles they used to prosecute their wars. It was the type of transport system of the time. So I went into a research to find out more about the working of those automobiles some of which I have now turned into art”.

    So having turned them into toys, the inspiration blossomed into bigger dreams. “The king of Troy was prominent in the world. Helen of Troy herself was a Spartan in Greece. But she was the queen of Troy. The bottom line of the war was because of Helen, a wonderful woman. Yes, I prefer wood nails on board because I like working from the intangible to the tangible. I use computer first to do photo shoot before translating on to the board. I break it down to have a low resolution. If I make it so big it might not even be able to enter the gallery. But this way, I still bring out the beauty. When I then apply acrylic and paints, I still achieve the same desired purpose, the same result and effect”.

    This way, Mohammed’s board canvases are large, always very expressive by which he applies limited colours. These colours help to define his medium. With assorted painted nails carefully and artistically screwed to the works, you can hardly diffuse the works unless you get closer to the board.  He explains thus: “I use mostly primary colours. Most often I apply black colour to the background. For instance, this work here, if you step far off you may not be able to see it well. But when you step closer, it becomes clear. You can then see and appreciate more colours apllied to the work. This method is deliberate. The primary colours are used to produce secondary colours for total artistic effect”.

    Limited colours thus applied give Mohammed’s works their peculiarity in terms of medium, form and signature. His type of works can hardly be imitated or copied. Each work takes serious time and efforts to produce. This sort of painstaking effort is usually employed by an experimentalist artist. The boldness of his canvases speak and appeal to lovers of visuals. You are quickly aroused as soon as you set your eyes on them. Take it or leave it, here you have a committed self-taught artisan, someone whose devotion to the art is euphoric, far beyond the ordinary. And having the privilege of being a scientist, helps to make his works empirically correct; somewhat believable and indeed convincing.

    Mohammed throws more light: “I want the works to be seen better when you step closer. This is my idea. My choice of colours as well is deliberate. You can see that the primary colours are verbose. We have so many colours, but limiting it to only five colour helps me to achieve the purpose of this type of work. When you see the object by being closer you will see what I have been able to do and what the art piece is saying or conveying. Each work has its own peculiar nails. I try to get the nails to be uniform. By using the computer to do the first stage of my work, it then becomes easier to dissect and go on. I will then know where the red or black or yellow colours will be applied on the nails. For me therefore this is like a template. Then thereafter I mark it and nail it to the board. That way I totally achieve the effect I set to achieve. It looks a bit protracted or clumsy but in the end the result is exactly what you have set out to achieve. After I have nailed it on the board, I then begin to paint. In some others however I paint before I nail”.

    As an artist he seems to be a carpenter as well. The level of craftsmanship he displays in his works proves how much dexterity he manifests. Hear him: “I do this to make the nails uniform as you can see. This way, you will never know these are nails until you get closer. I do not use black nails because the board is already painted black. Colour impressionism to me, helps to juxtapose all colours in one to bring out the essence of what I set out to do, in other words what I set out to achieve”.

    Somehow, you might feel that there is a contrast between nails and automobiles. What is the meeting point here for an artist whose love for both as a form of combination achieve in the realm of the visual? These are fast moving vespa motorcycles otherwise known as piaggio more popularly used during the time of the Troys wars. For instance the work titled fast furious by the artist also appear furious in outlook. Even though most of the automobiles have no riders on them, a few that have, according to Mohammed, are done on purpose. They show how the soldiers and fighters mounted those automobiles to achieve successes in the war front. Some of them are known as Harley Davidson bikes, quick and fast while in motion. From the outlook of the ten works mounted for the exhibition, you could see the aura they achieved inside the gallery and inside the minds of viewers.

    While visitors move from one piece to the next. There was this glow on their faces. It was clear that Mohammed who is doing his first solo show has captured the attention of the public. For in these works, you encounter unique displays of colours, you feel like touching the vespas and embracing them because of the level of collective nail paints on acrylic. They actually looked highly irresistible and attractive. Mohammed likes his colours to show depth and some sort of peculiarity. They show true reflections and seriousness. “If you look at this black colour here in the background, it shows depth”, he explains, pointing. Where you have yellow, blue and milk colours all put into one; the feel you get is that of love and coolness. As an artist, Mohammed knows how to apply impressionistic combinations to bring out the exceptional desires of his works.

    So where you have people on bike, where you have wood nails or large boards, acrylic and paints all in conformity with Troys serving as toys to bring out the old memories of yesteryears, what you quickly recollect is an artist whose level of seriousness towards art is purely to make a statement. This is a statement that is billed to come in series and in different stages which all the same distinguishes him from the rest. This is why Mohammed whose earlier dream to read medicine was truncated has chosen to emboss his therapeutic aura on large boards and canvases.

    More so, his colours are healers. His works beckon. His ideas embody health. There is also this love to use colours to heal and to embrace and to welcome people. So Toys for Troys comes to heal the wounded of the past, asking queen Helen of Troy to chill. Besides, he has done lots of works with sands. The effect is that he moves from one medium to the next.  He’s still on the course of movement from one experiment to the other. His love for sand works is indescribable. It gives him a deeper feeling when he reduces the size of sand for the desired impact. When sand is applied, it gives him a smaller space to place in his studios. “I have love for pointillism and one of the works here as you can see is on pointillism”.

  • Bridging gender disparity in Nigeria’s visual arts sector

    Bridging gender disparity in Nigeria’s visual arts sector

    Gender disparity in the Nigerian visual arts sector has been a topical issue in both academic and professional circles. In spite of the numerous efforts made by government, private sector, empowerment centres and professional groups towards promoting gender equality in the sector, great disparity prevails. This writeup highlights the “manifestations, causes and consequences” of gender disparity in the sector and the efforts made to deal with the problem. It also makes proposals towards bridging the prevailing gap.

    Gender inequality (or disparity) may be defined as the unequal treatment or perception of individuals based on their sex. This is a global phenomenon and Nigeria is not an exception. The manifestations of disparity include low participation- rates of female artists relative to male artists in group and solo exhibitions; the prevalence of skewed patronage and rewards in favour of male artists, and imbalance in both enrolment of visual art students at various academic levels and graduate turnouts, with female artists trailing their male counterparts at every level.

    Several causes have been identified in explaining gender disparity, including those advanced by the Functionalist and Conflict Theories. The Conflict Theory is particularly relevant because it acknowledges that inequality in gender access to opportunities and power could bring about the marginalisation of women and generate conflict. Furthermore, it makes a case for equal distribution of power and resources as a way to avoid conflict, which is a key aspect of achieving women empowerment.

    Beyond the theoretical explanations of gender disparity, cultural beliefs and traditions have also played a major part.  All things considered, the causes of gender disparity in Nigerian visual arts may be highlighted as follows:  a. the extended family system, which encourages undue dependence of women on family members, friends, and extended relations and, if married, their husbands; b. the adoption of the wrong role models, peer groups, and foreign habits and attitudes towards issues by some women; c. the challenges posed by married life, in terms of: competing priorities and distractions, including child-bearing responsibilities; and the destabilising effects of failed marriages which impact more severely on women; d. lack of adequate academic qualifications and professional exposure to artistic skills which tends to foster incompetence and low level of confidence in some Nigerian female artists who are thereby excluded from exhibitions; and e.  absence of viable professional mentoring, partnerships and collaborations among Nigerian female artists.

    Some serious adverse consequences of gender disparity in the visual arts sector are as follows: a. some female artists tend to avoid or withdraw from art exhibitions and events, as they feel ill-at- ease facing the public. Consequently, some of these female artists have gone into oblivion; b. there is a low level of integration of female artists into organised professional exhibitions. c. the status of Nigerian female artists and their artistic contributions to the society have diminished.

    Various efforts have been made over the years to address the problem of gender disparity in the sector, including the hosting of female art exhibitions and the publishing of women art-related books. Also, at a general level, various efforts have been made to empower women and the girl-child towards reducing gender disparity. These include: (a.) the 1999 Nigerian Constitution and national policy on women, which provide for the promotion and protection of women’s rights; (b.) setting-up the National Women Development Centre; (c.) formation of women’s organisations; d. initiatives to empower women under the MDG3 and SDG3.

    No doubt, some progress has been made as manifested in the activities and achievements of the following Nigerian female artists who were in studio practice during the period 2010 to 2017: Madam Nike-Okundaye, Princess Iyase-Odozi, Adepeju Layiwola, Ndidi Dike, Juliet Ezenwa Maja-Pearce, Peju Alatise, Stella Ubigho, Mabel Oluremi Awogbade, Stella Awoh, Ngozi Akande, Odun Orimolade, Evelyn Osagie, Didi Emeifele, Nkechi Nwosu-Igbo, Eletu Fasilat Omolola, Bunmi Oyesanya-Ayaoge among others. Their selection is based on the following criteria: activities of the individual; their contributions and relevance to the growth of Nigerian Visual Arts sector, participation in exhibitions; their empowerment initiatives and visibility in society. These are professionals who have distinguished themselves in different fields of art, such as: painting, sculpting, graphics/designing, textile designing, ceramics, photography, installations, and visual-art empowerment initiatives.

    Despite the achievements of these and many other female artists, large disparity persists in the sector. Consequently, the following proposals are made for a lasting solution to the problem: (a.) providing incentives to encourage Nigerian female artists by giving them fair and equal opportunities as men and acknowledging their contributions; (b.) facilitating and supporting programmes and initiatives such as mentoring arrangements, aimed at promoting female artists;  (c.) promoting the formation of new visual art bodies or groups or setting the pace for existing visual art societies and encouraging female artists to participate fully in their activities; (d.) involving female artists in decision-making positions of the National Gallery of Arts (NGA); (e.) diligently implementing and sustaining the various measures adopted by the Government and NGOs designed to promote gender equality; (f.) Nigerian female artists should learn and practise self-empowerment skills, encompassing: developing and honing their artistic skills;  building self-awareness; being confident; taking personal responsibility for their actions and their choices; adopting an entrepreneurial mind-set; and avoiding playing the victim.

    Women envisage a time when they will excel on the Nigerian art scene and considered relevant and as equals to their male counterparts, as obtained in the developed world. For, as has been aptly stated by Jordi Vigue, “Painting has no gender”; any student of Art history knows that the concept of “art” is so complex and abstract that it cannot be labelled as masculine or feminine. There is no feminine art, there is only art executed by female artists, each expressing her individual personality on canvas. Also, as declared by Leonardo Da Vinci, “Painting is in the mind” Painting is not a matter of gender but of the intellect.

  • Creativity in artworks comes with objects experimentation – Akingbade

    Creativity in artworks comes with objects experimentation – Akingbade

    A Visual Artist, Adeyinka Akingbade, on Monday urged fellow artists to experiment with different objects to improve on their creative artworks.

    Akingbade told the News Agency of Nigeria (NAN) in Lagos that artists should believe in limitless boundaries in creating artworks.

    He said that creative thinking, motivation, self-confidence and ability to communicate effectively with others enhance creativity and growth.

    “The art provides us with problem-solving skills; innovative mindsets, communication attitudes and inspirations that will help us to create technological know-how for the nation’s growth.

    “The art has become the butt of banalities about everyday life, cohesive communities, good society and for a buoyant economy,’’ Akingbade said.

    He said he had always loved to highlight unique features, which one would normally overlook but on second look meant something.

    “Working with graphic design actually gave birth to using scraps of paper in my art.

    “I thought of recycling the excess paper waste that is produced during printing.

    “I often look at the vibrant digital prints on paper and their unusual hues inspire me to start creating works.

    “I see a paper as a unique representation of my graphic design and printing profession, which I believe should somehow reflect in my work,’’ he said.

    The artist said that lately, he had started experimenting with rubber.

    “I needed something tough and elastic, which in a way, also represents the need for dedication and flexibility as an artist.

    “In the past, I created works with used film reels from my photography shots and I think my work speaks about who I am and what I do,’’ he said.

    Akingbade, however, said that creativity arose from a complex synthesis of abstract knowledge, inner drive and the secret is that “I practice a lot and it has really aided my flexibility and skill’’.

    He said that one must pass through the basics of drawing before following one’s passion.

    “I still draw realistic portraits and my `deft hand’ is still intact,’’ he said.

  • ‘How I combine soldiering with visual arts’

    ‘How I combine soldiering with visual arts’

    Nigerian soldier Onyema Bonaventure Iwu shares his passion for visual arts with Udemma Chukwuma; plus how he has been able to combine it with his military obligations

    It is not every day you meet a soldier who is also a visual artist. As a matter of fact, there isn’t a clue that Onyema Bonaventure Iwu is an artist if you’re meeting him for the first time, especially if he is in his army uniform. It was therefore something really fascinating to learn that the Master Warrant Officer soldier has been able to nurture his artistic talent and passion despite the demands of his career as a military officer.

    He thus declared with pride that “While I was in the army, I never let go of the art enthusiasm in me,” he said.

    Iwu, who is in his late 40s said he was inspired by his ceramist mother whom he watched produce ceramic wares as he grew up. “I got highly inspired by my mother’s works,” he said.

    Later in life, he met an art teacher, who encouraged him during his secondary school days and thus helped him to have more interest in art. It may therefore interest you to know that the Master Warrant Officer and Chaplain Service Roman Catholic Training School, Ojo Barracks, has been consistent since his graduation in 1995 and has participated in several group exhibitions. Last month, he partook in a group exhibition organised by his Alma Mater, the Association of Fine Art Students (AFAS), Ahmadu Bello University, Zaria.

    His idea about life, he said, was sharpened when he joined the military at the age of eighteen. He revealed that he couldn’t afford the luxury of leaving the force to face his studies at the university because he was footing his school fees from his salary. “I was shuttling in between duty and school. When I had off days, I dashed down to school. One good thing about the art department is that assignments are given and when you come to the school you pick the assignment. I do my composing and do my sketching at my duty post, when I am less busy or not on guard.  I also did the mental study of what I want to create.”

    According to Iwu, this period was a trying time for him, but he was not distracted and was extremely dedicated to his craft nonetheless. “I could cope with the challenges because I knew what I wanted to obtain. I never allowed the anxiety of duty to weigh me down and I was focused. If you are not strong, you wouldn’t handle it. I used my weekends seriously for artwork. When I’m not busy in the office, I spend my time in the studio. I shuttled between studio and library. No recreation period. Sometimes I had to spend the night at the library or in a wheelbarrow in the studio.”

    But why did he have to go through so much trouble to achieve his goal of becoming an artist; especially since he was already building a career in the army? We asked.

    His answer: “My parents didn’t know I was going to school. My father had regrets after all his years of teaching; he had produced a lot of teachers, lecturers, doctors and engineers and I his first son couldn’t make any headway in my academics. They thought I was done in life for joining the army and were therefore looking up to my younger ones to fulfill their aspirations in that regards. My dad never knew I would hold my own in the academic world.”

    Iwu studied Fine Art at ABU as a first degree and holds a Masters degree in Art History from the same university. He is currently an Art History PhD candidate at the same institution. He is also a member of the Nogh-Nogh Art Group Rebels, Zaria.

    Expatiating further on his education, the soldier artist said: “I went to Government Technical Collage Owerri, where I majored in mechanical engineering craft practice. Thereafter, I joined the army as a 26 regular intake.” He revealed further that his experience at the technical college gave him a sound footing when he finally landed in the visual art world.

    Due to his knowledge of metal obtained from the technical college, he decided to specialise in sculpting in his year three at the university. “I saw myself doing great in the area of welding and feting. When I was doing my final year project in 1994, my project was titled Zaria City Gate; and the gate is still there at the entrance to the faculty of art, where it was erected. I was at the school a few months back and the gate is still there. Now I am thinking of rebranding the gate and giving it some touches,” he said.

    Even though he majored in sculpting, Onyema revealed that he explores painting as well. He is a radio journalist, marriage counselor and trained teacher. As a way of expressing himself and fulfilling a certain inner desire, children in the barrack get free art education from him during his free time every week.

    He revealed that collapsing his studio and rejecting an offer in 2003 by Alliance Francaise for a solo show were among the sacrifices he has had to make for his career as a soldier. He moved his works to East, his hometown, due to the constant travel and transfers that come with military service. He presently runs a mobile studio and e-Gallery. He does his works at Yaba College of Technology, Lagos and the University of Lagos, whenever he gets a commissioned work.

    One downside for him however, is that he has not been able to stage a solo exhibition in any living gallery. “My problem with solo is sponsorship. People don’t understand my area of work; I don’t count on money, but the gallery owners and collectors do. They tell you to do what they want and they are not interested in your creativity. What they want is what they can sell and how they want to make their money. Anything that is not making money for them is not art, thereby debunking the original meaning of art.

    “Most times, art is not something you can produce very quickly. What is happing now is that people want to produce as many artworks as they want just to make ends meet. And my being in the military means that I am getting some funds that can sustain me.”

    The Imo State-born officer has discovered ways of exhibiting and selling his works without going to any gallery. He exhibits his works online and also has an e-Gallery. “I send the images of my works to foreign galleries. I am trying to work seriously on that level.” He said.

    He is of the view that e-Exhibition, e-Gallery and e-Workshop will help this generation because it is less expensive. “Everything is going miniature; you don’t have to rent the whole complex to exhibit your works. Take the pictures of these works, write short stories about them and send them to various galleries.”

    Onyema has also noticed the progress in the art sector, but regrets the fact that cartoonist are fading away. “The cartoonists who criticize with their works are gradually eluding the media industry. That is the aspect I am getting worried about. People are doing marvelously well in other aspect of art, they are creating and if we continue like this, the whole world will have the proper understanding about art.”

    What is art to him? We asked. “Art is self expression. Art sharpens everything about human life. You do better in every aspect of life if you are an artist because your creative mind is sharpened. As an artist your work should speak about you.”

    His future plans when he retires from the army, he said, is to produce works that would reflect his experiences of moving around as a solider; people’s attitude, his separation from his family, the emotions and the relationship between the army and civilians. “I am almost getting to the period of my disengagement in the army. I am getting to 28 years of service and I am looking forward to a time when I will leave the job, to tap into the well of knowledge of creativity in me.

    “I am hoping to make a statement with my art,” he said, “my primary approach will be to bring harmony and better understanding between the army and civilians with my work. There is this lack in the relationship between the military and the civilians. I want to use my work to bring harmony, to let people know that soldiers are not masquerades, they are not lions. I am waiting for the time when I will use my work to tell people that the military is not what people think they are.”

  • What Buhari must do for visual arts

    What Buhari must do for visual arts

    Abiodun Olakun was the first of his generation of Nigerian fine artists to be recognised as a master in the visual art sector in the society.  By this, he is known as one of the most notable and reputable contemporary artists of his time.  He was one of the members of Guild of Professional Fine Artists of Nigeria whose works were showcased in a recent art exhibition in London.  He shares his views on the role of the current political dispensation to impact on the arts and what artists themselves can do to bring the trade to the front burner and more with Edozie Udeze

    Having been schooled in one of Nigeria’s oldest and most reputable art schools, Yaba College of Technology, Lagos, Abiodun Olakun has over the years gone through thick and thin to create a niche for himself.  A member of Society of Nigerian Artists (SNA) and many other professional visual arts bodies both at home and abroad, Olakun is known to belong to that class of contemporary artists who are not limited by space or style.  His is known as a serious painter who hardly conforms to tradition to produce his works.

    “Yes, we were in the United Kingdom to exhibit some of our works.  It was really in collaboration with Apple Art, London, to let members of Guild of Professional Fine Artists of Nigeria (GFA) to exhibit as a body and to see how far our art can go in the world.  The exhibition had to do with a concept that began since three years ago.  And this was the third in the series.  This year’s theme was transcending boundaries.  It was indeed organized strictly for members of the Guild just to showcase their works and bring out the highest level of visual art from this part of the world,” he said.

    To them, the theme was chosen deliberately to project the Nigerian art to the global stage.  It was to do with a concept that would help the artists to project into the future and to give Nigerian contemporary art an edge over the rest.  Olakun said, “Before the last edition of the outing, we seemed to be un-coordinated.  But this last effort was made a huge success because we wanted it to be outstanding in all respects.  Most of the ones we did in the past were personal and somewhat whimsical.  It was difficult to get and even classify artists with different styles and methodologies, with their profiles in place.  But this time the Guild became fully in-charge in order to really use the art to explain the Nigerian technique.”

    All the exhibiting artists are members of the Society of Nigerian Artists.  However, the Guild takes it a notch higher.  It was formed basically to include committed studio artists whose influence and contributions to the profession have been immensely recognized.  This is why it is often more reasonable for them to come together to project Nigerian arts beyond the shores of Nigeria.  Olakun explains: “For us members, our sole responsibility is to promote visual arts and also encourage the practice to the hilt.  This is why we do not look up to anyone for employment or the sort.  So we have been able to groom the Guild right from the moment it was formed in 2008 to this moment.”

    So far, the Guild has offered these artists the platform through which the Nigerian arts have been projected in a more comprehensive manner, not only in Nigeria but world-over.  “This was why we find it more appealing to use the London platform once every year to showcase what we have,” Olakun offered.  “When we took off in 2008, I was the Vice-President of the Guild and our primary aim and object was to take it to the height it is today.  We still need to do more, for to us Nigerian art has to be given its proper place in the world.”

    Today, these efforts have not been in vain.  Not only that the artists are now better known in the world, their works have come to show that contemporary art is very much alive in Nigeria.  “People have begun to notice the potentials of Nigerian contemporary arts outside the shores of this country, not only through the individual members of the Guild but by extension other artists, other art businesses in Nigeria.  And the Apple connection in London has indeed been very wonderful.”

    He, however, commended the Bank of Industries (BOI) which was able to come in to sponsor some of their outings in the past.  “This was made possible then because the person at the helm of affairs (Helen Oputu) was a lover of art.  It was due to her personal disposition, and not really or necessarily due to the official policy of the BOI, that we were able to enjoy some level of support.  So, we found her tenure very useful and instrumental to the development of the sector.  The period indeed brought the art to the centre stage.  However, we feel that we need more co-operation from government agencies to push the frontiers of the art to an enviable level.  We hope to go pass this level someday to be able to get a total support from the government.  Art is not a personal thing, it is part of the many constituents of the society.”

    The BOI has indeed been one of the many that have been privileged to play this role.  It has been a tip of the iceberg.  Artists themselves have to be more committed and business-like to be able to project their art in the world.  “This is where we have been lacking and we need to sit up.  But government has to have the vision, the willingness and zeal to support the art, especially the visual art.”

    In relation to what the government of Muhammadu Buhari can do to encourage the sector to prosper, he said, “personally, I am a realist.  The headship of government agencies and departments created to take charge of the art should sit up to do their duties.  We have our own special positions on the matter.  It will be up to us now to probably apply the needed pressure on these agencies to look seriously in our way.  The institutions that are statutorily positioned to do this job must make sure policies are done to suit art and artists.  Through that we need to have platform through which we exchange ideas on how those policies can be implemented to promote the art.  For me, this is the first pot of call.”

    If the government agencies truly live up to their official responsibilities in which art is given its due preference, there is every likelihood that there will be room to expand the frontiers thereby empowering and emboldening the visual art the more.  Olakun offered a leeway in this regard: “Within the Ministry of culture, you can count the number of agencies in-charge of the art.  What have they been doing?  They are those that are specially instituted to carter for the art and we expect them to do more.  Where you have the National Gallery of Art (NGA) which currently enjoys autonomy, then you have the National Museum, all with the sole role to keep the art together.  While the NGA is holding fort for modern art, the Museum is in-charge of antiquities and ancient arts.  But it is the modern art today that becomes ancient art tomorrow.”

    So, to him, there has to be a meeting point in this regard.  It is supposed to be an endless relationship, but there are things happening now that need to readdressed, that need some re-engineering.  One simple example is National Museum issuing permit for contemporary works to be taken out of Nigeria.  That sounds absurd to me.  I mean, it is a bit of aberration.  The National Gallery that is positioned with the requisite knowledge and foresight to do this job, should be allowed to do it.”

    As it is now, Olakun and most of his colleagues do not necessarily want to be stuck in this complication or the like.  All they need is a sector that functions very well, a sector that is good to promote the ideals of the visual arts in its totality.  “We as a body also need to work with them to get it right.  That line of communication needs to open once more.  Whenever that act that established the NGA goes back to the National Assembly for reappraisal, we artists need to be involved.  We are the stakeholders and so we have to be at the public hearing.  Before it even gets to the National Assembly, we have to rub minds with the NGA to get it right.  This will help us to find the operational policies that are good for the industry.”

    In an attempt to get it right, the need for the private and public sectors to work together also becomes instructive.  “This way we can also reach out to patrons and be able to bring all the people into one fold.  This is one of the best ways to ensure that the government is made to show serious interest in what we do.”  He however, berated his colleagues for their inability to form a common front over the years to show commitment towards the business aspects of the visual art.  “Now, see what the musicians are doing to steal the show and make all the money.  We have to also hustle to make more money.  Even those we call our grandchildren in the industry are doing better.  It means that there is something fundamentally missing in the industry and we need to address it now and urgently too.”

    In other word, he still feels that the issue of representations in proper quarters is the problem.  “This is why we need to strategise.  We need to bring in the serious principles of business into what we do.  So when we do this, we can be focused and have time to work and make money.   We produce art, we market it ourselves and we do administration and the rest.  This is not good for us.  It diminishes the strength you have to do studio works.  So, for us to get it right we have to distinguish between these and get the right people to do the rest for us.  This is how it is done in other genres of the art and we need to create that niche for business sense.”