MY ZARIA ODYSSEY AND THE ANGEL OF ZAZZAU

“What are you still doing in Lagos?! Come on, prepare your sweat clothes and get ready for the Zaria harmattan. Look, not only are you on the first list, you are also on the merit list. Make sure you come down as fast as you can because registration is about to close.” 

I was privileged to have attended his exhibition – a group show that took place in the impressive foyerof the defunct Continental Merchant Bank, the marble house at Falomo,Ikoyi.It was around 1988/89, and indeed one of the very landmark shows of that era – an all masters exhibition, wherein this very unassuming but intriguing academic from the popular and fecund Zaria art school was one of them. Mr. Jerry Buhari was not the biggest name on show neither was he the most fascinating, but he stood out for me till date. 

Professor Jerry Buhari’s self-effacing carriage as well as his high intellect and unalloyed humaneness stand him out of the madding crowd. He remains one of my most esteemed mentors, and I’m pretty sure for many others. 

After my studies at the Federal College of Education in 1988, I had a brief stint working as a fulltime artist for two odd years. But within that period I also had a strong urge to further hone my skills so I could up my professional studio skills in addition to my pedagogical capacities; and I felt ABU was the place to go, but I knew no one (there); I had never been to northern Nigeria before. My attendance at that epochal show in Ikoyi was really a motivating force for me,but I did not have any serious one-on-one interaction with anyone from ABU – not even Buhari. 

In the year 1990, I applied for Direct Entry of JAMB – seeking admission into the Faculty of Environmental Design (ABU) to study Fine Art. When the results were out I went to JAMB office to check for mine; as I went through the list of faculties and the results from the great ABU my heart pounded so hard I could almost hear it save for the noise from the milling crowd about. “What in the world is really going on here?” As the mind talk ravagedthe callipers of my being, my heart pounded the more, and I was torn between fright and bewilderment: was I unsuccessful, and why? But no! There was not a single result from the department of Fine Art and Industrial Design! Other faculties and departments had their results released; how come there was nothing from the entire department?! I just could not understand. 

As the days passed by despair was setting in. And one day while ruminating over the matter theidea came: write to the university (Jerry Buhari). I put pen to paper; I introduced myself, and told Mr.Buhari that I met him at the landmark exhibition in Ikoyi, and told of my experience at the JAMB office. By merely attaching his name to the Department of Fine Art, ABU, Zaria, it was enough to reach him by post. After about a week plus, to my excitement and amazement I got an urgent reply from Mr. Jerry Buhari. It arrived in just two days after postage because it arrived by Speed post – with an expensive postage stamp - N20.My heart was beginning to pound again; I fidgeted a bit and then neatly opened the white envelope. 

Again, I was caught between ecstasy and wonder. Should I scream and shout or should I quietly sit down to reflect? What a country! “So, this is how I would have lost my place or admission (to the most prestigious art school in the land)”, I pondered aloud. Within this brief period I had had two different correspondences with Mr. Jerry Buhari.Those subtly reprimanding words from the amiable professor were more than soothing to my troubledsoul. It was December of 1990; and the very next day,with my sweater hanging around my neck just in case, I was in an early morning bus off to the ancient city of Zazzau as the natives referred to the old Zaria (empire) in Kaduna State, where my admission letter was waiting for me.If I had known I would have boarded a night bus but alas I was in this gruelling trip to the end of the country. Many hours into the day, the bus made its way through the dusty roads as the evening began to envelope the hazy crimson skies of the savannah. 

I got to Kaduna city and quickly switched over to a mini bus to take me down to Zaria. Midway into this last lap, in my discomfiture I voiced out to the driver: “Please, I’m going to ABU!” Immediately a lady sitting just by my side enquired, “Which of the campuses,” and I responded, “Samaru”, and she said, “Don’t worry, I’m going there myself.” And what a relief that was as I sank back into my seat and felt as light as the evening breeze.At about 9 pm, we both alighted in front of the university main gate, andthe cold wind rushed at me violently. “Go through there and you’d find your way; welcome to ABU”, she said to me with a warm smile as we went our separate ways. I thanked her and stoppedbriefly to put on my sweater. 

As I entered the campus I was accosted by a jovial and friendly fellow, Dansu – a level 400 student; he knew I wasfreshand he took delight in helping me around. He also knew Mr. Jerry Buhari, and even offered to take me to his place in Samuru village the following morning.His breath oozed with strong liquor but I trusted this stranger who offered me a bed space in his hostel room to pass the night.During that dusty and freezing harmattan night, I just managed to catch some sleep, shivering all through till dawn. 

I had to go see this Angel of Zazzau first before any other thing. And so in the morning Dansu took me to Mr.Buhari’s place outside the campus – to greet him and thank him. A simple and amiable fellow, he was very glad to see me and generously counselled me on how to begin to settle in to my studies. As I commenced registration processes proper, I soon discovered to my disbeliefthat not a single admission letter was sent out to successful candidates of the faculty; maybeI was just beginning to understand the country in which I lived. Even after lectures had begun, registration still continued for the next couple of weeks. 

Morgan Nwanguma, 2023

Lagos

Creative Convergence: raising issues, harnessing untapped vibes

In the next few years Nigeria stands to reap in the excess of $500 million from art annually. This opinion as espoused six years ago by a notable visual art practitioner and researcher, Dr. Joe Musa, was enough to ignite a heated debate at the maiden conference of creative artists under the tag name – Creative Convergence. The creative (visual) art community reasonably dominated by the fine art practitioners like painters, sculptors, and designers is the main hub of the noble idea for the birth of this forum.

Art practitioners at the Creative Convergence forum

Art Connoisseurs, Patrons, and the Sammy Olagbaju legacy

In Nigeria art patronage is still a developing culture. A number of factors of course go to inform the flowering of this culture or the lack of it for that matter. Thus in history of art, art patronage refers to the support and encouragement that was provided to people in the arts such as painters, sculptors, musicians, etc, by kings, popes and wealthy individuals in society. But art appreciation generally is still in its infancy in our clime as it were.

Sammy Olagbaju in a gallery

Jelili Atiku and the struggle in Ejigbo

By Molara Wood

The Netherlands Embassy in Lagos opened its doors to members of the Nigerian arts community recently for a celebration of one of their own, an artist under siege, in an event designed to send a message, that he is not alone. Anyone seeing performance artist Jelili Atiku on Friday, April 8, 2016, would have done a double take. He was resplendent in flowing, sunshine-yellow agbada traditional attire, topped with an abeti-aja (dog-eared) cap.

(L-R) Netherlands Ambassador John Groffen, Jelili Atiku and Fariba Derakhshani of Prince Claus Fund

Uche Okeke, Uli Art Movement and the Legacy of Beautiful Lines

And the legend finally comes to an end; Professor Uche Okeke - the great master and pioneer finally goes home to his maker leaving the ‘sensitive lines’ with us. As the originator of Ulism, the great son of Okeke worked the lines to frenzy as he ‘doodled’ his way right from the formative days in the 1950s, to the lofty heights we behold of him and his rich legacies. It was in the 1950s when as a student in the fine art department of the Nigerian College of Arts, Science, and Technology (which later became the Ahmadu Bello University, Zaria) that his modernist tendencies shone clearly whiles he experimented with the motifs and philosophies of his native Igbo folklore.

Uche Okeke (1933 - 2015). Photo: Shelley Kusnetz

How to Obtain Healing Through Art

If art is spiritual as well as mental, which I think it is, then it follows that art therapy is real. But the question is how can art heal; what kind of art can deliver healing virtues to the one needing healing? I also want to believe that the mind is a very important tool or channel of healing for the entire human organism. The use of tranquilisers and also, especially placebos, are ways that clearly suggest that the mind affects also the way the body – a physical aspect of the individual reacts to the call to healing, and bodily repair.

Painting by Gani Odutokun

Herodotus, History of Our Art, and World Civilisation

If only Herodotus, the father of history were alive to hear that the Nigerian government sometime last year deleted as it were, the subject – History from the school curriculum, he would have cried like a baby for the shame and heartbreak this would have brought him. But how can any well meaning society or leadership decide to do that; it simply means you have equally refused to learn from history, and all to your own peril. This is certainly ill advised, except of course there is something they are trying to hide from you and I – how sorry. O Herodotus, will thou still rest in peace at the dawning of this mire and odium oozing from our time and milieu!?

Egypt - Mother of Civilisation

Fine Art: Perception, Seeing and Meaning of Aesthetics

It is true that art is spiritual; it is also true that art is ever present with us. In the words of the late sculptor and art educator, Mr. Sam Majemite: “Look at the whole man-made world, all you see is art.” There cannot be a better truth. In all my years as a practising artist and art writer, I have come to a better understanding of the intrinsic values of (fine) art simply by noticing people’s perception of the world around them. Art embodies all works having to do with human creativity – works wrought by human hands; fine art deals with fineness, and even finesse as a concept; it is about any work requiring specialised skills. But art transcends the physical essence; art is – romancing with the muse.

Leonardo da Vinci

It was the Renaissance man – Leonardo da Vinci who rightly stated that “The eye is the window of the soul”; such amazing thought. It summarises all that art and the artist is about. At this point you would wonder if art is not a branch of philosophy; well, I think it is. Drawing inference from the power of conjecture, and how different people tend to observe differently, seeing and looking become two markedly divergent concepts.

ARTZERO Exhibition: Visual Artists Feast on Thoughts at Alliance Francaise

ARTZERO is an artistic and creative platform for synergistic activities between visual artists and allied stake holders in the creative community. Thus Mr. Ato Arinze and his crew as spearheads of this coming together of creative energies have worked resiliently to keep the fire of this communion alive.

'Sobriety' - Ink on paper by Morgan Nwanguma

And for a period of time spanning 2002 and now, ARTZERO has endeavoured to pull creative forces together in collaborative efforts to foster a cross fertilisation of ideas, thoughts and styles. This vision has also encouraged in no small measure a reawakening in the visual arts, in that artists who many at times wrongly or rightly may be construed as recluses, and ungregarious, are given the opportunity to congregate with a common goal in refreshing atmosphere. 

Fine Art as a Tool for Societal Development, and the Dire Need for a Revival

The social nay political direction of any given society will definitely be predicated on the norms and societal values that guide such a community. But when there is a lack of these, it should not come as a surprise to anyone why things do not seem to work. Thus there must be a philosophical direction; there must be certain ideals or national values which a society must uphold in its quest for national development and sustenance. These values are not necessarily packaged in any form of written constitution, but they are qualities and ethical behaviours that the generality of the society cherish and are avowed to defend. Nigeria, I can say definitely lacks this for now.

Watercolour painting by Morgan Nwanguma

In a society whereby it does not matter how you attain positions and climb the social ladder; in a society where mediocrity and nepotism is the order of the day; and in a society where ethnic, religious and tribal leanings are the pre-requisites for decision making and agitations, such a society is next to a failed society. In a society where primitive acquisition rules, there cannot be any meaningful progress, justice and genuine peace. My drift is that there is so much intrinsic value imbued in art that our society can tap from for the upliftment of the human spirit; it is the lifting of the human essence and spirit that paves way for genuine cross fertilisation of ideas and consequently, the fledgling of creative thoughts for the building of a greater larger human society.

Issues in Contemporary Nigerian art – a Book Launch

The much awaited book - ‘Issues in Contemporary Nigerian art’ which was conceptualised and compiled by the Nigerian Artist, Juliet Ezenwa Maja-Pearce, was finally brought to birth as artists and art buffs, including the media, were invited to be part of the unveiling in a colourful public event.

Thus practitioners of the arts in various genres made up of mainly the visual artists, writers, theatre practitioners, photographers, critics, art buffs including renowned patrons and people from the academia were all there to grace the occasion of the launch of the book 'Issues in Contemporary Nigerian Art (2000-2010)' conceived and compiled by Juliet Ezenwa Maja Pearce. The event came up at the Yemaja Art Gallery under a relaxed airy atmosphere, in Lagos on Saturday, 08 August, 2015. The book launch also included a round table discussions and debate in an event that was chaired by Dr. (Mrs.) Peju Layiwola, Head of Department of Creative Arts in University of Lagos.

El Anatsui – Experimental Artist, Sculptor, and a Golden Lifetime of Achievements

Recently renowned artist and lecturer, Professor El Anatsui, won the acclaimed Golden Lion for Lifetime Achievement at the Venice Biennale. Ghanaian born El Anatsui having worked and lived in Nigeria for the past 45 years has always been dynamic and outstanding in his innovative experimentations with especially unconventional materials such as found or discarded objects.

Professor El Anatsui

The erudite and restless artist during a lifetime of teaching in the Department of Fine and Applied Arts at the University of Nigeria, Nsukka, has obviously conquered many frontiers and broken aesthetic and creative bounds. Having worked extensively with wood, fabrics, ceramics, paint and all manner of found objects - all built into a unique oeuvre, this sculptor has accumulated a legacy that is legendary including a repertoire of shimmering sculptures and, or installations that have toured the globe in recent times.

The Body Art of Tattoos: Enter 3D, Optical Illusion and Digital Designs

From time immemorial body art has been with man; ancient people and tribes had scarification, body paintings and drawings. Scarification were incisions put on the body; for instance, the men in some African tribes scarify their faces and bodies as, or for purposes of tribal identification or rituals, while body paintings and drawings were achieved using earth and plant dyes or pigments usually for aesthetic reasons. These designs were not necessarily detailed decorations.

Elaborate tattoo on the back

In modern times however, tattoos are still with us, or have made a comeback mainly as a form of self expression by the youths majorly, and especially in the urban centres. But wherever else you see tattoos, it has remained for the same primordial reasons of tribal aesthetics, ritual or religious and ceremonial purposes, etc. In Igbo traditional settings for example, the Uli design which is primarily a form of wall decoration, was also extended to body beautification especially of maidens whom most of the time were rather scantily dressed with cloth but with heavy adornment of beads.

Uli body decoration of the Igbo

Also, in the northern or Hausa/Fulani dominated regions of Nigeria, Lali is a popular body art also especially of the female folks. Many at times these adornments were put up for one celebration or ceremony or the other such as virginity rites or wedding preparations of maidens, etc. All of these and more are tattoos in their rights, and they have today returned with a rather different swing.

‘Raphael under Threat’ as Priceless Painting Buckles Under High Humidity

One of the priceless paintings produced by the famous Renaissance master Raphael, has recently come under serious threat of total spoilage due to the fact that the air-conditioning system in the gallery has become disused.

'The Deposition' by Raphael

The Borghese Gallery in Rome houses so many important masterpieces and ‘The Deposition’ is one of them. This particular painting by Raphael is also one of the worst hit by the adverse effect of humidity which has seen the work warping, all owing to the fact that the air-conditioning system in the room has started to malfunction, or is completely broken down. It is surprising however to observers that the authorities of the Borghese Gallery have not been able to fix the problematic cooling system which is needed to preserve the works.

$179 million For a Picasso as Painting Shatters Record at Christie’s Auctions

I am glad to let you know that the great twentieth century master is in the news again! An all time record was recently recorded at the world famous Christie’s at the latest art auction that took place. This is clearly the highest amount ever realised at any auction of a painting or any form of artwork. Exactly $179.4 million is the record value fetched by Pablo Picasso’s masterpiece titled ‘Les Femmes d’Alger, Version O’.

'Les Femmes d’Alger, Version O' by Picasso

A telephone bid made by an unidentified buyer was how the artwork was carted away, beating the last record which had stood since 2013, of the $142.2 million which was paid for the work of Francis Bacon’s triptych “Three Studies of Lucien Freud”. This was in the month of November, 2013.

During the recent auctions at Christie’s, the sale of Pablo Picasso’s painting was the peak of the event on that day. In the same day at the auctions, an all time bumper sale was also recorded in that some of the world’s wealthiest people who are chasing scarce masterpieces did not fail to cart away so much, resulting in the total gross of $706 million worth of art in just one evening! 

Bruce Onobrakpeya – Erudite Nigerian Artist, Scholar and Print-Maker of Many Colours

He is undoubtedly Nigeria's best-documented artist; Bruce Onobrakpeya needs very little introduction in art circles both within and outside of the country. He is indeed a living legend; Bruce Onobrakpeya has devoted his life to his work, and is today regarded in some quarters as the main custodian of Urhobo folklore and culture. He never forgets his roots; he is unapologetically attached to the history, art and culture of the Urhobo people of South-South Nigeria. He tells their rich history and portrays unendingly the colourful cultures of his people in his writings, paintings and of course his major medium of expression – print-making. 

Bruce Onobrakpeya

Bruce Onobrakpeya is a founding member of the Zaria rebels; they were actually a group of young artists who formed the nucleus of the art department or the Zaria (art) School when the current Ahmadu Bello University was known as the Nigerian College of Arts, Science and Technology (NCAST). He is of course also a shining light among the first generation of academically trained artists who were responsible for the renaissance in Nigeria’s contemporary art.

 He was in the vanguard of the early league with contemporaries such as Ben Enwonwu, Yusuf Grillo, Uche Okeke, Demas Nwoko, etc. In the course of his academic and studio exploits, Onobrakpeya had pitched his tent with, and triumphed through his vision from St. Gregory's College, Lagos, where he headed the fine art department - teaching, raising and mentoring so many disciples including one of his popular protégés – David Dale, also an accomplished print-maker. 

After a memorable stint in the school which spanned a period of about thirteen years, he retired fully into his studio – Ovuomaroro Studios located in Mushin, a suburb of Lagos. Since then he has continued working assiduously extending his practice and mentoring a host of adherents through apprenticeship, extensive research, guest lecturing and writing. Through his various workshops and symposia, Bruce Onobrakpeya has influenced generations of young artists, and he is today respected and acknowledged as one of the leading print-makers in the world. 

Pablo Picasso – Painter and Twentieth Century Art Genius, or Was He a Smart Alec?

It may interest you to know that a lot of cubism and indeed modern art has been attributed to the contributions of one man – a genius of the twentieth century, and an artist whose legacy and life of art in the recent centuries have remained almost unmatched. Pablo Picasso was born in Spain in 1881, he was an infant genius who was recognised and helped early in life by his father who was also his teacher. The small Museo de Picasso is situated in Barcelona; it is a place that is strictly devoted to housing especially some of Picasso’s early works which also includes even a range of very realistic casts of ancient sculptures. 

Pablo Picasso (photo by Herbert List)

As a youngster Picasso was a non conformist of some sort, and he began frequenting the Barcelona cafes where intellectuals often gathered. Very soon he went to Paris which is regarded as the capital of art and familiarised himself thoroughly with the works of masters like Gustave Courbet, Manet and Toulouse-Lautrec. Their sketchy styles of work inspired him a great deal; later he was off, and returned to Spain, then to France, then again to Spain all in the period 1899 – 1904.

Before Pablo Picasso discovered cubism he had experimented with, and gone through fascinating different styles such as realism, caricature, the Blue Period and the Rose Period. His blue period for instance ran from 1901-1904, and featured predominantly a blue palette, and his works then focussed mainly on depicting the lives of outcasts, prostitutes and beggars. At this period of his career, he produced some of his first works of sculpture in this style including a painting piece he did depicting his childhood friend - the Spanish poet Casagemas, who had committed suicide. And this work is a permanent collection of Cleveland's Museum of Art, La Vie.

'Guernica', painting by Pablo Picasso

The painting started off as a self portrait but ended up being that of his late bosom friend. Another popular work of Picasso’s of this period is the 1903 piece in the Metropolitan which he called ‘The Blind Man's Meal’. Another example is the very lyrical and mysterious piece housed in the Toledo Museum of Art titled ‘the haunting Woman with a Crow’ (1903). 

Watercolour Painting – How to Lay On a Successful Wash

In classical modern watercolour painting, there are guiding rules and techniques that apply. For instance, if you wish to put on a flat wash on your paper which of course you must have stretched, here is what to do: You have to mix the colour you want to lay on making sure you mix it in double quantity before starting out. You have to double the quantity you need because once you begin, you will not be able to stop to mix up another more quantity of paint.

Illustration of washes by Marion Boddy-Evans

Once you are set, make sure your painting (board) surface is tilted up just a bit, and begin by using your largest painting brush. But note that if you want to lay an even wash to your paper or any particular area of the paper, you should firstly dampen the area with water using a large brush or sponge. And so you can decide to lay an even wash or a graded wash. Now, load your brush and gently lay it on - sweeping from the top left of the paper i.e. assuming that you are right handed like me, towards the right and also downwards.

Landscape Painting and the Guiding Rules of Design, Harmony & Balance

Throughout painting history, artists have explored and exploited the landscape as a very important theme for expression. Landscape which generally means any form of portrayal of the earth in cognisance of the natural environment is a classical concept for romantic painters. Usually, it is either a mere portrayal or composition of nature per se, or an assemblage of nature with human intervention as regards the land, and or with an attendant body of water to it like the sea or river, etc.

I like to further describe landscape painting as the artist’s portrayal of any view of countryside, town, land and sky, water or even sea, in a panoramic, grandiose, local or intimate style. In drawing and painting landscapes however, all the elements of design and the ingredients of composition must be brought to bear because in the final analysis, no matter how colourful or populated your expression may be, if it tends to make the viewer overtly uncomfortable, then something must be perhaps technically wrong with it.

Watercolour painting: (c) Morgan Nwanguma

Thus a sense of balance and harmony must be enjoyed by anyone who views your landscape painting. There must be a sense of design which welds your composition in a harmonious and rhythmic fashion: the plains, rolling hills, the rivers or sea, must correspond with the sky and the entirety of nature, animals, human beings and structures, while producing a successful ‘piece of visual enjoyment’. 

When considering landscapes, I am forced to bring to mind old masters such as the duo of British greats - JMW Turner (1775-1851), and John Constable (1776-1837). Turner was an English landscape painter whose treatment of light and colour is said to have influenced the French impressionists. These old masters were outstanding and eloquent in the use of the two most important mediums of painting i.e. oil and watercolour. Personally, landscape painting is one of my favourite themes, and it draws with it and for me nostalgia and romantic sentimentalism. Quaint and natural landscapes especially of (rural) country sides, and even ruins, are just it for me, while some artists I know are also able to portray urban and city landscapes in a manner that will make you just fall in love.

Defining the Various Forms of Drawing Materials

There are really quite lots of drawing materials that are available for you to try out, and I must add that they are also very affordable compared to say, painting materials like oil paints for instance. It is however by plodding and experimenting with these materials that you will be able to know which one or combination of drawing materials you will fall in love with, and may wish to eventually adopt at the end of the day.

'Biola' - pastel drawing by Morgan Nwanguma

I will further let you know that as a professional artist there is no limiting the height you can assail even by the sole application of any one or a combination of some of these materials. Thus you could stand out of the crowd excelling as a draughtsman in say conte renditions, illustration, or in producing pastel pictures, etc.

The followings are some of the popular drawing mediums that are available to you either as a student artist, amateur or professional.

Carbon Pencil

This is a soft black pencil that produces texture like that of eighteenth century pencil drawings.

Chalk Pastel

This medium is a soft stick of delicate and pale coloured drawing and painting material. It comes in ranges of pale hues of pigments mixed with chalk. Chalk pastel usually would require fixing after use; otherwise, framing your drawing behind glass immediately after use will be called for.

Charcoal

This medium comes in brittle sticks of black carbon material. It is a specially prepared residue of burnt wood; it is only presented in black and usually also needing to be fixed with a spray of fixative.

Conte

Conte is the shortened form of conte chalk; it is usually produced in a square shape stick and also mostly coloured in brown, sanguine or terra-cotta red, black and white. Conte sticks are brittle but slightly harder and not powdery like chalk pastel, and will equally require fixing after you have produced your drawing with it.