Preparations for Painting

A couple of years back I was in a gallery and the owner of the place, as he was selecting a few of my canvas works began conferring with me: He asked “Morgan, please how can I be sure that these paintings would last for a long time, at least enough time for me to have fully enjoyed them?” I was very curious to know why he had asked because he had had amongst his numerous collections a few of my older works that are still in great condition, even while I assured him of the durability of the paintings, he just could not stop expressing his worries as he continued to point at some works he had dug up from a certain heap of collections from the adjoining room. I enquired to know why he was so concerned at this time.

'Kitchen fresh' oil on canvas by Morgan Nwanguma

My dear collector responded: “I am not actually referring to your paintings per se, but I am worried about every other new collection I take into my gallery”. He continued: “Just a week ago I searched out among some of my favourite collections, a canvas from one of the younger artists, but to my greatest disappointment, the painting that is not up to two years of age was already peeling off!” He wanted to know why so many paintings today hardly stand the test of time, adding that so many paintings that were executed centuries ago are still hanging in galleries abroad especially in Europe and America, and still looking very healthy.

To cut short the story of our conversation, I had to allay his fears and explained to him what I thought was the problem. 

You see, I find so many faults in the curriculum, or should I say – it could just be laxity on the part of the lecturers who perhaps are too lazy if not selfish, to impart the right knowledge to their students. Some people, including lecturers, frown at the idea of staging practical demonstrations before their class for fear of leading the class towards being one directional in their approach to practicing their art, say for instance - painting. The argument is that when they (lecturers) do this, the students will not be able to chart their own personal course or style.

Morgan Nwanguma

INTERVIEW:

‘My race against time’

– By Yetunde Oladeinde, Arts & Life, The Nation Newspaper

Art is beauty; it is the gem of life. Art fuels your power of perception and vision; and how wonderful it is to emulate God in the art of creativity. The artist connects with nature, the sublime terrains of the universe, and the community because he is the mirror of society. “He maybe a prophet sometimes crying and screaming in the wilderness for those who care to listen. He is a friend of the muse. What can be more exhilarating?” asked Morgan Nwanguma rhetorically as he takes Yetunde Oladeinde into his world

Tell us about some of your works.

I practice in various mediums and modes of expression, all culminating in making me a well rounded creative agent – a complete artist: My creative energies find expressions in the visual arts such as painting, graphics designing, etc. On the other hand, I am a poet and creative writer with a couple of unpublished books lying on the shelves for now.  As a painter my works are rendered in two major mediums – oil painting and watercolours. My watercolours are a celebration of spontaneous colours and ‘happy accidents’, in which you capture the fleeting moments, your patience is put to test while you take a breath of fresh air in visual poetry as I usually refer to my works in that whimsical medium of expression.  

Oil painting affords me the freedom to express hard and deep concepts. I am able to execute concepts on a larger scale and of course a more durable format such as the canvas. The oil medium no doubt is the king of painting or two dimensional medium of expression. But in all, my paintings and drawings in whatever medium, will cut across impressionistic, and semi-abstract expressions most of the time. Sometimes too I would also delve into the surreal when there is the urge to express some ethereal impulses. One of my favourite paintings in this mode is the one I titled ‘Time is against you’. It is a race against time, and we are all involved in it. Therefore whatever is there to be done must be done right now, because you lose this moment, it is gone forever.

What are some of the exhibitions and projects in which you have participated?

I have had the privilege of having my works shown in various parts of the country and a few times abroad. My works also are proudly adorning so many private homes in Nigeria. Some adorn the walls of corporate entities as well as galleries. In foreign lands I am proud also to say that my works are in private collections in places such as – USA, Russia, Spain, Kenya, Venezuela, Taiwan, U.K., and Germany. My most memorable exhibition so far is my third solo show at DIDI Museum, Victoria Island in 1999, titled ‘Lyrical Expressions’. I am also a curator, and so have handled quite a few curatorial projects for group shows. A good example of these is ‘The Pains, The Tears, The Regrets’ - an art exhibition on violence against women by (LRRDC), also in 1999, at the National Museum in Lagos.