By
Tajudeen Sowole
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| Ifeoma Idigbe |
Idigbe,
a finance and human resource analyst, is the only female trustee, and has been
on the board from the start of the guild. Idigbe said she was privileged to
have been asked to be a trustee by GFA group of artists many of whom she has
their works in her collection. And when Abraham Uyovbisere, President of GFA
introduced her to a guest during the private viewing of Distinction-2, a non-GFA group art exhibition, held at Terra Kulture
late last year, the inspiration to feel her texture of collection was irresistible.
Art connoisseurs at the event spurred the
red tags appearing on the walls as fast as one could track who tags what. This,
apparently, blocked any attempt to peep into Idigbe's kind of art and generate
a chat. But a better window was proposed for it.
Perhaps, the tracks of every collector
towards the point of developing a passion in art appreciation influence the
texture of most patrons’ collection. "I have been interested in art for as
long as I can remember," Idigbe disclosed via email chat. A few of her
early stints with fine art that dated back to elementary school included
scoring "high marks in art" in England and Nigeria.
At Corona, her work that won the best art
piece, she recalled, was celebrated. "There was a glass panel on the door and the
‘best’ art was often pasted on that panel so you could see the art from the
outside. I remember my work being pasted on that door."
Her
creative potential in art also reflected in other subjects, as she said, "Even at secondary school, my biology drawings were always considered
excellent.” And it goes further being a natural part of her. “I have never thought about art as something external for me." Such background clearly
shaped her perception about art to the point of seeing art as "just an
integral to life as breathing.”
Probing into Idigbe's taste and tone of
collection, there appears to be a sharp contrast to the exposure she had - from
being a young art enthusiast to growing up as a collector - she seems liberal.
Idigbe's art collection lexicon, surprisingly, is not confined within the
components of art such as styles, techniques or period.
She enthused, "I don’t buy art by style
or period or whatever else. I simply buy what appeals to me; whatever I like,
based on the subject or theme of the work, execution, colours … whatever takes
my fancy at a given point in time."
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| From the collection of Idigbe, a painting by David Dale |
However, the content has to communicate,
adding, "I do not buy what I don’t understand."
Her collection cuts across generations of
artists, some of whom are members of GFA; just as the taste is as eclectic in
areas such as abstract, semi-abstract, realism and in diverse medium as paper
and metal etchings, beadwork, pencil sketches, metal work, oils, watercolours,
mixed media, wooden sculptures, clay/ceramic, among others. From core art, her
taste for creativity has spilled into other domestic decors, as she noted,
"Even the photo frames for my family photographs are purchased based on
their artistic appeal."
As the artists in her collection cut across
generation and schools so are they across nationalities, mostly within Africa. "I
have quite a few Ghanaian artists in particular. I also have Egyptian, Ugandan
and South African artists. I buy whatever interests me."
The
worth of a nation's art says so much about the level of patronage that
individual and corporate connoisseurs have shown in the creative sector. From
the vantage view of a patron, particularly a member, BoT of GFA, how real is
the ongoing rise in commercial value of Nigerian art?
"Art is worth as much as a buyer is
willing to pay for it,” she argued. “So if art connoisseurs have decided that
Nigerian art represents the next art renaissance then that is great!"
Idigbe noted that the attention being given Nigerian
art at home and in the Diaspora is well deserved, particularly considering what
she described as the resilience of the artists over the decades, but who have
not been adequately celebrated. She added, "It is refreshing to have this
interest, this appreciation of the talent and work of artists in Nigeria."
Contributing to the growth of Nigerian art,
according to Idigbe are corporate organisations that "are more involved in
the promotion and preservation." Increasing number of art galleries,
supported by the fledging secondary art market, she stressed have introduced
"a social element," and the growth goes on. Indeed, the rise in the
value of Nigerian art, she explained, appears natural, given the "burgeoning population" of the
country as it adds up to the "number of artists, and the desires of the
nouveau riche."
While the creative ebullience of the artists
are fundamental in the impressive development of Nigerian art, observers have
noticed that professionalism is not yet exactly enshrined. Given Idigbe’s long
relationship with artists - as a collector - perhaps, she has a better
understanding of the areas of professionalism that needs to be corrected among
Nigerian artists. Standard, Idigbe noted, is still missing. "My main
observation is that sometimes, some artists are in such a hurry to present
their work for sale that they do not execute them to sufficiently exacting
standards." She argued that as subjective as art is, "standards
expected of professional artists should be kept."
Another area of concern for her is a
bandwagon syndrome that, most times, lead to more artists doing repetitive
themes. Each artist, she stated
"owes it to himself/herself to develop their own unique style, change it
as they wish, but to stay true to their natural talent. No two artists are the
same and while comparisons are often made, truthfully, I consider such
comparisons to be intellectual exercises. What you have is yours. There may be
points of similarity, but each talent is unique. Each artist should ‘find’ an
identity and show that to the world in the best way possible."
GFA, a
body of artists that emerged in January 2008 after its first convention held at
Ovie Brumen Centre has been in the forefront of repositioning Nigerian art at
home and the Diaspora. With several activities such as art exhibitions and
inductions in Lagos as well as shows and art auctions abroad, the Nigerian art
space through GFA members is getting more competitive.
For example, members of the guild have been
featured at Bonhams auction, Africa Now's
Special Section severally. In fact last year, a wood sculpture, Possibilities, (ebony wood,
255 x 16.5 x 42cm, 2014) sold for (£31,250), by a member of the guild, Bunmi Babatunde and was
among the most valued art pieces at Africa
Now, 2014 edition. The sale was Babatunde's world record.
Such feat should be music to the ears of the
guild's trustees. Specifically, in what areas do the BoT contributes to the
progress of GFA?
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| A painting by Muraina Oyelami |
"The Board is largely advisory, providing
support as required,” Idigbe explained. But at the formative stage, a little
financial support, she disclosed "was given to set up the office."
She however conceded, "The artists are very self-respecting and
respectable people whose primary desire is to bring their art to the highest
international standards and acceptability."
She argued that GFA members "are
promoters of Nigeria’s talent and heritage."
At its formative years, artists were invited to join GFA. But over
years ago, the process changed to open entry although the professionalism
criteria have not changed. Last year over 20 new members were inducted just as
full-time practice as one of the criteria remained.
For different reasons known
to them, collectors hardly disclose the numerical strength of their collection.
For Idigbe, a plea of "No comment" sealed such probing.
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