The ‘Chronicles of Esther’ by Jessica Soares is special for it is more candid and the imagery more figural. It is the kind of artwork we want to see in an exhibition at this period; arts that possess the restorative power to strengthen those weakened by their ordeals.
Jekami Adetiloye Oluwatosin
Upon a previous visit to the National Museum Onikan Lagos, you would have become accustomed to the usual sculptures that guard the entrance leading into the historic building.
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Bent on demonstrating his expressive potentials, Kenneth Oghenemaro uses realism to depict surrealism in an allegorical manner that is memorable and ideally gives freedom to his thoughts.
Jekami Adetiloye Oluwatosin
Nevertheless, the recently concluded Young Contemporaries exhibition by Relé Arts Foundation, a section of the Relé Arts Gallery, revitalizes the national museum through the display of 32 futuristic works created out of surviving ideas which were presented by six young African artists.
The works that were showcased by Nothando Chiwanga (Zimbabwe), Michael Jackson Blebo (Ghanian), and the Nigerians: Neec Nonso, Kenneth Oghenemaro, Jessica Soares, and Ayobami Ogungbe can be perfectly described as active, narrative, and emotive. They cut across paintings, photography, performance, installation, and sculpture.
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They are the identification of such African traditional concepts as taboos, relation, intimacy, and attachment. They also aim to explore time travel and the subjugation of women.
With her almost extremely dark skin, she unravels ( Mwenga wacho, Print on canvas | 24 x 36in | 2021) the enigmatic nature of African women as one who is powerful yet scared of her own elegance and patriarchal authority. Indeed, she “challenges the domestication of wives…” within the context of her submissions.
Jekami Adetiloye Oluwatosin
Michael Jackson Blebo
Entering the chamber of the National Museum booked for the show, the odd yet transcendental two-dimensional installation series ‘Spaces of Scent”, by the Ghanian Micheal Jackson Blebo is visible at the center of the reception room.
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Suddenly, like a whirlwind, the sculptures- FULLY EMPTY, IN MY DREAMS, ROMANCE OF TIME, SOLITUDE, and URBAN COMMONS having consistent sizes of 39*47 made with the same medium of Red Clay soil, bentonite clay, Phyto, charcoal, on chipboard- haul you closer.
Gradually until your inquisitive senses are at a stone’s throw away from the five investigative pieces that have the same variegating earthy colors though irregular and randomly shaped holes on the surface that gives the works the depth of a three-dimensional type.
Installed around the chamber’s pillar on a steel pipe holder that allows the square-shaped sculptures to move rhythmically round and round, side to side, backward and forwards, the artist influences the conversation that goes on in the mind of the art enthusiast as they engage each one of the ‘Space by Scent’ series. While raising the question around art interpretation and the “ flatness of paintings”.
Shifting the beholder here and there, to and fro- the engrossing installation takes hold of the viewers’ concentration until they can overcome the spell of the somewhat magical works. Back awake, the viewer would become fully aware of the remaining works of art displayed rousingly in the exhibition surroundings.
Without shame, the works of Ayobami Ogungbe and Neec Nonso are proud representations of their community. One that shows off their absolute understanding and mastery of the people, language, attitudes, and modern-day assimilated culture experienced in their immediate environment. Two artists who with no doubts possess the passion and adroitness to become trusted future custodians of the Nigerian culture.
Jekami Adetiloye Oluwatosin
Nothando Chiwanga
Print on canvas | 30 x 30in | 2021
In an attempt to distinguish herself from the six in such a competitively captivating art atmosphere, part of Nothando Chiwanga’s submissions for the Young Contemporaries Show is an impressive 10 plus performance film, ‘Muroora Weguta’ (Shona for ‘bride of the city’).
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According to the artist statement, the ineffaceable performance film and the accompanying four prints on canvas exhibited in the series “considers the relationship between patriarchal enforcement and the roles of women in African society.”
A focus that is obviously vivid in the scenes of the performance film and the four prints on canvases displayed. Nothando, her blackened skin, black solid ground, white bridal veil, and the yellow bridal gown are dominant in her distinctive exhibits.
Print on canvas | 24 x 36in | 2021
In the initial scenes of the performance film and as witnessed in the four artworks exhibited, Nothando is seen in her intensely darkened skin doing womanly domestic chores expected of an African woman.
Such as sweeping (Hunhu wandinoda, Print on canvas | 30 x 30in | 2021), making preparations for the night’s meal, and accounting both reflected in Yakakwana here Print on canvas | 24 x 36in | 2021. While still neatly dressed in the customary white bridal veil and yellow bridal gown.
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The white veil ten to one depicts the emptiness of every average African woman. A feeling that comes with her marriage as she becomes quickly abandoned by her family and friends. This then causes her to walk through (Kupira gotsi, Print on canvas | 24 x 36in | 2021) the hostile hurdles of a typical male commanding African union in loneliness illustrated by the yellow bridal gown and the single character in the performance.
With her almost extremely dark skin, she unravels ( Mwenga wacho, Print on canvas | 24 x 36in | 2021) the enigmatic nature of African women as one who is powerful yet scared of her own elegance and patriarchal authority. Indeed, she “challenges the domestication of wives…” within the context of her submissions.
Installed around the chamber’s pillar on a steel pipe holder that allows the square-shaped sculptures to move rhythmically round and round, side to side, backward and forwards, the artist influences the conversation that goes on in the mind of the art enthusiast as they engage each one of the ‘Space by Scent’ series. While raising the question around art interpretation and the “ flatness of paintings”.
Jekami Adetiloye Oluwatosin
Ayobami Ogungbe and Neec Nonso
Without shame, the works of Ayobami Ogungbe and Neec Nonso are a proud representation of their community. One that shows off their absolute understanding and mastery of the people, language, attitudes, and modern-day assimilated culture experienced in their immediate environment.
In Spite of the fact that Neec Nonso is an indigene of Aguleri, Anambra state, fantastically and with a fine distinction, he displays his perception of the Yoruba concept of reincarnation in his pictorial series ‘What Was Dead Was Never Dead’. An ongoing project studying the posthumous existence of dead relatives.
He cements his phenomenal artistic feature with the deeply-thoughtful portrayals and their titles {( Abiku, Giclee print on archival paper | 24 x 36in | 2021), (Babatunde, Giclee print on archival paper | 24 x 36in | 2021), ( Yéwande, Giclee print on archival paper | 24 x 36in | 2021), (Babarinde, Giclee print on archival paper | 24 x 36in | 2021) and ( Egungun, Giclee print on archival paper | 24 x 36in | 2021)}.
Matte and fabric print | 39.5 x 46in | 2021
Like the artist’s name, the title of Ayobami Ogungbe’s series &Co and those of his works {(Another style, Matte and fabric print | 40 x 44in | 2021), (Be like that, Matte and fabric print | 44 x 49in | 2021), ( Eleyin ‘Ju ege, Matte and fabric print | 44 x 47in | 2021), ( Ewa ibeji, Matte and fabric print | 44 x 49in | 2021), (Wolimo, Matte and fabric print | 39.5 x 46in | 2021)} gives away his identity as a standard Nigerian who is proud of his source in spite of all the blemishes that comes with being one.
Therefore, it is not much of amazement that Ayobami Ogungbe photographic exhibits (which combines weaving, and collage) and Neec Nonso’s still images of augmented reality single them out as loyal guardians or promoters of the Nigerian traditional beliefs. Two artists who with no doubts possess the passion and adroitness to become trusted future custodians of the Nigerian culture.
Unarguably, the indigenous titles of their works easily divulge what to look forward to before seeing the photographs.
Nonetheless, it is until the photographs are engaged in reality that the viewer would realize their imagination can never anticipate the stories captured in &Co and ‘What Was Dead Was Never Dead’. In the cases of their series, the title of the works should carry a question mark pending the period they are witnessed and the inquiries answered by the artists.
Kenneth Oghenemaro
Oil on canvas | 48in in diameter | 2021
‘Fast Traveler’ is a series of six fabricative artworks exhibited by Kenneth Oghenemaro. It is a deictic attempt by the artist to edit and adjust to taste the medical problem he has with asthma. At the end of the day, his futuristic works affirm the power of art to make the impossible possible; a weapon that has been applied consistently in reshaping history. A characteristic of his science fiction underlined works that would eventually propel him into the hall of fame of artists who have competently reconstructed the world with their dreamlike capabilities.
Oil on canvas | 48in in diameter | 2021
Bent on demonstrating his expressive potentials, Kenneth Oghenemaro uses realism to depict surrealism in an allegorical manner that is memorable and ideally gives freedom to his thoughts. As witnessed in works like Beam me up, Oil on canvas | 48in in diameter | 2021; The alternate fall (II), Oil on canvas | 36 x 48in | 2021and Finding air (I&II) Oil on canvas | 48in in diameter | 2021.
In all of the aforementioned three, except in Beam me up, a subject belike the artist himself is seen standing shirtless on a skateboard. Like a professional skateboarder protected with a trendy all-face-covered helmet- he maneuvers his way trickishly out of what seems like the polluted real life into a fantasy universe. A dreamy kind where every unfavorable condition which in this case is the artist’s asthma can be exchanged for good.
His imaginative prowess can be enjoyed in all of the oil on canvas paintings. Most especially in works like The alternate fall (I), Oil on canvas | 36 x 48in | 2021, and The ameliorator, Oil on canvas | 48 x 60in | 2021 which portrays hybrids in such exotic style.
At the end of the day, his futuristic works affirm the power of art to make the impossible possible; a weapon that has been applied consistently in reshaping history. A characteristic of his science fiction underlined works that would eventually propel him into the hall of fame of artists who have competently reconstructed the world with their dreamlike capabilities.
Jekami Adetiloye Oluwatosin
Jessica Soares
Coming across the six works exhibited by Jessica Soares, one would quickly conclude that the artist is trying to gather pity for the female subjects on her canvas. This assumption would be derived from the depressing countenances of each female character which include a girl-children, young ladies, matured and old women communicating the different situations they all are in. Even though they are dressed exquisitely.
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However, by deeply engaging the sometimes frightening works, the viewer would realize that the overall theme underlined in each of them is optimism. This she hides in a highly skillful manner using highlights which tend to project the trauma and vulnerability that is clearly visible on the canvas.
The delicate six works are the kind that keeps your visual system glued to the surface of the canvas hoping that would be enough to discover the cure that would heal the flamboyant anguish or grief hidden beautifully in the helms of the glamorous dresses the figures are adorned with.
Even supposing the artist presents the physique of the subjects just about far from the eyesight of the viewer. To prevent the viewer from unraveling the positive attitudes the artist has concealed in the wigs and gloomy faces of the female subjects. As if she would be judged for being hopeful about experiencing a miraculous restoration from Alopecia which she reflects upon using the female figures in her paintings.
Probably so because of the shame a female is made to feel for being bald. As is the case with victims who suffer from the autoimmune disorder the artist and her mother is trying to defeat.
The ‘Chronicles of Esther’ by Jessica Soares is special for it is more candid and the imagery more figural. It is the kind of artwork we want to see in an exhibition at this period; arts that possess the restorative power to strengthen those weakened by their ordeals.
Leading to the exhibition is a series of activities such as mentoring and the creation of critical projects resulting from innovative explorations of traditional art methods to deliver something never before seen or experienced. If not in Lagos, Africa, the world; at least in the National Museum, Onikan, Lagos. Without mincing words, the Young Contemporaries Show 2022 lived up to its billing.