By Tajudeen Sowole
Emmah Mbanefo’s
Ambivalence, which opened yesterday
at Nimbus Gallery, Ikoyi, Lagos, might have underscored the artist’s prowess in
full time studio practice, after his one-decade retreat from the exhibition
circuit.
DURING the preview of the show organised by C &
F Porter Novelli, academic debate ensued to explain Ambivalence within the context of the exhibition, which runs till
May 6, 2012.
The
show features paintings, etchings, sculptures and installations.
Having chosen a “complex” word for the
theme of a show expected to break his long silence on the art circuit, Mbanefo
would rather prefer to de-emphasis the complexity. Although, he argued that it
is about a pre-determined foundation, which is often beyond control, he however
stated that the “foundation is challenged, pushed and pulled as we fight to
define ourselves.” He declared that his “Ambivalence
is the search for the good, the spirit of humanity.” The work, he explained,
therefore “explores, and sifts through humanity, interrogating emotions –
strong feelings.”
Indeed, few of the works available for the preview showed Mbanefo as an
artist who relishes his art teaching and training. In fact, he has deployed the
teaching experience to boost his full studio practice. For example, in works
such as Mma, Ifejioku and Ajie,
Mbanefo’s deployment of spirituality, within the cultural value context,
enhances the subtle aesthetics.
His brushing in a masquerade-like colour dominance titled Mma Ofeke may attract viewer’s immediate
attention, but the movement of the violent-postured lady, which looks like a
character from an action comic magazine celebrates Mbanefo’s skill. And before
the graceful movement of Mma Ofeke
infects an unsuspecting viewer, Mbanefo cautioned of the hidden deception in
the lady. This figure, he said, represents “a social defiant.”
Even deeper
in spirituality is an abstract sculpture that looks like an object plucked from
a shrine. He said, it’s a
depiction of “traditional Igbo ceremony performed before a yam planting
season.”
Explaining his Ambivalence via
art would not just be all about traditional belief expressed in abstractive
context, but also in monotheism, so suggests Ije Uko, “a reference to a Christ’s faithful.”
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Mma Ofeke (Social Defiant) by
Emmah Mbanefo
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On
representational art, the bust of a lady in gele
titled Ajie, is a tribute to what the
artist described as honour “to daughters of Onicha ado n’ndu community,” of
Onitsha. More salient, the bust, elevated on high pedestal, perhaps to stress
the exalted place of the ladies, also flaunts Mbanefo’s skill in portraiture.
Such skill is conspicuous in one of his public monuments, the Mobolaji
Bank-Anthony statue mounted in 1992 on the road named after the late Lagos
philanthropist, in Ikeja, Lagos.
MBANEFO is certainly a regular name
in the Lagos art circuit, despite living in neighbouring Ogun State. However,
being in full time studio practice in the last 25 years after he left his
teaching, Mbanefo, indeed, has made his mark, given the number of works in
public places he has to his credit, across the country. Works in the Ambivalence exhibition actually reflect his
resilience.
But
the artist still nurses angst against the academia. Trained as an art teacher
and specialised in Sculpture/Textile, he recalled how “I fought for art
practice,” as zenith in art, “and not art teaching.” For his stand, he said, “I got frustrated,” and “chose the
real practice where you do trial and error.”
His
journey through uncertainty is likened to Ambivalence.
He argued that, in every struggle, “there is a foundation of goodness, in the
individual spirit and in humanity as a whole.” The brightness, he noted, “is
defined by humanity’s balance, association and place in accordance with the
laws of nature.”
Faintly, the shadow of late Ben Enwonwu is seen in some of Mbanefo’s
work; particularly, in the traditional themes. Enwonwu, admitted Mbanefo,
influenced his art to a certain extent, particularly in ideology. Aside
Enwonwu’s influence, Mbanefo may have picked from other artists such as Ben
Osawe, Okpu Eze and Bruce Onobrakpeya, all of whom he worked with. Among these mentors, he mentioned
Enwonwu three times in his C.V. One of such, he recalled, was a “privilege to
be lectured for forty-five minutes by Enwonwu on Nigeria's ancient
civilizations at the office of the curator, National Museum, Onikan Lagos.”
At the opening on Saturday, the Obi of Onitsha, His
Majesty, Nnaemeka Achebe, who was the special guest of honour, used the
occasion to call for an urgent review of the National Policy on Arts and
Culture to enhance development of the sector.
Achebe, a patron of the arts stated: “I wish to
reiterate the need for a greater focus on our arts and culture in order to give
these the pride of place that they deserve. There is an urgent need for the
review of our National Policy on Arts and Culture and its implementation with a
view to achieving greater relevance and sustainability; such that our art and
culture will become key development resources.
“The policy should provide for massive investments by the government
and its agencies; as well as the organised private sector, communities and
wealthy individuals. The purpose would be to entrench and popularize arts and
culture in our educational institutions as well as build relevant institutions
and facilities such as museums, galleries, theatres, etc, that will bring
our arts and culture to the level of the common man. After all, art should not
only be appreciated by the elite for its aesthetic potentials but should also
be seen as a major defining element of a people’s identity.”
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(L-R) Chike Nwagbogu, the
Creative Director of Nimbus Art Gallery; Chief Okay Ononye, Asagba Obi; His
Majesty Nnaemeka Achebe, the Obi of Onitsha; Emmah Mbanefo, artist and sculptor
at the opening of 'Ambivalence.'
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FOR Nimbus Gallery, which made
its come back with a group show, Metanoia, an exhibition of
paintings and sculptures late last year after nearly six years break, “Mbanefo’s
inspiration and driving force is the continuous pursuit of artistic originality
and perfection,” the Creative Director of Nimbus Gallery, Chike Nwagbogu, stated.
A leading patron of the
arts, His Majesty Nnaemeka Achebe, the Obi
of Onitsha, disclosed Nwagbogu, would declare the exhibition open. To him,
Mbanefo is “Artist’s Artist.”
EMMAH Mbanefo was born 1960 in
Jos, Plateau State. He studied Fine Arts at the Federal Polytechnic, Auchi,
majoring in sculpture and textiles.
Some of his works in
public places include the statue of Sgt. Egbunike and Monsignor Obelagu,
commissioned by Nnanyelugo Jas Egbunike, 1988 and statue of Chief Nkwocha
Okonkwo (Obudulu), commissioned by Chief R.O. Nkwocha (Ide of Enugwu-Ukwu and Umu Nri).
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