BY TAJUDEEN SOWOLE
VICTOR
Ehikhamenor’s recent show, Crossing The Line, which was part of Ugoma Adegoke’s project, Remember for
Tomorrow, a month-long event of visual art, poetry, lecture, short film and music, gave an insight into the different conflicts that had threatened the nation’s existence from the time of independence.
Held at Life House, Victoria
Island, Lagos, the show
was a display of pen and ink drawings, and works that reminded the viewer of war and conflicts
in Nigeria. Simple as the pieces were, they instilled fears and caution.
In his familar semi-abstract rendition,
Ehikhamenor’s played with titles that were not so pleasant, even for those who never
expereinced arms conflict — they were really spine-chilling. Some of the
titles include the Refugee Series, Fear, Good Bye My Son, Hide, The Recruiters Are Coming, The Orphan of Our Wars, Till Wars Do Us
Part and Dog of War.
But these works were not intended to haunt anyone,
Ehikhamenor said, as he chatted with guests in the Bloom Gallery, Life House. “They represent
what we went through in the past. Several decades after
independence, Nigeria is still crisis-ridden.”
The works, interestinglly, fitted well into
Adegoke’s vision, making guests to believe that Ehikhamenor was actually part of the idea
from the outset.
“Works with such themes happen to be
from the pool of works I have in my work-in-progress, and when she told me
about her concept, they came so naturally available,” he quipped.
And why such scary themes? These
are reality of our history, he said, warning, “if we don’t remind
ourselves, history will repeat itself.”
Crossing the lines, metaphorically,
is usually the beginning of conflicts, either in daily social, family, formal
or informal exchanges. However, such exchanges, he agreed, is volatile and, perhaps, leads to
war when politicians are not mindful of their speech, and failure of opponents
to manage such information, devoid of mischief and blackmail, as currently seen
in worrisome race for 2015, barely a year after the last election.
For the artist, there must always be
respite, irrespective of the crisis; so, he tones down the themes in such works
as Reconstruction, Redistribution and Recollection.
Victor Ehikhamenor |
Bringing
the past to bare with the present appears to be one of the artist’s strongest
points, as he dsicloses that Crossing The
Line is a prelude to a bigger show ahead.
Adegoke also agreed that
the best way to learn about our past such as colonialism and civil war is to
talk about them. Tagged, The Life House's
First Historical Project, Remember for Tomorrow, it uses visual art, music, poetry and other aspects of arts to ponder on our history
and referencing the multi-faceted ‘lines’ that were crossed during pivotal pervasive
events such as the Kano riots of the 50s, the Tiv uprising of the early 60s
and, finally, the Nigeria Civil War, which lasted from 1967 to 1970.
Ehikhamenor’s
biggest show since he returned to Nigeria few years ago from his base in the US,
is Entrances and Exits: In Search Of Not
Forgetting. Held at the Centre for Contemporary Art (CCA), Lagos, for about
one month, the show was on relics of ancestral polygamous family, village
shrines and other creativity related content, which the design artist stumbled
on during a visit to his village, Udomi-Uwessan, Irrua, Edo State.
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