By Tajudeen Sowole
Beyond aesthetics, the virtue
of womanhood and by extension prospect to rescue the slipping family value in
the society, are characteristics of painter, Kolade Oshinowo’s well-known
portraiture themes, says the lecture session of the 2013 edition of Yusuf
Grillo Pavilion Visual Art Fiesta.
In the lecture, The Master of
Romantic Expressionism, delivered
by Prof. Jerry Buhari of Department of Fine Arts, Ahmadu Bello University (ABU)
Zaria, Kaduna State during the yearly gathering in Ikorodu, Lagos, Oshinowo’s
aesthetic rendition and depiction of ladies got intellectual interrogation and
scholastic treatment from the guest speaker.
Oshinowo is the fifth artist in the series of yearly art fiesta organized by
Chief Rasheed Gbadamosi-led pavilion. Established in honour of artist and
renowned art teacher, Yusuf Grillo, in 2009, the pavilion had celebrated
masters such as Dr. Bruce Onobrakpeya, Demas Nwoko and Uche Okeke in that
order. And as the Pavilion appeared to have concluded the list of pioneer art
students of ABU (then known as Nigerian College of Arts, Science and
Technology), Oshinowo’s choice might have opened what could be described as a
focus on another set of artists from the same school.
Arguably,
Oshinowo is a strong contender for Nigeria’s most prolific painter contest,
should there be such a prize. Aside churning out paintings, almost endlessly,
Oshinowo’s rendition of portraiture, which is neither of classicism nor
impressionism, yet keeps the artist’s signature so strong for four decades must
have informed Buhari’s choice of the theme for the 2013 Grillo Pavilion lecture.
However, Buhari, in his humility, did not arrogate to himself a sole authority
on his subject. He disclosed to the large audience that the lecture, largely,
consists of distillations from the interview Oshinowo granted him, as part of
his research on the artist.
The
guest speaker described Romanticism, in its subjective context, as a process of art making that “seeks
to make strong social commentary,” focusing issues of emotional texture “that
are found in everyday life and give them personal interpretation”.
After an overview of his thought on the subject, Buhari supported his assertion
that Oshinowo is a Master of Romanticism Expressionism by noting that
“Romanticism seeks to make strong social commentary” such as an artist’s
independent interpretation of everyday life of a people. He described
Oshinowo’s art as a mastery of uncommon romanticism. “Oshinowo demonstrates
unusual mastery, by the way he combines aesthetic exploration with social
commentary”. Buhari added that the artist has “structures” of paintings that
“are carefully given organic rhythm through the manipulation of drawing, colour
and composition”. Oshinowo, he stressed, fuses “the transcendental with
tangible reality”.
Dissecting
an artist of Oshinowo’s status within the context of Romanticism or any other
movement to boost academic study may require quite a volume, perhaps more
intensive research. However, the artist’s rendition of female figures in an era
infested by disturbing imagery via the social media appears like a challenge in
sustaining the resilience of the artist’s style.
Oshinowo’s theme, particularly of women
theme is very conservative; against the tide of today’s pop culture of indecent
female body exposure, the effect of which is gaining some popularity among some
visual artists. In fact, Oshinowo should consider himself fortunate that he
already established his signature ahead of a generation that sees female figure
as an inducement for sexuality.
If the classicists of post-Renaissance were merely inspired by imagination to render nudity on canvas and in sculptural images, a section of the current generation of artists appears to have every reason to populate contemporary space with indecent female figures. Reasons: the environment induces or inspires the artist, perhaps, interpreting academic theory that an artist is guided by what obtains within the artist’s environment.
For Oshinowo, perhaps his personal interpretation is on the opposite direction; against the tide as his ‘women’ promote virtues of womanhood. Buhari noted this much as he put male artists on the spot on how they interpret female figures. “In Oshinowo’s female figures, we read the glorification of the women. Her figure symbolizes elegance, beauty, motherhood, dignity, home maker, and more”
Founder of Yusuf Grillo Pavilion, Chief Rasheed Gbadamosi, speaking at the lecture. |
Shortly
after Buhari’s lecture, a visit to the Grillo Pavilion building where some of
Oshinowo’s works were on display for the exhibition segment confirms the
artist’s aesthetic commitment in promoting the virtue of womanhood. Such
virtues exude in works such as At the Party, Togetherness, Aso
Ebi II and Lady With Red Beads. The works, indeed, promote elegance,
beauty within modesty frame lines. The works, more importantly offers an
opportunity for those who missed the artist’s last solo show Silhouette
at Nike Gallery, last year. Most of the portraiture pieces such as Aso Ebi
II, Togertherness and others represent Oshinowo’s new period of
highlighted painting on fabric, which he coined ‘recover and reuse (R and R) –
waste fabrics from tailoring and textile shops used as part of the artist’s
mixed media.
Earlier, Oshinowo told the audience “I am overwhelmed being celebrated today”. On his style of painting and freedom of expression imbibed from training, he noted that the pioneer artists of ABU art school otherwise known as the ‘Zaria Rebels’ “clear the roads for us, laid the foundation for us to just walk through”. He disclosed how he was compelled to excel “when I saw the works the pioneer Zarians left behind in the school”.
The
patron and founder of Grillo Pavilion, Chief Gbadamosi, OFR gave an insight
into his love for Oshinowo’s work. “I have in my collection of Oshinowo
paintings of unforgettable landscapes. From village scenes to men and women
toiling in the countryside, animals grazing in the fields to the quietude of
hills and mountains all over Nigeria particularly the depiction of Zuma rock in
the Abuja-Suleja axis of the heartland of modern Nigeria.
“But
ever so fascinating are the creation of mixed-media canvases engendered by oil
paintings on rags carefully selected and turned into a celebration of beauty,
colour and fine strokes of divine creativity.”
Gbadamosi noted that Oshinowo, lately, has “metamorphosed” his skill “into the
embroidering of the female forms in attires crafted from rags glued together in
motifs of beauty and exquisite tenderness.” He christened the artist’s new
technique “a new wave of Oshinowoism”.
Currently a full time studio artist, Oshinowo had, earlier in his career
thought art as a Grade II teacher at King’s College, Lagos, (1972-1974). And at
Yaba College of Technology (Yabatech), Lagoa he had a blossomed academic
sojourn. He was Assistant Lecturer (Painting), in 1974; Principal Lecturer
(Painting), 1986; Head of Department, Fine Art, (1986); Chief Lecturer, (1991);
Director of School of Art, Design and Printing; Deputy Rector, Yaba College of
Technology.
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