By Tajudeen Sowole
Three years after Mike
Omoighe dragged his canvas into the issues of managing a complex country like
Nigeria, the artist takes his narrative a step further, focusing equity. In a
mix of core abstraction and representational forms, Omoighe raises alarm over
Nigeria's sliding to the era of military recklessness.
An artist, whose palette, quietly though, has
been against state impunity since 20 years ago, is now exposed in Equal Right, Omoighe's new body of
work, which, opens tomorrow and showing
till March 20, 2016 at Wheatbakers Hotel, Ikoyi, Lagos. Comparatively,
Omoighe's current effort, sponsored by the Wheatbaker & Veuve Clic quot is
less adventurous, in presentation, showing at a single venue and not multiple
spaces as the last exhibition titled Portrait Of A Nation.
The consistency of Omoighe, perhaps, as an
artist in quiet activism is further confirm with the fact that some of the
works were actually produced as response to the state of siege of Nigeria under
the tyrant, General Sanni Abacha during the 1990s' 'June 12' struggle.
Returning to his archive to exhume some of his old pieces, interestingly, also
provides art historians and connoisseurs opportunity of appropriating Omoighe's
representational and abstraction periods within the context of contemporary
texture.
However, given the state and mood of the
Nigerian nation, currently, and salient choice of the exhibition's title as Equal
Right, the philosphy or activism content gets a better part of one's focus
over the form of expression implored. The exhibition, Omoighe tells a select
guests during preview "is inspired by Eshan philosophy of co-existence: Unule,
Unuile, Ozese:" With the ongoing unprecedented revelation of looting
of Nigeria's commonwealth, the artist suggests that "perhaps Abacha era
was better than what we have now."
Among the over 30 paintings and drawings on
display is an abstraction titled Philosophy of Eki, a piece inspired by
the artist's native perspective of world as a market place "full of
intriques and drama."
For an artist whose contribution has broadened
the scope of art at Yaba College of Technology where he has been a lecturer for
over two decades, Omoighe's drawings in Equal Right should be of
interest to historians. Largely of representational forms, the works, perhaps,
offers much for comparative critique within the context of imploring visual
narrative as a medium for activism. But Omoighe appears more protective of his
abstraction form, even in a clime such as Nigeria where art appreciation -
across classes of the society - leans towards populist expression.
"Every art requires
study, like literature, to make the right impact," argues Omoighe whose career spaned both
administrative and technical postings at Yabatech.
As much as it comes as a relief, once in a
generation, to see visual artists in Nigerian art space making strong statement
on issues concerning how the country is being governed, the energy requires to
strengthen such activism is usually weakened by the sharp line between the
artist and his/ her art. The artist as the same as his art is a complex position to
take, Omoighe says.
And when curator of Equal
Right, Sandra Mbanefo-Obiago in her introductory speech describes Omoighe
as "very influential in the Nigerian art space," she confirms the artist's strides within the academic and mainstream art gallery.
"In Equal Rights, Omoighe flexes his activist muscles by taking his
viewers on a bold visual journey that starts with a nostalgic exploration of
Nigeria’s political journey away from military rule. His
journey also reveals a multi-layered multi-textured documentation of the Igbabonelimi masquerade
culture through complex visual poetry and subtle metaphors,"
Mbanefo-Obiago explains.
Still on the background to his choice of
theme, the artist writes in his statement: "History is constantly being
made on a moment by moment basis through thoughts, words and actions. Images in time and space capture the moment
in every chosen medium of communication. When such images are viewed years
after, the incidents they represent often appear as serious imaginative
perception. In this exhibition, I am presenting two viewpoints from my sketches
and jotting diary.
"First is the implication of military
rule in Nigeria which didn’t initially matter
much to me until, when recently, I looked back at my reactions in jottings,
sketches and paintings exhibited in 2005 in Survival Romance. Also, the
cultural object of Ukpo-Esan-Fibre art in the Igbabonelimi masquerader’s
costumes is being recreated and documented in a contemporary medium of
paintings on canvas to communicate a visual poetry and metaphor as an activist’s
social commentary."
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