Monday Edorisiagbon is a panel wood carver, known for his abstract figures on woods, doors, dining tables and so on. In this encounter with Edozie Udeze, the Benin-trained artist talks about the rudiments of abstract panel works where figures matter and beauty holds sway
MONDAY Edorisiagbon is a sculptor from Edo State who plies his business in Lagos. For him sculpting is an age-long profession for which his people have been known since time immemorial. As he is so used to knocking woods together to form objects and figures, so he does with the ideas that form in his head each time he remembers that sculpting runs in his blood, his lineage.
At the premises of the National Council for Arts and Culture (NCAC), Iganmu, Lagos, where he shares workshops with other artists, Monday often works nonstop, almost every day of the week. As he keeps at his work, he pulls off his shirt to allow enough breeze seep through his veins. As he hammers on the wood, his muscles contract and contrast in various rhythmical forms. The noise of the hammer justifies the weight of the artist handling it. As he sweats in the heat of the weather, Monday focuses with maximum concentration.
For him also, the beauty of a wood work begins with how shapely it is done from the beginning. And so, as he pieces the wood to form the desired object, he hardly looks elsewhere, for once the carving is properly done, the object appears wholesome and complete.
“Oh, I carve”, he states in his quiet, baritone voice. “But I carve mainly on panel. In fact, I am a panel carver. I also do abstract carving and figures, all on woods panels”. There is a twist to his voice as if he is too tired to talk. But it is all in his quiet mien. Monday prefers to channel all his muscular energies into his wood works.
However, what does panel carving entail? “In abstract”, he responds with succinct precision, “there is a figure in it. It is only when you look closely that you can understand and decode it, I mean decode the figure. On top of the figure, you have carved figures on it. The figure is also carved on a panel, like those you see on dining tables, on doors, on windows and so on. They are mostly decorative, done to beautify the object and give it proper artistic glow and flavour”.
Before this is done, he uses chisel to form the wood to the accurate shape he needs. This takes time, very carefully done, to avoid mistakes and then wasting the wood. “After this initial stage, you sandpaper the wood to make it smooth and glossary. Then when that is done, you polish it to taste. A chemical is then applied to preserve it from termites and harshness of the weather”.
Sometimes the job is done specifically to suit the client. At other times, the artist just does what comes to his imagination hoping that one or two buyers will show interest. “Most times, a buyer comes here to tell you what he wants engraved or carved on his dining table or the like. When it is completed, you use shoe polish to brighten it up. The dining table you see here now took me a month and some weeks to complete. You have to take your time; taking the stages bit by bit in a very meticulous manner”, he says.
On the table is carved village life, a setting where elders gather in a square to discuss the issues of the people. The clustering of people is in order, purposely arranged to show the effectiveness of a village government in a remote settlement. The work itself gives a deeper reflection into the norms of an artist. As you eat on the table, you also reflect on the ordinances of the people, the beauty of the people in the days when love predominated, when elders were honest and transparent. “Among the elders, you see atilogwu dancers essentially done to complete the setting. The setting is mixed with business and entertainment, a typical village scene in Nigeria. There is also a market scene below. It is where the people make money to keep life going. This is a commissioned work and the owner wants me to include all those scenes and settings”.
When he is done, there is a transparent glass placed well to give total splendor to the figures on the carved table. “Most carved dining tables are done this way”, Monday explains. When Monday does some of the works, he takes them to some galleries to help him market them. “At times, they ask for the finished works. Sometimes also some clients will come here to buy or to order for some”.
Monday learnt the work in Benin, Edo State, home of many ancient and modern carvers. “Yes, someone taught me how to do wood work in Benin. That was many years back. I learnt it for three years. My grandfather was a carver long ago. It runs in the family. Carving and wood work are common to Benin people and we enjoy it a lot”.
Since 1996, Monday has been in Lagos totally married to his work. “It has been years of being faithful to this calling” he says with hopeful smiles. “But I got to the NCAC a few years ago. Now my studio is here now. It was from Ijora I came here when I was told there was an opening in this premises”.
For now, panel work gives more money to the artist. He is also happy he is often busy creating some. Those carvings on flat wood, to Monday, is a good job. “Yes, it is a good job. It is tedious, yet lucrative”, he confesses. “It is not difficult, because it is my work and I have to do it. Once you are making money from it, you shouldn’t say it is difficult”. Sometimes he travels to Benin to buy mahogany or iroko woods for his works. Even though they are expensive, work has to go on, carving must persist.
The woods are cut to pieces where they are bought to make it easier for the lorries that convey them to different destinations. As an artist he is not disturbed about the distance he travels to get what he needs for his work. All he desires are quality materials to get the panel right.
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