By Tajudeen Sowole
It is ironic to suggest that
artists who live on their art should place less emphasis on the economics or
business side of the profession, particularly, in Nigeria, where grants are non
existent for the creative professionals. But beyond art appreciation, artists
have the responsiblity to link nature and humanity, says painter Emenike Ogwo.
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| Emenike Ogwo |
"Artists
don't need much money, but nature," Ogwo argues, while chatting with a
guest inside his studio, a modest space located at the extreme end of a growing
residential area. "We need to seek nature for the benefit of humanity. Running
after money all the time is not the calling of artists."
Very few artists would disagree with Ogwo. In
fact, artists, in recent times, are flaunting traces of financial success. Such
artists, he explains, are being pushed to prove a point that art is not for
poor people. "I think some artists believe that they need to prove that
artists too can be rich as against the perception in Nigeria that artists
poor." He however thinks this is unnecessary. "As artists we don't have
to impress anybody, but get close to nature and spread creativity across
humanity."
Indeed, the journey of appreciating the artist
beyond financial status is still quite a long distance to cover. And in fairness,
some artists are actually spreading the 'gospel' of art appreciation,
particularly at their tender age level. For example, art workshops are being
organised, for both kids and older persons by artists across the country.
Similarly, along the same street where Ogwo’s studio and residence are located
is Viridian School, for crèches, nursery and primary. Under the management of
Mrs Ogwo, the school, he discloses, includes creativity and appreciating nature
among its subjects. Ogwo traces the loss of value in the society of today to
the emphasis placed on material things over more valuable natural factors
importance that endures. "The best way to correct the current ills in the
society is to offer good and balance education to kids as they grow."
Teaching children the elementary of creativity, he explains is fundamental.
"At Viridian, we catch them young through art alongside teaching other
basic and regular subjects.”
As artists are realigning with individuals
and groups with whom they share something in common, the Guild of Professional
Fine Artists of Nigeria (GFA) added a new set of members to its fold early last
year. Ogwo was among about 20 new
members inducted at an elaborate ceremony, which had the artists in corporate
outfits.
Since GFA formally emerged in 2008, the guild
appears to be the dream professional group for artists, particularly those who
pride themselves as full-time studio practitioners across generations.
A professional body for visual artists was
long overdue, Ogwo states. GFA, he argues, "is what Institute of Charttered
Accountants of Nigeria (ICAN) is to the accounting profession."
Close to one year in the guild, his
experience, so far, suggests that the new set of members have something to
cheer about.
"I am among the members whose works are
showing at the next Transcending Boundaries
art exhibition in the U.K," he discloses.
The Transcending
Boundaries show debuted in 2013 with works from GFA artists making 90 per
cent of the exhibits. For the screenings, two works, he says, are submitted by
each artist from which only one will be picked" for the Aabru Art-organised
exhibition holding in March.
Ogwo is
not exactly new to having his works shown abroad. In 2008, he showed Cultures in Colours, a solo exhibition
of paintings at the Gosforth Community College, Visual Arts Gallery, U.K. The event was said to have been sponsored by
School Partnership Trust, a shared Trust with five member schools and three
external partners, all in the UK. The three partners are Leeds PCT, Lead
Trinity & All Saints and West Yorkshire
Between then and now, the organisers of the
exhibition, he says, "has been writing me to have another show at Gosforth."
A solo exhibition in the U.K, he argues, "is something I want to be well
prepared for." Hopefully, he looks forward to including a U.K show as part
of activities to mark his 50th birthday. "In April this year, I will be 50
years old. I hope to mark it quietly, but planning a show towards the end of
the year in Nigeria. And I might just extend the celebration to a show in the
U.K."
Sometimes, an artist and his art do not
connect; it is unnecessary, anyway, so anthropologists would argue. For Ogwo, an impressionist, his art is like
an opaque canvas through which to guess or view his behaviourial pattern. And
as suggestive as impressionism appears to be, Ogwo's work attempts to bare it
all, most times with palette full of the natural environment. For example, at
his last solo exhibition, titled Observation, two years ago, he stresses the prowess of an impressionist whose palette makes no pretext about
deliberately engaging a viewer of his work in visibility test, as the theme of
the show, indeed, complement his technique. The works explain the difference
between the ability to understand the composite of images on his canvas and
having a great sense of observation. And bringing such combination into his
thoughts about the environment and hidden opportunity, stresses a strong
intellectuality imbedded in the artist’s approach to motivational theme.
BUT in the coming years, his
impasto-textured canvas of over a decade may have an additional period in what
he describes as "acrylic on treated paper." He, however, cautions
that whatever new technique delved into "would still retain my identity."
One of the works in progress, a two figures piece framed in non-glass screen
confirms the Ogwo identity despite not on the traditional canvas.
As the secondary art market is fast
increasing the sale value of Nigerian art - home and the Diaspora - agitation
for artists' right to resale is quietly gaining attention.
Apart from the art auctions, quite a volume
of resale goes on, daily, at the art galleries, clearly leaving out the artist
in the transactions.
Observers note that artists do not need
additional rules for resale as the existing copyright laws of Nigeria already
covers such transaction and gives the original creator of an art work the right
to benefit from resale. "Yes, the law may exist, but it is not
enough," Ogwo says and challenges government to enforce it. He, however,
notes, "the artists' bodies are not active either." Again, the
respite for him is GFA. The guild, he hopes, will look into it.
Understanding Ogwo’s work, a revisit of
Observation is still crucial. From Lagos to Owerri
and the northern part of the country, Ogwo’s palette perches on the peculiarity
of each city and suggests how opportunities are hidden, but only those with
keen Observation make the best of the situations. In one of the textured
works titled, Yaba Market (oil on canvas, 2013), for example, the
foreground and the depth appears almost similar in thickness of activities. But
somewhere in the seemingly lack of easy ways to navigate, a fortune could just
be waiting to be uncovered. “Someone might find a fortune, after making a
good observation from the distance,” Ogwo explains to his guest few days before
the end of the exhibition. The work, adds visual narrative to the
expanding ‘industry’ of motivational literary works.
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| A painting Yaba Market by Eemenike Ogwo. |
Others included; Fisherman, which represents the
major occupation of the riverside people of Ilaje and Ijaw settlers;
Reflections, Black Woman, Akanu Ohafia; First Storey Building, Cassava Market,
Child Labour and Conversation, which he said, were among the over 40 works
exhibited at the UK event.
Ogwo studied at Federal School of Art &
Science, Aba, Abia State in 1989, and later at Auchi Polytechnic, in
1994.
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