Sylvester Asoya
At Eko Hotels and Suites, Lagos, ART TWENTY ONE is currently showing the best of the works of Bruce Onobrakpeya, painter and trailblazing printmaker. But this solo exhibition is special and a must-see art fair for many reasons. For two years now, this renowned artist has not organized any major art exhibition anywhere. On the other hand, ART TWENTY ONE, well known for promoting artists and their works was also off the ever bustling art scene for some months until now. So, the combination of renewed zeal and the presence of one of Nigeria’s leading artists make Façade an important art event and a place to be even in an unusual time and season like this one under COVID 19.
So far, this highly anticipated art event is living up to expectation even as the organizers battle to ensure that every COVID 19 protocol is observed. So, art lovers, important personalities and people from different backgrounds and persuasions are coming and going. Inside the hall of this extraordinary solo art exhibition lie beautifully finished array of paintings and other works of various sizes and shapes by the master himself. And with every step and at every corner, there is always one attention-grabbing work or the other for the viewing pleasure of visitors and art lovers. In fact, it is almost impossible to enter this expansive hall without beholding and appreciating nearly everything in sight.
Another interesting part of this solo exhibition is that it is inclusive and representative of Onobrakpeya’s amazing life and career as an artist, activist, art educator and a major voice in Nigeria’s art circuit. The art show therefore features the finest, the most visible and ambitious creations of this important Nigerian painter.
Sunshine Alaibe is the Artists and Clients Relations Manager of ART TWENTY ONE. She speaks eloquently about the achievements of the artist in focus and why he should be celebrated for his creativity, love for art, doggedness and impact on the art world. “Onobrakpeya is a legend who deserves a solo exhibition. For your information, the works you see here are from 1960s to the present; so you can understand the passion and excitement. It is therefore very important we showcase his thrilling artistic journey to everyone”, she says.
ART TWENTY ONE also justifies the choice of façade, a word which is essentially a misleading outward appearance, as the title of the exhibition. According to Alaibe, Façade as the title of the exhibition is fitting and truly deceptive because the show is far beyond painting. This is evident as one enters the hall which hosts more than just painting as there are other beautiful works of different art media on display. And like most people even outside the world of art, Alaibe is also of the opinion that artists create what they experience, including the 88 year old Onobrakpeye who is still creating and obviously not slacking off yet.
Therefore, Façade is in many ways, representational. It is also a symbol of eras and milestones. Kenni Ekundayo, guest curator, emphasizes these important aspects of the exhibition in one of the literatures that announces and provides insight on this great art feast.
“This exhibition presents works that cut across a selection of periods that the artist has undergone since the beginning of his studio practice and reveals ideas that have been tested and executed decades ago…These works are synthesis of fabrics, prints and objects that serve as a base for colour which is the fundamental element of an Onobrakpeya paintings”, she says.
Ekundayo speaks further on Onobrakpeya’s many decades of productive and courageous artistic journey and excellence as a frontline artist with international exposure. According to her, this artist is exemplary and experienced. As a knowledgeable painter, she believes that Onobrakpeya understands that artistic methodologies deeply rooted in Western traditions lack what it takes to fully convey the essence and meaning of African art traditions. So, he should be commended for consciously working with other artists to decolonize African art by providing the identity it deserves for now and in the years to come. She rounds off by insisting that “in effect, the exhibition delivers a sharp contrast to the viewer’s expectation of what technique entails, intrinsically conveying the artist’s limitless and elastic capacity for storytelling”.
For visitors, a great time awaits them at Façade as there are enough classics; there are both old and contemporary works of art on display. For instance, Reflections On Covid 19 Pandemic (2020) is just one of them. This is a realistic work that is not only relevant but also indicative of the trying times that the world is experiencing at the moment. There is also Lamentation, another important work on liberty, equality and social justice for women. The work speaks to the injustice, violence, pains, discrimination and exclusion women all over the world face, even in a fast changing world. It is important to state that the artist actually started work on Lamentation in 2010. However, he worked for ten years in total before completion in 2020.
Other works include Nude and Protest (2020). Interestingly, nakedness and protests are not strange bed fellows. All over the world, women usually deploy nudity as last resort on unresolved or protracted social, environmental, political, cultural or religious issues of the time. In this instance, these courageous women of Niger Delta are fighting for the environment, its despoliation and the arrogance of trans-national oil companies that operate without regard to man and the ecosystem. The painter believes that the time has come for all the principal actors to end hostilities arising from the oil crisis and social unrest in the Niger Delta because it is in everyone’s interest. Onobrakpeya in The Last Supper (1969), a superb work with a Christian theme and ideology, also displays his old technique and style as a painter in a class by himself. On display is also Thanksgiving Dance which follows a series of dance aesthetics. The beautiful work reveals the musical notes that fall on the dancers as they dance. The painter started work on Thanksgiving Dance in 2015 and rounded off in 2020.
It is interesting to note that there are many works of art at this exhibition that focus on women and their everyday challenges and travails. This is remarkable and worth highlighting for an African octogenarian male artist. It shows that this painter is in touch with his environment and the realities of existence in the world. No doubt, Onobrakpeya offers hope and rebirth with his works as a conscious and courageous artist. For younger artist, this is a challenge. As they learn and work under influences from masters like Onobrakpeya, they should remember to create works with themes around inclusion, social justice, liberty and respect for human rights.
(This article was first published in alice, the in-house flight journal of Air Peace)
•Asoya, a senior journalist, prolific art writer.