Monday 27 February 2012

From the Diaspora, Ogundipe's Kaleidoscope zooms home


By Tajudeen Sowole


HOME coming for an artist in self-exile could not have been better appreciated as witnessed few days ago.
  
At Terra Kulture, Victoria Island, Lagos, the artist and U.S.-based Moyo Ogundipe opened another chapter in his over 20 years career when the show, Kaleidoscope of Life opened on Saturday, November 1, 2008 to a mix of selected and general audience.
  
Attended by dignitaries that cut across nationalities, including expatriates, the event had master printmaker, Bruce Onobrakpeya commended the artist for coming home with such works of grater dimension of traditional painting technique.
  
In his brief address, Onobrakpeya said: "Although Ogundipe has been working away from home for 14 years, it is significant that his paintings reflect the 'idylis' of Nigerian life: mythical, pastoral and urban. In his works, we are confronted with the real meaning of paintings. He has painfully laboured and spent unimaginable amount of time, at the risk of getting blind, to apply lines and colors, which he meticulously used to develop the images."
  
Preparatory to the show, Ogundipe had said that the body of works presented are self-explanatory, revealing how his art, philosophically, remains at home despite his long sojourn abroad.
  
From the nativity of his forms, to the African settings of the subjects, Ogundipe is a traditionalist artist.
  
Humbly, he would accept that he is not known back home. But for him, forgetting home is like a self-shot in the legs. "People know me in the U.S. and part of Europe, but not in Nigeria. It's about time I come home from self-exile to give people the evolution of my art. The saying that 'the river that forgets its source will dry off' is the compelling factor here. I have not been getting time to go and promote my works because I spend so much time in the studio. Each work takes me at least six months to complete. I couldn't come home because I needed to build a body of work and still maintain my identity as a very detailed painter."
  
In addition to the machine-finished details he gives his work, the sizes are usually in the mural ranges. Big works of such magnitude, one would think are hard sell. Although the red tags were not so visible about two hours after the opening, the calibre of guests present suggested that the face of the screens could change before the end of the day, and days to follow.
3 Lagos Socialites, by Moyo Ogundipe
   Earlier, the artist had said he is more concern about enjoying what he does than worry about appreciation. "Maybe you are right. Mural size works are not common. But for me, art is not really about selling. I am just having fun; art is the oxygen I breath. It is beyond the economic reason. Despite that, I have been able to sell my works for good prices, in fact my paintings are very expensive. I sell to museums and galleries."


And like some artists, he also confessed spiritual relationship with some of his works. "Even at selling, I sometimes find it difficult to part with some of the works. There are some works that I am so much attached to such that I don't like to part with because you know it is difficult to reproduce that, mentally."


Ogundipe holds a Bachelors of Arts degree in Fine Art from the University of Ife (now Obafemi Awolowo University), Ile-Ife, and a Master of Fine Art degree in Painting from The Hoffberger School of Painting, Maryland Institute College of Art, Baltimore, U.S.


Having been away for such a long period, and coming home to be part of re-building his fatherland, Ogundipe discloses that he wants to use the opportunity of his visit to give back to the society. In the art sector, he plans to set up a base in Ibadan for his studio. The studio, he explains would be designed for training of youths. "I am passionate about the prospect of this country and want to contribute to the development of the youth, even though I still have my eyes at taking my works around the world for exhibition. I have this plan to set up my studio in Ibadan and see how I can assist in training our youth."

Facts, fictions, over “illegal Nok terracotta excavations” in Nigeria.


Between a professional group of Nigerian archaeologists and the country’ s museum authority, National Commission for Museums and Monuments (NCMM), there is a recurring controversy over “illegal excavations by Germans” in the Nok terracotta buoyant part of the country.
  But a source from the NCMM says the archaeologists are raising false alarm. In fact, the commission, according to the source is set to prove its transparency.
  Africanartswithtaj.blogspot.com is currently on top of this issue. Details soon.

Saturday 25 February 2012

In Colours of Love... Chukwu redefines love


By Tajudeen Sowole
Tuesday, November 04, 2008             
BASICALLY, the strength of an artist lies in the ability to have control over a chosen medium as well as the depth of intellectuality invested.
  These and other factors, which make some art exhibitions stand out would be the attraction when the solo show of Enuma Chukwu titled, Colors of Love and Other Colors opens this Friday, November 7, through 17, 2008 at Didi Museum, Victoria Island, Lagos.
  On the artist's choice of medium, the preview showed how versatile he is as a mixed media artist as his fluidity in such medium like gouache and water-colour is replicated in oil and other genres. For example, the lines, shades and light that give watercolour pieces such as A Minute Before the Rain, Paternal Hug, Alone With Music-2 and Under Cover an exciting look are not missing in the gouache, Match Making, Blind Date, Tangle and For His Ears Only.
  Between the oil works and the mixed media comes a radiation of synergy that almost places the former on the same dimensionality with the relief posture of the latter. Whatever the mixed media such as the The Hunter, It Takes Two To Tango and Under Cover boast of, in dimensionality, oil works like The Sun, The City and The Man also have in depth and illusion of relief. One of the oil pieces, The Sun, The City and The Man reminds one of a frame from print of a 3D movie viewed without the cinema lens to normalise the picture when projected onto the screen. Another angle to the striking depth of this piece is that the artist, consciously or otherwise, imbibes the depth of field rule, a sacrosanct tradition in photography, which he has brought into painting.


More striking is that the eclectic of the exhibits is coming from one artist and in a solo exhibition for that matter.


And while one's focus is on the intellectual input of Chukwu, it suddenly occurs that beneath this effort, lies the spiritual flavour from which the artist must have gained quite a lot of guidance. From the faith perspective in the title pieces, Colour of Love 1 and 2, to the biological context in the mixed media Echi, wild life and nature in the gouache, Rising With The Sun, the thought of the artist on his choice of theme could be detected. This revelation is more prominent in the water colour work Love at First Sight.


Apparently, no love can be as colourful as the depiction, in Love at First Sight, a capture of a couple in a quiet joy looking into the eyes of their new born baby!


An artist who professes great belief in the ultimate love-the Almighty God- Enuma's impression of what Jesus Christ stands for as depicted in the series, Colour of Love 1 and 2 appears to be the only option left for him to quench his thirst and passion for love.


He explains: "The Bible passage that most influenced my title paintings is John 15:13 'Greater love has no one than this. Than to lay down his life for his friends." If the Bible says no greater love, it simply means that it is the greatest demonstration of love. Bearing that in mind I decided to splash my canvas and paper in red in representation of blood of sprinkling that speaks better things than the blood of Abel. Hebrews 12: 24."


At a certain point in an artist's journey to maturity, some developments play crucial roles in the eventual hatched of the artist. For Chukwu, an Ahmadu Bello University, ABU, Zaria trained artist, he is however humble enough to admit that outside his alma mater, there exists an influence, even as a student. He recalls that between 1986 and 89 when he had his B.A (Hons) in Industrial Design at ABU, he used to visit the department of art of Institute of Management and Technology, IMT, Enugu whenever he had the chance to come home.


During such visits, he would get involved with the art students, and in the process got to know the renowned mixed media artist and teacher, Nsikak Essien.


While he would not take any credit away from his teachers like Jerry Buhari and others at ABU, Essien, Chukwu says, is a key figure in his love for mixed media.


With three solo shows and about five group exhibitions to his credit, Chukwu is one artist of the Industrial Design breed who has resolved to be different: his work would stand shoulder to shoulder with artists of painting and sculpture specialties, if a comparative situation arises.

In Lagos, Iran celebrates 33 years of revolution, with art



By Tajudeen Sowole
 The current crisis faced by Iran over its nuclear energy enrichment programme has not prevented the commemoration of its over three decades old revolution, which was the thematic focus of an exhibition held in Lagos recently.
  HELD at the National Museum, Onikan, Lagos, to mark Iran’s 33 years old revolution, the exhibition featured art, craft, books and film.
  Shortly before the exhibition opened,
the Cultural Counselor, Embassy of the Islamic Republic of Iran, in Lagos, Mr. Seyed Bagher Seyed Jawadi, said the works on display, represent making a trip through Iran while in Nigeria.
  Noting that Nigeria and Iran share similar diversity among each country’s nationals, the exhibition, he argued, had one or two things to offer Nigerians in the quest for unity.
  According to him, the show offers what can be described as “life experiences through art and exchange with different cultural works, which is the main reason for holding this exhibition here in beloved Nigeria.”
 The Director-General of National Commission for Museums and Monuments (NCMM), Mallam Yusuf Abdallah Usman noted that the exhibition is very important “because culture has helped the people of Iran understand each other, considering that they are from the same region, but have different mentalities and level of economic development.”
  Usman argued that for the country’s history of about seven thousand years, Iran is an incredible place to visit. “It would be well worth seeing as its diversity of landscapes, monuments, customs, and lifestyles make Iran attractive in any season.” About one million historical sites exist in Iran, according to the country’s Cultural Heritage and Tourism Organisation.
  Such quality in heritage and cultural value, he noted, would reflect in the exhibition.



Cultural Counselor, Embassy of the Islamic Republic of Iran, in Lagos, Mr Seyed Bagher Seyed Jawadi (left) showing his hosts the D-G of NCMM, Mallam Usman, former curator of National Museum, Onikan, Lagos, Ronke Ashaye and Ag Curator, Vickie Agili some works during the on exhibition
  The show, Usman explained must be recognised as comprising technical values, knowledge, science and skills upon which the current identity of the Iranian people is based, serving as a lunch-pad for economic growth and social cohesion.”
  He noted that culture plays a crucial role in strengthening peaceful co-existence among nations. “Cultural dialogues in all their diversities play an essential role as agents of global development and peaceful co-existence; to promote dialogues among cultures and civilizations across states and nations.” The show, he insisted would provide “backgrounds for the revival of cultural and bilateral agreement between Nigeria and Iran.”
  Indeed, the show was a source of education on Iranian art. For example, in the art and book sections, a catalogue of 2nd Biennial of Islamic World Paintings themed Mirror of Sight was on display. Works in the catalogue show that art is universal, irrespective of cultural difference.
  For Iranian art, which dwells more on abstraction and subtle figurative, the dynamics of conceptuality across the genres such as paintings, installations and sculptures, as viewed via the works on display, underscores the country’s cultural value that is opened to all.
   Iranian art exhibition appears to have found a place in the art calendar of Lagos as it holds regularly every year. This much, the Acting Curator of the National Museum, Vickie Agili acknowledged when she recalled that “this is the seventh year that the Iranian Embassy has been partnering with the Lagos Museum to celebrate the Iranian Revolution.”
  She added, “we are celebrating the culture which unites the people of Iran.”
 However, Jawadi lamented that the exhibits were not as rich as he would have liked. He explained: “it was because of long distance between Nigeria and Iran, which makes it difficult to deliver more contemporary Iranian works.”


Mallam Usman and visiting pupils, during the exhibition

'This is Lagos' in the eyes of rookies


BY TAJUDEEN SOWOLE
 BY coming tops in the just held Lagos Amateur Photography Competition with their creative shots, Isi Etomi, Bayo Omoboriowo and Tolu Talabi have sort of announced their arrival in the vocation.
   
Tagged, This is Lagos, the event, which held at Civic Centre, Victoria Island, Lagos, saw works, which could comfortably go for that of professionals.

 Organised by African Artists Foundation (AAF), with the support of Etisalat, the competition highlighted the dearth of infrastructure in Lagos State. 
One of Etomi’s two works, Aspiration (Falomo-2, 1004)
   With shots taken at Falomo, overlooking a section of Victoria Island’s central business district in the night, Etomi picked the first prize of N100, 000, a Galaxy Tab mobile phone and an opportunity to have her work published in ZAM, a Pan-Africa magazine.
   
Omoboriowo’s shot of the slum side of Makoko earned him the second prize of N75, 000 and a blackberry phone while Talabi came third with work that depicts a country in chaos. He went home with N50,000 cash and an Etisalat Gaga phone.
   
 One of Etomi’s two works, Aspiration (Falomo-2, 1004) an aerial view, stresses the link between photography, architecture and civil engineering. However, human elements, which often defeat the projection of urban planners, distort creativity in this part of the state, so suggests the chaotic traffic missed by Etomi’s lens. 
  “Why do we sit in traffic everyday?” she asks.

 Etomi, an architect, perhaps, should, on behalf of her other colleagues in urban planning, proffer solutions. She notes, “Lagos is a city constantly on the move, in spite of all its obstacles.”
  
 Aside from the chaotic challenges, the beauty of a city, indeed, she says, comes when concealed emotions are gradually revealed by memory of a place, its architecture and history.
  
 MAKOKO, a coastal slum of the state, is arguably one of the most documented neighbourhoods of Lagos, especially among painters and photographers. In his entry, Omoboriowo draws attention of government to the plights of people living in this slum.
   
What Etomi’s lens seem to miss in the heart of the city which she recorded, Talabi highlighted in the chaotic manner electric cables are arranged on the poles.
   
 Among the works that were not in the first three places were that of Damilare Oguntade, whose shots of live scenes on the highway were among the fantastic entries. His works demonstrated the survival instincts of Lagosians.
    
 SHORTLISTED from over 170 entries are Adeyemi Christopher Adewusi, Akinlabi Akinbulumo, Ariyo Adeyemi, Austin Azoganokhai, Awobokun Olufemi, Yacoub Adeleke, Ife Odedere, Ibeleme Aham, Jibola Lawal, Margherita Trestini, Jide Odukoya, Jumoke Sanwo, Leke Kalejaiye, Omolara Aluko, Oyebola Adedapo, Rolake Job, Tope Akinmade, Tosin Bukola, Wole Ajao, Tunji Nelson and Inumidun Bakare.

 The amateur photography contest started last year, as a sub-event of the Lagos Photo Festival. And, according to the organisers, AAF, entry is limited to amateur photographers, across ages, working and living in Lagos.

Saturday 18 February 2012

Fake painting in circulation! Painter, Kolade Oshinowo cries out

"This painting was presented for sale yesterday!!! It is a fake of a work I did in 1975. Please help spread the word around before someone falls victim!"

"Damaged" or not... mixed feeling trails return of Ife artefacts from world tour


By Tajudeen Sowole

 After three years of touring notable exhibition circuits in Europe and the U.S., artefacts of Ife origin are back in Lagos in their “original form with no damage,” claim government officials.

 Accompanied by American preservation experts who pledged more collaborative efforts in promoting Nigerian ancient cultural objects, the artefacts were still in boxes in which they arrived at the National Museum, Onikan, Lagos. 
Obalufon heads shown from the box, on arrival at Lagos museum from the U.S


  However, few of the artworks, which were briefly brought out – during the presentation led by the Minister of Tourism, Culture and National Orientation, Chief Edem Duke – appeared undamaged.

 About 109 works of Ife artefacts, sourced from Nigeria were, in 2009, exhibited in Madrid, Spain, under the title, Dynasty and Divinity: Ife Art in Ancient Nigeria. It was the take-off of a collaborative project jointly organised by Museum of African Art, New York, U.S., Nigeria’s National Commission for Museums and Monuments (NCMM), the British Museum and Fundacion Marcelino Botin of Spain.

  In 2010, the show moved to the British Museum, London, as Kingdom of Ife: Sculptures From West Africa. The last segment of the tour took place at Houston, Richmond and Indianapolis, U.S. between last year and early this year.

 The Director-General of NCMM, Mallam Yusuf Abdallah Usman explained that the presentation of the works to the media on arrival was necessary to dispel insinuation that some of the works were not returned intact.

  Recalling the response received during the exhibition abroad, Usman stated that the shows “generated excellent reviews,” adding that the exhibition “has served as image modifier for our nation while redefining the country in the comity of nations, outside of oil.”
Director-General, NCMM, speaking at the presentation in Lagos.
   Shortly before leading his guests to see the works, Duke disclosed that NCMM would organise an exhibition of the works at the National Museum, Onikan. He also corroborated Usman’s point on the significance of the media presentation, which “is to reassure the people of Nigeria that these exquisite works are back in the country and in good condition.”

  INDEED, the reassurance may not be unconnected with reports in Europe -– during the tour – that one of the works was badly restored by the foreign partners. It should be recalled that midway into the European part of the tour, the works became a subject of debate. Some specialists on African art were worried that Spanish conservators applied the wrong coatings, which were aimed at protecting the works for the two-year adventure.

  One of the experts, Prof. John Picton of School of Oriental and African Studies, University of London, U.K., had argued that the conservation process did affect the ancient identity of the works. Picton, a former deputy director of National Museum, Lagos noted that the ancient brass heads of some of the works have been replaced with “a shinny surface.”  

  However, another expert on restoration, David Perfitt who contributed to the debate via an online medium argued that techniques and medium of a restorer differ across countries and cultures.  He noted, for example, that “white emulsion paint from a hasty installation is no less relevant than the equivalent spatter of BTA from Spanish restorers.”

 Responding, a source from the NCMM, though admitted that there was an error by the conservators in Spain, noted that it was not enough to cause any damage or anxiety. He explained that it was like an overdose of coating, which could be easily reversed without any distortion to the work. He clarified that only one work, the Ori Olokun head, was affected.


Amada Thompson of Museum of African Art, New York, U.S (far left), Nigerian officials Usman, Edem Duke, Musa Hawolu,  Ronke Ashaye and Thompson’s colleague in Lagos after the arrival of the Ife objects.

WHAT opens last week Thursday exercise to suspicion is the fact that there was no assessment by the media, of the condition of the works before leaving Nigeria for the world tour. The argument was that if the media were not officially briefed while the works were being moved out for global display, it would be difficult to have independent verification of the original state of these objects, even as they are returned.

 Usman, who was not at the helm of NCMM affairs when the project started in 2007, however, stated that the commission has designed a mechanism that gives “conditional reports of departure and arrival of objects.”    He explained, “When we move objects, there is a condition report and notes are compared from the points of departure to arrival. And to ensure safety, the objects are moved in batches.”

 However, the Culture Minister assured that in the future, such movements of Nigerian artefacts for collaborative exhibitions abroad, would be done more openly by given adequate information to the general public. He also remarked that “Duke was not the minister then.” 
One of the works, Ori-Olokun (Head of the Sea Goddess, 12 to 15 th century) said to have been covered in coating during restoration by the foreign experts in (Europe or the U.S?)
   However, the capacity building-benefit of the collaboration, may, in the future, empower the NCMM to carry out proper restoration and management of the collections without depending on foreign expertise.

  According to Usman, the exhibitions “have afforded us the opportunity not only to share experience, but also acquire new skills and expertise in conserving and presenting cultural heritage.” He added that in all the venues, “curators, conservators, exhibition and education officers of the NCMM were among the teams, and received training in various fields.”

 Amada Thompson, who represents Museum of African Art, New York, noted that the Dynasty and Divinity …  “illuminated Nigeria as one of the world’s greatest art centers of all time.” Such shows, she argued, “is vital in promoting peaceful and prosperous international relations.”

Ife King (copper alloy), 16 th century C.E (Collection of NCMM, Nigeria)
 

RELATEDLY, as uncertainty still envelops the much talked-about Tourism Development Fund, Duke expressed displeasure about what he described as “misinterpretation” of the disclosure he made recently.

  He noted that there was certain report in some sections of the media that he wanted to use the fund to favour his personal interest. He clarified that “approval of the tourism development fund, for now, is in principle. It is not as if the money is already kept somewhere and waiting for the disbursement of the minister.”

   The fund, which he said, has been subject of debate in the past eight years, was aimed at getting a draft of about N5bn. “So, the approval given by President Jonathan is to source it from the private sector.” He added that the process would have to go through legislation at the National Assembly to give it the backing of the law.




People, as subject of engagement at Harmattan workshop


 By Tajudeen Sowole
 WHEN artists gather at the 14th Harmattan Workshop, which runs from February 27 to March 12, 2012 at Agbarha Otor, Delta State, the challenge of depicting people, from an artistic impression context will be put in perspective. The Bruce Onobrakpeya Foundation (BOF) manages the yearly outing.
  Although, participating artists would not be compelled to work under any rigid thematic guide, the workshop this year, according to the founder, Dr. Bruce Onobrakpeya, is going to explore People as theme.
Participants at last year's Harmattan Retreat

  “From the art perspective, we are looking at how an artist, for example, does a portrait of people we never met; notable characters from mythology, folklore, etc. So, we are looking at exploring this challenge.”
  Irrespective of the thoughts of participants, within and outside the theme, the workshop, he stressed, “remains an outlet for experimentation, including applying virtually all media, techniques and styles — new and old.”
  The yearly gathering of artists, BOF stated, would feature Painting, Water Colour, Mixed Media, Textiles, Photography, Wood Carving, Stone Carving, Printmaking, Beads and Jewellery, Ceramics, and a few other courses that available facilities can accommodate.
  The director, painter Sam Ovraiti assured that the workshop, as usual “will help discover new and exciting ways of expressions.” And it’s not just about working, but assessment too, as the works produced are going to be critiqued. Ovraiti explained that “there will be a session set aside for critiquing, which will involve an expert who may not be a participating individual or a group within a particular department.” 
  The workshop, he added, would not leave out the collectors as the artists have the opportunity of selling their works, almost immediately. The director said this session of the yearly art gathering “will be an Open Day, when collectors will meet the participants in a trade fair atmosphere. Bulk sales of pieces of artworks created within the present or previous edition will be encouraged as a way of raising funds for the workshop.
 There appears to be an improvement on the sessions for the 2012 as Ovraiti assured that unlike last year, the 14th edition will have two sessions, with the facilitators spread across the departments.
 Among the first session are: Painting, Drawing and mixed media by Olusegun Adejumo and Abraham Abraham Uyovbisere; pottery, ceramics by Ato Arinze and Emmanuel Mordi; Cement sculpture, Philip Nzekwe; textile Ankara by Ademola Williams, David Osevwe and Mrs Uruemu; printmaking, Juliet Ezenwa Maja-Pearce; metal, Muraina Akeem.
 Listed in the second session as facilitators are Olu Ajayi, Stella Awoh, Godwin Onobrakpeya, Omoligho Udenta, Nelson Edwor, Adeola Balogun, Richardson Ovbiebo, Peju Layiwola, Bada Jacob Babasola, Akpojofor Patrick and Otse Omrigwe.
  Divided into two sessions, the workshop is scheduled to commence on February 19 and run till March 3, 2012 (first segment) while the second session will run between March 4 and 17, 2012.
 Outstanding personalities including academics and scholars have been penciled down to give talks on various aspects of the visual arts during seminars that will feature throughout the workshop duration.
  There will also be film shows on masters and their works and participants will have the opportunity to meet colleagues from within and outside the country.
  Participants will be provided with basic materials needed but they are advised to come with their materials to augment what will be provided.
  Accommodation and feeding would be provided to all participants as well. “You are welcome to participate in this workshop, which has become the longest running forum of informal education for visual artists of all backgrounds in Nigeria.  
 “Institutional participation will attract N35,000 per participant. This amount covers materials, accommodation and feeding. Other categories of participants are as follows: practising artists, N25,000; students, N15,000,” the organisers announce.
  This year, the workshop will feature the August retreat for practising artists only. This also will be on for two weeks. Details are to be provided later in the year.
  Reviewing last year’s edition, Onobrakpeya underscored new achievements that were recorded.
  “For once, the myth that surrounds my personal participation was put to rest,” he noted, adding, “it ran its course successfully,” while commending its management under Ovraiti, noting that the success of the workshop, has proven that “he rightly deserved the position.”
  Ovraiti was appointed last year as a director, becoming the first to be so appointed since inception of the project over 10 years ago.
  Onobrakpeya stressed that the workshop, in its 14th edition is fulfilling its promise as an agent of development in the visual arts, even beyond the shores of Nigeria. 
  Meanwhile, the celebration of his 80th birthday, earlier announced to start with the 14 th Harmattan workshop, may not be necessary. The veteran printmaker stated that whatever celebration, being planned to honour him “is best done after the workshop so that we do not distract attention from tthe workshop.”
 And since the birthday celebration will coincide with the Harmattan Retreat in August, Onobrakpeya insists, “the two events will be properly articulated.”

Emueze’s subtle strokes



BY TAJUDEEN SOWOLE

THAT Andrew Ikechukwu Emueze has been on the art circuit since 1995, and yet not as visible as those with fewer years in post-graduate practise, for example, also shows his nature.

  In about 10 or more of his works, one could see so many artists; styles, techniques in various shades and tones that are hallmark of group shows, all in one artist’s skill.


  He declares, “my mode and concept dictate how I paint. For me, style is de-emphasised as the message is the most important thing.”

  And his rendition also shows that he is a subtle social critic and commentator on canvas. For example, in an abstract facial emphasis of a lady titled Lies, Emueze explains the effects of lies on facial expression. “It’s a portrait of the lies we tell to cover up for things that we lack,” he states.

  In works such as She and Confrontation, it’s more of the artist flaunting his prowess of using lines to enhance his painting. Though in black and white, and highly stylised, She expresses the glory of womanhood from the artist’s concept.

  “The work is a dedication to womanhood; to my mother,” Emueze discloses.

   The artist also employs the same skill in Confrontation, where two women are the subjects of his creative expression.

   WITH over 15 years experience as a graduate, the artist is aware of what is needed to make impact in a society that is finding it difficult to embrace art. To this end, Emueze uses his real life encounters to sketch works that will make impact. This is noticeable in No Regrets.

  He continues to explore the human element in Friendship and You and I (Togetherness).
  From the perspective of a creative professional, he notes, “there are times in life when we fall through our own deeds and decisions and with regrets we remain down.” 

   On relationship with others, he argues, “there is a friend that sticks closer than a brother, and it takes such a friend to look straight in your eyes and tell you that you are stupid, when truly you are.”

  DESPITE the lack of aggression in the manner he markets his works, Emueze has gradually established himself as a force to be reckoned with on the scene with the solo shows and many others he has featured in.
Andrew Ikechukwu Emueze

  Some of his shows include Harvest (2001) at Imperial Place, Victoria Island, Lagos; The Journey (2009) Aina Onabolu Building, National Gallery of Art, National Theatre, Iganmu, Lagos; Ile-Ife and The Seven Heavens (2004), National Museum, Onikan, Lagos; Searching, (2000), Apapa, Lagos; That I Might See (2002) Apapa, Lagos.

   Some of his group shows are: Salon Art Series-1, Lagos Polo Club, Ikoyi, Lagos (2012); The Train (2000), National Museum, Lagos; Christmas Fiesta (1998), Alliance Francaise, Ilorin, Kwara State; Crossroad of Style and Civilization (1997), Alliance Francaise Ilorin, Kwara State.




Sunday 12 February 2012

Art Auction: British artist breaks Damien Hirst record

  £19.1 million work at Christie's

Reclining Figure by Henry Moore

Christies has broken the auction record for the most expensive work of British sculpture sold. The work of art, by Modernist Henry Moore depicts a reclining female figure resting on her elbow. The abstract bronze,titled Reclining Figure was created for the Festival of Britain in 1951 and was commissioned by the Arts Council. It had been valued at £5.5 million with a guide estimate of £5 - £7 million. The 6ft long artwork was sold for £19.1million, after a fierce bidding war at Christie’s in New York. It is thought that the sculpture was purchased by the Cologne dealer Alexander Lachmann, who battled with two telephone bidders to win the auction. The sculpture was put on sale by an anonymous private collector in New York who was in no doubt delighted with the out come of the sale.The auction took place in the presence of 800 art enthusiasts who gasped and clapped at the end of the bidding.

The previous record for the priciest example of British sculpture was set by Damien Hirst with his work titled  "The Golden Calf". The piece sold for £10.3million in 2008. The Moore work has nearly doubled this benchmark. Jay Vincze of Christie’s said:  ‘To break the previous record was very gratifying. Moores most expensive work previously was "Draped Reclining Woman", which sold for £4.3 million in 2008. The most expensive work of British art is Hirst's "For The Love Of God' which was sold privately on 30 August 2007, for £50 million, to an anonymous consortium

Moore, who died in 1986 aged 88, is only the third Briton after painters Francis Bacon and Lucian Freud to exceed £15million at auction. Henry Moore was one of Britain's most renowned sculptors. He was born 30 July 1898 at Castleford, Yorkshire, son of a miner. Taught at Castleford Grammar School 1916. Served in the army 1917–19. Resumed teaching 1919, but later the same year went to Leeds School of Art; at the R.C.A. On a scholarship 1921–4; first visit to Paris 1923; to France and Italy on a travelling scholarship 1925. Taught at the R.C.A. 1925–32, and at Chelsea School of Art 1932–9. His first one-man show was at the Warren Gallery 1928.

Saturday 11 February 2012

How to preserve, market investment value of artwork, by experts


By Tajudeen Sowole
 Juxtaposing collecting art for passion with its investment prospect, director of Modern African Art, Bonhams auction house, London, U.K, Giles Peppiatt, and stakeholders in Lagos, explore the potentials of the domestic market for international investment.
 TAGGED Art As an Alternative Investment? the forum organised by Ben Enwonwu Foundation (BEF), featured as discussants Amb. Arthur Mbanefo; top art collector, Omooba Yemisi Shyllon; initiator of The Arts Collector Series, Sandra Mbanefo-Obiago; lawyer and notable collector, Femi Akinsanya; and a Chartered Accountant, Folusho Phillips.
  Managing Director of Terra Kulture, Bolanle Austen-Peters served as moderator.
  Held at The Wheatbaker Hotel, Ikoyi, Lagos, the Forum also enjoyed the support of the Lagos-based Art Exchange Limited and Awakening Magazine.
  In his presentation, Peppiatt submitted that, art could be a good investment, but cautioned that, “good judgement and fortune are both needed in equal measure.”
  Arguing that Art should not be “solely regarded as an investment,” he cited examples of works sold at record prices across the world, but which were bought for enjoyment derived from the aesthetics and not necessarily for investment.
  Peppiatt stated: “For the long term, art can be the best investment that a collector or individual can make.  If astutely bought, correctly maintained and properly sold, the returns will easily outstrip any other asset class.”
Giles Peppiatt of Bonhams, speaking at the event, Art As an Alternative Investment? held in Lagos… recently
    While Peppiatt conservatively seemed to have avoided exaggerating the investment prospect of art, he clearly articulated the point that art is one of the safest security exchanges, particularly in a recurring inflation economy.
   If high dividend of art is not in doubt, issues such as when to buy or sell as well as which artist is in demand become pertinent.
  Speaking from experience, the visiting auctioneer disclosed that he always advised people to “buy what you like, but I would also add: buy what you know about.” 
  And for those who buy a piece of art for other reasons not necessarily because they liked it, it could be a double loss. “If a work does not appreciate and you do not especially like it, you have lost on both counts; you have an unloved and unsellable work. So I repeat: buy what you like.”
 Peppiatt cited example of a piece, Slide 9 Gerard Sekoto, Women in the Suburbs, bought at £10,000 in October 2000, but sold at £86,000 in February 2007.
    While making reference to Bonhams’ Africa Now series auctions that feature Nigerian artists, he advised that collectors should be able to connect domestic sale with the global market.
  “It is interesting to note that, for example, world record for Ben Enwonwu’s five highest prices were set in the Bonhams sales.” And as a new record has been set by Enwonwu’s Anyanwu, last November at Arthouse, Lagos sales, Peppiatt asked: “How much would the bronze (Anyanwu) have fetched had it been offered on the international market?”
  The Lagos auction, argued Peppiat, indicates that African art needs a thriving domestic market to run in parallel terms with the international value.
   While urging collectors to buy the best “you can afford,” he also emphasised, “the very best works are never acquired cheap.” 
  On why collectors hold on to beloved work, Peppiatt reasoned, “when one is thinking about ‘art as an investment,’ evidently you cannot have an investment that you will not realise. Selling is important to prune and manage collections and this has to be done through dispersals.”
  He stressed that it is also crucial for works to be released into the market to stimulate collectors. “If collectors all hold onto the works too tightly, a market will wither. Records are made when collections are sold, not when they are bought.”

1.         Chairman of the event, Ambassador Arthur Mbanefo
 
EARLIER, the chairman of the event, himself a renowned collector, Amb. Mbanefo seemed to have pre-empted the message in Peppiatt’s paper when he disclosed that “many of us collect out of sentiments: for the aesthetics of what we buy.”
  Femi Akinsanya, whose collection of traditional art was celebrated at the same venue, a week earlier, with the launch of the book, Making History: The Femi Akinsanya Art Collection, and an exhibition, stated that “it’s good to collect, and if you make money, good luck to you.” He urged his compatriots to always “buy what you can afford.”
   Folusho Philips, who has over 20 years history of collecting art, spoke on the importance of documenting and artists’ skill.
  Chief Yemisi Shyllon urged collectors to extend the value of art to the larger community through donation of works to museums and national gallery. On the investment value, the founder of the Omooba Yemisi Shyllon Art Foundation (OYASAF),  commended ArtHouse, Lagos, Bonhams and Philips de Pury (U.S.) and Terra Kulture, for raising the value of African, particularly Nigerian art.
  For the film and broadcast manager and art enthusiast, Mrs Sandra Obiago, the potential of Nigerian art has not been fully explored.
  In an emotion-laden presentation, she supported her argument with the remark from the UNDP that emerging economies were yet to tap from the abundant opportunity in the creative sectors.
  Nigeria, she lamented, is yet to realise the wealth in her creative sectors.
  From the audience, the painter, art teacher, Sam Ovraiti appeared to have removed the lid from the bottled-grievance of his colleagues when he questioned the criteria often adopted by auction houses in rating artists. He argued that the value of an artist at auction should be based on creativity, and not the age or many years of practice.
   However, the response of some of the discussants -- which drew a thin line between creativity and years of practice -- seemed to be a global phenomenon, not peculiar to Nigeria alone. 

1.          Discussants: Prince Yemisi Shyllon (left), Sandra Obiago and Folusho Phillips


  All over the world, said the discussants, art galleries, auctioneers, dealers and others set the rules in the bipartite art market, which do not always favour the artists, particularly the younger ones.
  Perhaps, young Nigerian artists need to consider the example of one of the Young British Artists (YBE), Damien Hirst, whose auction at Sotheby’s in 2008 recorded the highest sale for a solo artist in history at £111m. Hirst had disclosed that he took that bold step because he was unhappy with the rules set by galleries and auction houses. His statements that “If you don’t like the rules, change it,” is indeed an advice for young artists across the world.
  On the issue of auction price as a benchmark for rating an artist, Mrs. Austen-Peters, whose organisation operates auction and gallery, argued that such rating could be deceptive. “Auction price is not necessarily the benchmark because people who patronise the gallery most often cannot buy at auction price,” she explained.
   The issue of value for artist appeared to have overshadowed other points raised at the forum, however, the co-ordinator of BEF, Oliver Enwonwu, in his vote of thanks, remarked: “Can anyone really pay the price for an artist’s soul; his work?”
Rodney Askhia of Tribes Art Gallery, Lagos (left), moderator of the event and MD of Terra Kulture, Bolanle Austen-Peters, Giles Peppiat and Programme Officer of BEF, Luciano Uzuegbu