Lagos stopover for Shonibare’s 'Wind Sculpture VI'

Few days ago, the touring Wind Sculpture series by Nigerian-British artist, Yinka Shonibare was on display at Ndubuisi Kanu Park, Alausa, Ikeja. 

Yinka Shonibare's Wind Sculpture VI, (in the background), opened at Ndubusi Kanu Park, Lagos, few days ago.

During the Talk session of the opening, the artist told guests that the Sculpture VI is about taking art to the public space.

 Inspired by the sailing of ships, the sculptures also adapted African patterns made from Dutch wax fabrics, an identity in Shonibare’s works.

  The sculpture is on display until 31 January 2017.

Escaping To 'Freedom' Of New Offo Period

By Tajudeen Sowole

Five years of art, complementing a hospitality space, in Nigeria’s business travel industry exhales visually through artist, Gbenga Offo's new period. The artist"s sculpture, described as never-seen in public adds fresh breath to his cubism painting identity.

  

Hope II Bronze 3fts 2016 by Gbenga Offo

The hospitality space, The Wheatbaker, Ikoyi, Lagos, which opened for business in 2011, has, consistently, been hosting art exhibitions as a “luxury boutique hotel,”  The art space, which is curated by Sandra Obiago Mbanefo engages visitors to the hotel in visual dalogue as each exhibition - across generations of Nigerian artists - is not detached from constant views of traffic flow.

 More interesting, Offo, an artist known for his cubism style painting is also showing, for the first time, sculptures made in bronze and wrought iron/stainless for the hotel’s fifth anniversary. Offo is brings a body of work he titles Freedom, which is showing for over three months, ending January 15, 2017.

 After a long period of his career that has projected him with a clear identity in cubism, Offo appears to be using Freedom to step into a new era. "I don't want to be labeled a cubist," he tells a select preview guests. And now, a reluctant cubist, Offo escapes into Freedom of sculptures, but still retains his signature as an artist with bold features in figure rendition. In the exhibition are also, a set of abstract pieces and forms generated through flow of colours, which he groups as Splash. And under Sketches are portraits done with conte on paper, burdened in painterly shades of drawing strokes. 

 From Flip, an expression of self-esteem; to Hope I, Hope II, expectancy in elongated busts series; and minimalism impressions Mutual Respect, Offo steps into a bronze sculpture period of his career. And adding to this new period are, among others, a trace of his cubist identity, in Sweet Conversation; and simplified figural of joyous mood, Happy People, all expressed in wrought iron and stainless steel.

 Though showing his sculpture work in public for the first time, the artist discloses that sculpturing has always been part oi his studio work. "It's not as if I never did sculpture, but I just didn't show them." As his cubism period was inspired by the 20th century master of the movement, Pablo Picasso, so the attempt at sculpture. "The day I knew Picasso did quite a lot of sculpture, it was like a freedom day for me," Offo recalls.

 However, the air of Freedom at Wheatbaker, to a large extent is still populated with the artist's cubist identity. His bold features-style of cubism continues with paintings such as Woman with Scarf, Once Upon A Time, Reclining Woman with Newspaper and Story Teller, among others that stress the essence of colour on Lagos art landscape.  

 Sponsored by Veuve Clicquot and the Wheatbaker, the exhibition represents the mood of the Nigerian people. "The theme of the exhibition reflects the challenges we go through as a people," Obiago states. She notes "Freedom is a special exhibition" that is important in marking the fifth anniversary of "Wheatbaker as art destination hotel in Nigeria."

 

A wrought iron and stainless steel sculpture titled Happy People by Gbenga Offo

 In a pres statement, the hotel takes pride in being a space for creative expression. “We are proud to have created a dynamic platform for international and local artists to experiment and present new creative expressions,” commented Mosun Ogunbanjo,  a Director of the luxury hotel.  “We will continue to ensure that despite Nigeria’s current economic recession, the Wheatbaker provides quality services and strengthens creativity and innovation.”

  Offo, b. 1957, graduated as best Art and Graphic Student from the  Yaba College of Technology in Lagos in 1984. He worked for a decade as an illustrator for leading advertising agencies Lintas and Insight Communications, before becoming a full time studio artist in 1996. Offo has taken part in numerous solo and group exhibitions in the United Kingdom and Nigeria, and his works are in many leading corporate and public collections.

Timeless... Akpokona's steps towards mastery of lighting

By Tajudeen Sowole

A first solo art exhibition for Tega Akpokona comes with bold, though shadow of some of his mentors. But an artist who has a determination to step beyond the initial unavoidable influence of his masters is also loud in the brushings of Akpokona.

  

Give Us This Day

Oil On Canvas / 44 X 40 Inches / 2016

An artist with faint texture of impressionism, Akpokona whose solo, Timeless opened yesterday at Terra Kulture, Victoria Island, Lagos, is denouncing isms of any kind for broader freedom of expression. Art, he argues, should not be confined to movements or any group ideology. That’s quite a familiar argument common among most artists of contemporary age. 

However, Akpokona appears to be working his talk as seen in some of the works during a preview of the exhibition. Despite a toning style that leans towards European renaissance classic period, the young artist's application of light, particularly in softening and highlighting imagery could just be his strong asset in the brushing and paletting business.

Thematically, Akpokona brings onto canvas issues that set people thinking beyond narrow partisan of politics and ethnic bigotry. Also, his love for artisans and cottage industry is of interest.

  One of his works titled Give Us This Day, rendition of a queue of IDPs lining up to collect food should make sympathisers of those who benefits from Dasuki-gate do a self-assesement of their moral values. "It is my visual way of expressing concerns that we have refugees in our country," Akpokona tells his guests ahead of the exhibition. 

 And just in case the sympathizers of Dasuki-gate and their beneficiaries still do not understand the catastrophe caused by diversion of fund meant for Nigerian army's fight against Boko Haram terrorists, Akpokona adds: "farmers who should be producing foods have been displaced, and are now begging for foods." Lit in the artist's technique of highlighting, which creates both silhouetted and illuminated images from the figures, Give Us This Day captures tragedy of a whole region in northeast Nigeria that was prevented from three seasons of farming as a result of Boko Haram insurgency. 

 As much as Akpokona's works are heavily laced with thought provoking themes, the essence of art as an embodiment of conversation and aesthetic values are not missing. This much exists in works such as Allegory of the Receiving Ends, Refulgence and Sanguine Whispers, among others.

 Basically, the artist's palette has a loud colour for the cottage and non-formal sector of Nigerian work force. "Industrious and artisan people inspire my work," he says.

 Akpokona's bio: he is an outstanding and talented young Nigerian emerging artist. He lives and works in Lagos. He graduated with a Bachelor in Art Degree, from the University of Benin, Nigeria, in 2011. Subsequently, He became a protégé under the mentorship of master Nigerian artist Abiodun Olaku at the Universal Studios of Art. Viewing His paintings, the viewer is allured by the creative use of light interplayed with rich subtle, colours, capturing the depth of human emotions. His works can be found in prestigious private collections Nigeria, in the UK and in the US.

 

Tega Akpokona

 Selected Exhibitions and Awards - Empower 54 African Art Charity Gala', Atlanta GA, USA, 2016 -Affordable Art Auction' Arthouse Contemporary, February 2016 -"EMERGINGARTISTAWARD", SocietyofNigeriaArtists2015 - Society of Nigerian artist "October rain" art exhibition, Lagos, 2014 -"Home coming", a salon by contemporary Nigerian artists, Abuja, 2014 -“ArtintheHouse”,Abuja,2013 -"Unforgettable Treasures" miniature artfair, Lagos, 2009.

Memories from Chief Rasheed Gbadamosi’s art-philanthropy

In 2012, during a Soiree organised by Chief Rasheed Gbadamosi in honour of David Herbert Dale, the artist (left) presents one of his works, a foil titled King Tortoise to Gbadamosi and his wife.

Founder of Yusuf Grillo Pavilion, Chief Rasheed Gbadamosi (left) giving the guest speaker of the event, Prof Ola Oloidi a Grillo Pavilion Award. The event was in 2012 at the fourth edition of Yusuf Grillo Pavilion, which celebrated modern uli art exponent, Uche Okeke.

Chief Gbadamosi, a playwright, passionate art patron and an industrialist died in Lagos on Wednesday, November 16, 2016. 

ANBUKRAFT honours creative professionals in Anambra

Hon Bob-Manuel Udokwu receiving an award from Dr Krydz Ikwuemesi, courtesy of 2016 edition of Anambra Book and Creativity Festival (ANBUKRAFT), in Awka…recently. Other awardees included VC of University of Nigeria, Nsukka, Prof Benjamin Ozumba; The Guardian’s Arts and Culture writer, Tajudeen Sowole; Quintessence Gallery Curator, Moses Ohiomokhare; MD of Crunchies, Mr Jude Nwosu; and actor/ author, Greg Mbajiorgu.

For 17th auction, modern, contemporary art go under hammer

By Tajudeen Sowole

Art of modern masters and leading contemporary artists from West Africa are among those currently on view ahead of auction, holding on Monday, November 14, 2016 at The Wheatbaker Hotel, Ikoyi, Lagos.

   

My Taiye (2003-2009, 192.5 x 115.5 cm.), is by Yusuf Grillo.

The sales, which is a Lagos-based auction house, Arthouse Contemporary's seventeenth edition features artworks by Ben Enwonwu, Ben Osawe, Yusuf Grillo, Bruce Onobrakpeya, Uche Okeke, Clary Nelson Cole, David Dale, Abayomi Barber, Jimoh Buraimoh, Kolade Oshinowo, Twin Seven Seven and Ablade Glover, among others.  Among leading contemporary artists featured in the auction are El Anatsui, Nnenna Okore, Peju Alatise, Rom Isichei, George Osodi, Sokari Douglas Camp, Ben Osaghae and Victor Ehikhamenor.

  

One of the paintings estimated to be among the leading sales of the auction is a stained glass titled My Taiye (2003-2009, 192.5 x 115.5 cm. 75½ x 45½ in.), is by Grillo, b. 1934.  Placed at asking price of between ₦15,000,000-18,000,000 million naira, the painting tells a story of Yoruba culture of twin dolls (ere ibeji) as related to toddler's toy. But a provenance attached to the painting reads: 'Grillo here seems to purposefully conflate the Christian Holy Family—suggested by the halos around the heads of the child and mother—and a family of Yoruba Orisa worshipers. Perhaps this is

his way of asserting the equality of religions and cultures, in an age of heightened inter religious antagonism and crises.'

  

From the contemporary period comes one of Lemi Ghariokwu's renditions of Fela Anikulapo on stage. Ghariokwu, b.1955, renders a piece titled Fela Ginger (Acrylic on canvas, 2016, 122 x 112 cm. 48 x 40 in.), in a double figure and repeated form of the late controversial musician. The title is said to have been inspired by street slogan 'Ginger Your Swagger!' Ghariokwu designed majority of album covers for Fela's music for over 30 years. The auction house describes Ghariokwu as an artist, designer and illustrator who is best known for creating many of the original album covers of celebrated Nigerian musicians."

 Highlighting the increase in value of African art, Arthouse suggests that contemporary art appears to be the future. "As contemporary African art moves to become one of the fastest growing global art markets, this edition of the auction will feature both master works from the modern period and cutting-edge contemporary art from the region’s most celebrated artists,"  says West Africa's number one auction house. "Works will be on display at the Wheatbaker Hotel for viewing in anticipation of the auction, on Sunday, November 13 and Monday, November 14, 2016."

Total lot number under U.K-based auctioneer, John Dabney's hammer is 98, including works across paintings, sculpture and mixed media.  

Sponsored by the Wheatbaker Hotel and Veuve Clicquot, the auction, according to the organisers will also include five charity lots from celebrated artists Bunmi Babatunde, Diseye Tantua, Duke Asidere and Nyemike Onwuka. Proceeds from the sales of the charity go "in support of the Arthouse Foundation, a non-profit organization that aims to encourage the creative development of contemporary art in Nigeria."

  

Founded in 2007, Arthouse Contemporary is an international auction house that specialises in modern and contemporary art from West Africa. With auctions held twice a year in Lagos, Arthouse Contemporary aims to create awareness of the scope of contemporary art in the region, encourage international recognition towards its talented artists, and strengthen the economy of its art market.

A Lagos Test For Ghanaian Texture Of New Threads

By Tajudeen Sowole

As a group art exhibition of seven artists from Ghana is currently showing in Lagos, the radiating aura generates two factors:  a bite of Lagos art market for the visiting artists, and a fresh taste of contemporary Ghanaian art for art connoisseurs and aficionados in Lagos.

  

A sculpture, Pretty Wing by Constance Swaniker

With the familiar works of Ghanaian modernist and crowd-effect master, Ablade Glover; contemporary expression of El Anatsui; and occasional presence of Owusu Ankomah, among others at art auctions in Lagos, the city's art scene has not exactly been devoid of art from Ghana. But these rarely seen artists, now in town on Lagos art landscape, from Ghana set one thinking on how much of the country’s art they actually represent. 

  The current entrants into Lagos art scene from Ghana who are showing a body of work titled New Threads, at Temple Muse, Victoria Island, till November 17, 2016, include Kofi Setordji, Kofi Agorsor, Nii Obodai, Nicholas Kowalski, Constance Swaniker, Nyornuwofia Agorsor and Nana Anoff.  From narrative of post-Kwame Nkrumah and the people's environment, represented in Nii's photography; to the panoramic view of news across the world and effects on local challenges, probed through sculptures by Setordji; and Agorsor's bold abstraction, particularly in Organic Woman; as well as assemblage of discarded objects from Anoff, New Threads appear to confirm that art, increasingly, in Africa, is struggling to strike a balance in appropriation space.

  While intellectual contents of every piece of art, across ages and peoples, cannot be denied, the strength of art from Africa has been in the richness of aesthetics. But in recent times, the challenge of socio-political and economic issues across Africa has tilted themes of artists towards narratives that are more intellectual in contents than aesthetics. The artists of New Threads, like most victims of contemporary African art content-challenge, also struggle to strike that balance, so suggest the works on the walls at Temple Muse. In fact works such as Entangle, a figural painting by Kowalski; geometric rendition, Mind of the Universe by Nyornuwofia, among few others are merely pseudo-aesthetics.

  From the New Threads lots however, stands out something that perfectly fits into the mentality of Lagos art appreciation: Swaniker's sculpture of a humanoids titled. Pretty Wings. Depicted in what looks like a female, the winged figure, in style and technique, reminds one of sculptural themes of a Lagos-based artist, Peju Alatise. Coincidentally, Swaniker, among all the exhibiting artists, is having her second show in Lagos; she was here for a solo few years ago.  

 

Kofi Agorsor's Organic Woman.

Sponsored by UBS, the Swiss Global Bank, and Moet-Hennessey, New Threads affords an opportunity for expanding African art market within the continent, the curator, Sandra Mbanefo Obiago states. “We need to stretch out a hand of creative friendship across our porous borders and create more opportunities for showcasing cutting edge contemporary African expressions in each others’ countries”

  And as artists of New Threads add to the growing diversity, perhaps, dynamics of Lagos art landscape - particularly showing during the peak of the city's art season - the conservative or traditional art appreciation taste in Africa's fastest growing art hub city, which largely, has been built on aesthetics, is being challenged. However, It should be of interest to the visiting artists that Lagos, in the past ten years, has been breeding growing energy of contemporary contents that are shifting the paradigm.. But in a country like Nigeria where an artist's worth is measured by popular signature in the art market, sacrificing aesthetics value on the altar of intellectual appropriation is like swimming against strong current.

A voice For Artists Via 'Infinite Treasures II'

By Tajudeen Sowole

A season of Lagos art would be incomplete activities without an exhibition by some of Nigeria's leading artists whose immense contributions to the city's art hub status cannot be discounted. The exhibition is a recent yearly series gathering, which started four years ago as a platform for artists to assert their control over what the organisers fear as an attempt by a section of promoters and mangers to distort the creative industry.

‘Oyin Dudu (48 x 44 Inches, Oil on Textured Canvas, 2016) by Alex Nwokolo.

  

Started as Distinction series in 2012 and just held as Infinite Treasures II at Terra Kulture, Victoria Island, Lagos, the 2016 edition asserts the artists' pedigree as a fulcrum on which the art market of Lagos is rested. Artists of Infinite Treasure II include Kolade Oshinowo, Reuben Ugbine, Abiodun Olaku, Bunmi Babatunde, Sam Ovraiti, Edosa Ogiugo, Duke Asidere, Alex Nwokolo, Olusegun Adejumo, Fidelis Eze Odogwu, Diseye Tantua, Mufu Onifade and Segun Aiyesan.

  With an average of three to four works per artist, the Olaku and Odogwu-curated Infinite Treasures II brings onto the Lagos art scene the true colours of the city's identity: art rich in great aesthetic, conceptual and intellectual contents combined. In his unpretentious representation style, the most senior of the artists, Oshinowo, 68, continues his themes on ladies' fashion, imploring fabric collage to capture his revered 'repetitive' themes.

 Having painted landscapes, mostly in narratives of time, using different periods of sun's transitory motion in the sky, Olaku's masterly strokes on the subject could be a study in astrology. With paintings such as Fellowship - (Study, Oil on Canvas, 2016; The Passage Oil. On Canvas, 2016; and Peace of Gold’ Oil on Canvas, 2016, Olaku's palette adventure into  skyline's spiritual beauty continues.

 In a soft medium dominated exhibition Infinite Treasures II, three sculptors: Babatunde, Ugbine and Odogwu bring the balance of taste. Each artist, interestingly, has distinct style technique and medium that has overtime, stressed the resilience of  sculpture in Nigerian art landscape. While dragging his very successful Possibilities Series, again, into this edition of the yearly exhibition, Babatunde adds Iyawo Osingin  (Fresh Bride), a piece in Ebony wood, dated 2016.

 Asidere's visual restlessness on his environment takes a hopeful note in ‘Well Used Brain I (Oil on Canvas, 2016), suggesting that despite a decaying social structure, the future isn't exactly tragic.

 For those who have been tracking Nwokolo's Oju Series, here comes the artist's new style in Holy Mary, Sister Chioma and Oyin Dudu, all oil on canvas and dated 2016.

  Ladies' theme artist, Adejumo moves his brush strokes into the glamour world of women - away from the usual owambe social circle - in a piece titled Diva. New entrant, pop art satirist, Tantua is at his vintage in Cool Kobo Is Better Than Hot Naira, a thoughtful piece for Nigeria's era of moral rebirth.

 

  Two other new entrants, Onifade and Aiyesan bring into the gathering, each, their distinct texture of painting techniques. Onifades's araism comes with more subtle tone while Aiyesan's identity of aged canvas breeds diverse shapes of portraits.

 Sponsored by Mr Frank Momoh-led Frot Foundation, Infinite Treasures II, according to Odogwu, confirms the pattern of different sponsors for two of the main series. "Mr Kunle Tinubu of Trojan Estates sponsored Distinction series while Momoh for Infinite Treasures series."

 

Blue Glow mixed media by Segun Aiyesan

Olaku recalls how his planned solo exhibition in 2013, trigered the series into "a self-propelled group exhibition of seven carefully-selected established and respected artists."

 And basically, the crust of the exhibitions is to celebrate artists and put them in the driver's seat of the creative indsutry. Olaku has never hidden his suspicion for "pretenders" whose activities and perception of art, he argues, are threat to artists' career.

In a joint curatorial statement, Olaku and Odogwu however assure that "merit in professionalism is a key watchword that consistently guides the selection of participants behind the scene." They stress that "we do not intend to compromise on that.

In alignment with one of our core objectives to ensure that Nigerian contemporary art grows in character, content and value, the periodic themes are generated to illustrate and stress the spirit of the purpose."

'Exodus' In Onwuka's paintings

Artist, Nyemike Onwuka will exhibit some 26 plus works, drawings, paintings, mixed media and installations in a one-man show titled  Exodus, opening  November 12 till 19, 2016 at Signatue Gallery, Ikoyi, Lagos.  

A painting from Nyemika Onwuka's Exodus

A curatorial note states: "Considering the fact that Nyemike and his style have evolved through the years of practice and showing in exhibitions in major cities around the world including Europe, Middle East, UK and America it doesn’t come as a surprise that his paintings can be found in private collections of prominent citizens worldwide.

 "Exodus is synonymous with Nyemike’s artistic evolution, from his experimental/figurative platform he sprouted the distinctively unique style of Elegant urban decay. Once again we see today a style driven on progressive transitional journey using text and patterns ingeniously to project his thoughts onto canvas and also to embellish.

 "The evolution of art is a result of experimentalists of the art world, a mind class of artists, which Nyemike over the years has proven to belong to."

Again, Nigerian Art 'Echoes' in Paris

By Tajudeen Sowole

Increasing appreciation of Nigerian art abroad is being confirmed by a second exhibition, this year, in Paris, France.

 Curated by Bose Fagbemi, the group exhibition titled Echoes From Afar, opens November 29 - December 20, 2016.at Fabrique 222, a place described as Dominican couvent for priests. In May this year, Fagbeni showed Mood Colour Harmony, a solo exhibition of paintings by Lagos-based artist, Duke Asidere at Maison Muller section of Splendens Factory, Paris.

 

Emmanuel Ekefrey's August Visitor, showing in group exhibtion Echoes From Afar in Paris.

For Echoes…, the artists include Abraham Uyovbisere, Emmanuel Ekefrey, Sam Ovraiti, Joe Amenechi, Tola Wewe, Zinno Orara and Asidere. Each artist is exhibiting 11 paintings.

   

From low angle capture of a three figure painting titled Princess, in bluish shade and hues by Uyovbisere; stylised figures, rendered on densely populated canvas of Ekefrey; to Sambisa Blues, Wewe's odd contribution to the tragic narrative of the world's most pronounced captives, Echoes From Afar offers followers of Nigerian art abroad the real texture of the people's creative depth. Also, Asidere's Blue Black Lady and Soul Music; 0vraiti's Togetherness, Landscape and Thinking; as well as Kano and Masked Faces by Orora add to the diversity of works that speak volume of the fact that Nigerian art is more dynamic than the much publicised 'conceptual art' contents that have been louder among African artists in Europe in the past few years. 

 Unlike U.K where most of the exhibiting artists' works have been shown either at group exhibition or art auctions, Paris is not a familiar space for Nigerian art. In fact, every year, some of the artists always have their works on display at Bonhams' Africa Now auction, in London. However, what is unfolding as a bold step from Fagbemi in Paris would create a new diaspora followers for Nigerian art in France. And perhaps, provides alternative taste in a space where most artists of Francophone West African have been holding sway ahead of their counterparts from English speaking countries.  

  

The central theme, Echoes From Afar, according to Fagbemi represents richness of Nigerian art  "being appreciated and accepted in France." It has been more of an eye opener to the public these past years, who are more intrigued with the divers styles as different from the negative news that comes from the media.

 For the curator, showing art of African origin in the Diaspora is not exactly new. "I had a similar experience in 2002 in Trinidad & Tobago during the exhibition titled Linkages, which I also curated."

And 14 years after, the objective remains the same."The objective of the group exhibtion among others include promoting the creative and artistic education of Nigeria in France and to also maintain sustain Nigeria's rich cultural heritage."

On immigration, Hazoumè’s sculpture, painting capture All In The Same Boat

By Tajudeen Sowole

One of the leading contemporary African artists in the Diaspora space, Romuald Hazoumè, b. 1962, expands his thematic focus on 21st century human movement challenges. Benin Republic-born, Hazoumè, whose revered sculptural work of mostly alternative medium such as discarded objects, is currently showing a body of work titled All In The Same Boat, till November 26, 2016 at October Gallery, London, U.K.

Romuald Hazoume's Mutti, a 2016 wood, metal, plastic, 182 x 180 x 190cm. PHOTO: Jonathan Greet. Courtesy October Gallery.

Winner of Arnold-Bode-Prize at dOCUMENTA 12, in 2007, Hazoumè is no doubt in a familiar space, after showing thrice at October Gallery as well as having the same gallery shown his works at art fairs outside the U.K. 

  Among the works – viewed via soft copies are Cry of the Whale, mixed media installation; Tricky Dicey Die, metal, plastic, wood, mirror and Mutti, wood, metal, plastic, 182 x 180 x 190cm.  

   With quite a tone of humour, Hazoumè has established himself as a pseudo-satirist whose work, radically, pierces through the conscience of Africans’ defeatist attitude as well as modern economic and political imperialists within and outside the continent. For example, in Mutti!, a three dimensional female figure dated 2016, which roves over three characters of a woman: depicts what looks like an African deity, or goddess; German leader, Angela Merkel look-alike; and a widely accepted soft-hearted mother cuts across culture. The title of the sculpture, adapted from German word for mother is the artist’s expression for oncern, over Europe immigrants crisis. 

  Also featuring in the exhibition is what the gallery describes as a five-metre long crashed boat and a dice made of thousands of found flip-flops. The theme “addresses the movement of people across the world and reflects upon the dramatic narratives created by migrants forced by war or famine from their home country.”

  Hazoumè, a painter, sculptor, photographer and filmmaker, according to a curatorial statement of the exhibition, keeps showing how his powerful creations mark him as one of the most innovative and exciting personalities to emerge from Africa. 

Romuald Hazoumè’s Cry of the Whale, mixed media installation, 250 x 650 x 140 cm.  PHOTO BY: Jonathan Greet. Courtesy October Gallery.

Excerpts from the gallery statement: His work first came to prominence in the U.K. with the inclusion of his ‘masks’ in the Saatchi Gallery’s ‘Out of Africa’ show, in 1992. In the past twenty years his work has been widely shown throughout Europe, the United States and Asia, including the British Museum, the Guggenheim Bilbao, the Museum of Arts and Design, New York, the Irish Museum of Modern Art and recently this year, in two different sites at Gagosian, Paris. 

  His works are in prominent public and private collections around the world, including the permanent collections of the British Museum, London; Queensland Art Gallery, Brisbane and Neue Galerie, Kassel.