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The Way We Are-4 ( OIL ON CANVAS, 20'' X 19'') |
Beyond
the emotion germinated from the seeds of repugnant art critics, the reality is
that it takes strong intellectuality for an artist to self-encircle his theme
within a confinement, yet, remains obstinate for as long as he wants. Either in
photography, TV, Radio and visual arts documentation, it could be argued that
no geographical part of Nigeria has been focused for such a period as
Oghagbon's paintings of cultural
heritage of the Argungu Emirate, Kebbi State, in Northwest Nigeria.
My first
experience of Argungu as a writer on cultural appropriation was in 1999 while
writing for the now rested National Concord newspapers. The rhythmic movement
in sea of fishers against the ancient city's poetic skyline remained in my
memory for long whenever I contextualized culture as strong contents in
creativity and tourism.
And in
June 2013, at Terra Kulture, Victoria Island, Lagos, my memory of Argungu was
refreshed when Oghagbon had his solo exhibition titled Argungu Series-1.
Inspired by his National Youth Service Corps (NYSC) project tagged 'Tour
Nigeria' of 2004, the exhibition was all the artist needed to fuel an arsenal
of passion for his beloved Argungu theme.
Today, at
Terra Kulture, Victoria Island, Lagos, Oghagbon uses his Argungu Series to
celebrate Oshinowo. Dedicating his current Argungu Series to celebrate the 70th
birthday of Kolade Oshinowo comes with some kind of chemistry that exists
between two generation of artists. Oshinowo, a former art teacher, prolific
painter and link between Nigeria's modermists and contemporary artists, taught
Oghagbon at Yaba College of Technology, Lagos.
He was a HND student under the tutelage of Oshinowo in 2003. The similarity
between Oshinowo and Oghagbon is consistency in progression of which the two
artists, to a large extent, have not succumbed to the jaws of contemporeneity.
It is of note that contemporary art has been wrongly perceived or misconstrued
- by some vocal minorities - as Avant-garde, in Nigeria. And the tragic effect
of such misplacement has swallowed quite a number of promising young artists'
identity into the belly of confusion. But Oghagbon remains on the track of
focused-contemporary journey towards masterly destination.
For this
exhibition, Oghagbon continues in his lavishness of strokes from the depth of
palette that strips off colour prejudice. In representing activities of Argungu
in painting, the artist always make the best of the natural dramatic scenery of
the northeast state by allowing the
beauty of the skyline embrace more
headroom space on his canvas. Also, an artist whose strength resonates in the
application of lighting to create illusory dimensional picturesque is alive in
Oghagbon's palette.
Among
the paintings on exhibit is Divine Return (2013), a long shot capturing
of ecstatic youths running towards a destination of success. More interesting
here is the capturing of the figures on motion, perfectly represented by the
artist's strokes of lines in depth, under the feet of the runners. Still on the artist's skill in generating
theatrical scene by using the Siamese of shade and light, a heavy human traffic
scene titled Homewards (2014) asserts his ability in using palette knife
or brush strokes to separate colours in texture similar to digital imagery
reproduction.
Oghagbon's mastery of light and shade
continues to blossom in Meeting 3, where each competes for concentration
of space.
Who are
the people of Argugnu? In figural portraiture such as Reflecting Series
as well as Study, the artist
captures people across the elites and less privileged class. And like in
most society of African settings, the Argungu people, so suggests Oghagbon's
figural depiction, could also be identified by native fashion statements.
Writing
about Argungu Seventh Edition could be an incomplete critique without
revisiting the artist's debut exhibition of the theme. The content of Argungu
Series 1, so explain, the artist's strokes on canvas, traversing the famous
yearly cultural event, Argungu International Fishing and Cultural Festival in
Kebbi State of which the town is known for.
After
getting so familiar with the town, even after his Youth Corp days, Oghagbon
seemed compel to tell the story of Argungu, of which he argued most people did
not know outside the fishing festival. “The exhibition
talks more about the people, rural scenes and womanhood before, during and
after the Argungu International Fishing Festiva,” Oghagbon
explained during a chat five years ago.
The
artist traced the history of Argungu Festival to 1934 as a goodwill gesture and
celebration of peace between the people of Sokoto and Argungu. “It is the largest Festival, of its type, in Nigeria,” he argued then.
However,
his focus of the debut show, he stressed, “is to change the
perception of people; Argungu is not all about men in water alone.” And having bottled his love for the northern landscape and people for
almost a decade, Oghagbon chose to celebrate nature and creativity with the traditional
institution of the people.
To
confirm that his art had a robust relationship with the people, the opening of Argungu
Series 1, was not without the presence of the Emir, Alhaji Samaila
Muhammadu Mera (CON) who was represented by Alhaji Abubakar Dan-Mallam
(District Head Bui). In fact, the Govermoment of Kebbi State was also
represented by Mr Abel Akinosi, the Chief Consultant at Argungu Fishing
Festival.
And as
the Argungu Series-7 is a tribute to the prolific master, Oshinowo, the
exhibiting artist, Oghagbon, expands the scope of subjects for his landscape
painting passion. With this exhibition, Oghagbon records another historic
moment; being counted in visual documentation of Oshinowo.
And by
extension, every guest present at Argungu -7 exhibition is part of the
historic exhibition in celebrating Kolade Oshinowo at 70. Please enjoy and
appreciate the art pieces on display.
Tajudeen
Sowole is a Media Content Consultant and Art Advisor.
+234 803 712 9464.
www.translucentsi.com
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