Shonibare: Building Bridges Between Arts and Opportunities

At the inauguration of the Guests Artists Space in Oniru, Lekki, Lagos, the British-Nigerian artist, Yinka Shonibare CBE RA unfurls the motivations behind his ambitious charity project for artists and the society at large in an exclusive interview with Yinka Olatunbosun

The metallic mesh part of the building reflected the rising sun and a ray of hope. Guests for the media briefing to herald the first of the two buildings donated by the British-Nigerian artist, Yinka Shonibare CBE RA arrived in trickles and their banters were cut short with the arrival of the host. 

The UK-born artist may have made regular visits to Nigeria where he grew up till his late teenage years but this time, the reception was quite different. He would speak with vigour on his non-profit, Guests Artists Space which is an initiative of his long-standing charity organisation, Yinka Shonibare Foundation. 

The two-fold donation is dedicated to facilitating cultural exchange through tailored residencies, public programmes and exhibition opportunities primarily for creative practitioners from Africa and its diaspora.

G.A.S. Foundation, as an ambitious charity project founded in 2019 by Yinka Shonibare CBE RA and a board of directors, offers great opportunities for individuals in the fields of contemporary art, design, architecture, agriculture and ecology with space and resources to research, experiment, interact, share, educate and develop work.

On the one hand, the GAS edifice in Oniru is a sight to behold, modern with a rooftop that gives a bird’s eye view of the neighbourhood. Designed by Ghanaian British Architect Elsie Owusu in collaboration with Lagos-based architect Nihinlola Shonibare of NS Design Consult, it is furnished with live-work units and multipurpose gallery space.

As part of the launch on Friday February 25, an exhibition featuring a selection of works acquired by Shonibare over the last two decades are on display. The collection of photographs, sculpture, paintings, works on paper and mixed media collage curated by Temitayo Ogunbiyi draws in each viewer into contemplating contemporary art in conversation with works from Nigerian modernism and antiquity.

On the other hand, the lush 54-acre Ecology Green Farm in Ijebu is the home to Shonibare’s second building. Designed by Papa Omotayo of MOE and interior design by Shonibare, it offers a residency space for artists, scientists, agriculturists and researchers with a sustainable infrastructure and food security for the host community. All materials used in the construction were sourced from the community: 40,000 bricks from soil were used for the foundations.

“The art world needs to evolve: there is a rich vein of talent out there but we might lose them if the status quo of the last thirty years remains. We are working with the local community whilst opening doors for the next generation, equipping them to thrive not just survive,” he said.

The first floor of the Oniru building has been set aside exclusively for Shonibare. The elevators wouldn’t stop on that floor unless he is expecting you to visit him. Although he had broached the subject of this charity project during our last encounter, it was gratifying to see what he has to contribute- a bold project in a grossly under-funded sector of the economy.

“It gives me a lot of joy and I am very happy to be here. It is no longer a concept. People can see it and support us more. I am very happy about it,” he began.

Fortunately, it is one project that many have offered to support in order to make it sustainable. What came as a surprise is that Shonibare is also setting the pace in linking arts to social justice with his ecological intervention. He is not oblivious of the needs of the average Nigerian. 

“Many artists actually make works of art about things in the world that concern them,” he said. “I know that food sustainability is an issue in Nigeria. I know that food is expensive for some people and Nigeria does import a lot of food and if we are also concerned about the environment, we don’t want things that we can grow here to be imported. That is even bad for the environment. And I also know that there is a lot of unemployment in Nigeria and if I create something like agriculture, many people can work there and many people can have more businesses and sell their produce. I know that this is much better- creating something like this is much better than sending money to a community where you have something that can develop skills and employment. People have that forever. Not everywhere in Nigeria is like Lagos so it will bring some more opportunities to the rural areas.”

Coincidentally, this project was launched in the same year that the revered artist would turn 60.  His life story has been a source of inspiration for many: at 18, he contracted transverse myelitis, an inflammation of the spinal cord which resulted in a long-term physical disability. Undeterred, Shonibare went on to study Fine Art at Byam Shaw School of Art (now Central Saint Martins College of Art and Design) and then at Goldsmiths, University of London, where he received his MFA degree, graduating as part of the Young British Artists generation. Afterwards, Shonibare worked as an arts development officer for Shape Arts, an organisation that makes arts accessible to people with disabilities and has exhibited at the Venice Biennial and at leading museums worldwide. When asked if at 60, he had accomplished more than he ever thought he could, a smile warmed up his face.

“That’s very interesting because as you know, I got a virus in my spine when I was very young. I got a disability as a result of that. The time I was unwell, if I was told that I could actually get to this age, I wouldn’t believe it. I think I have more than surprised myself too. I could manage to do everything I can now. I am grateful for that. That’s why I am very happy to support others. I actually got the opportunity that made it possible for me to fly. There are so many opportunities in Europe and I noticed that in Nigeria, the same opportunities don’t exist and I want to provide that. There are many talented people just like myself that their lives can change dramatically just because somebody gave an opportunity to them. I think that is important.” 

His investments in Nigeria’s creative economy are straight from his heart and pocket. As one with moderate taste and self-indulgence, he considers doing this project as a natural thing.

“I am not somebody who needs many things. I don’t need expensive cars or any of those sorts of things so I would rather do social things,” he explained.

Shonibare’s works embody discourses on race, postcolonialism, identity and globalisation. With the cultural exchange programmes and multi-cultural art residencies that G.A.S would curate, it is expected that the centre will foster better mutual understanding of cultures and strengthen humanity.  Given Shonibare’s commitment to these, he reacted to the resurgence of new global movements that tend to revisit the issue of racial discrimination.

“I think that it is very sad that the George Floyd thing happened in America. It is very sad that black people still don’t have social justice and I think it is backward thinking. And I think that is the point of having this residency too- to open people’s eyes. If you bring somebody from another culture here, maybe they have never bought any black people or maybe they don’t know anything about Africans, when they come here, they learn more and realise that we can all learn from each other and that would broaden their minds. I think any kind of racism is based on narrow-mindedness and so you need to open their eyes so that they become educated. It is lack of education that is causing some of these problems. I think if you have an international residency like this, people learn more and become enlightened and slowly, some of these things get resolved.”

There are plans to ensure an interdisciplinary structure for the residency. Among other opportunities, the participating artists would refine their craft, learn about global markets for arts and broaden their perspectives.

“I know a lot of people internationally and they will come here to do projects, have talks about their works. Based on my experience, you’d never know who is in the audience and get opportunities. I got my own opportunities the same way. You just might never know who sees your work. So, I am providing that platform for people and hopefully, somebody would see their work show it in another art fair or many exhibitions or museums. But if people don’t have the platform first, they won’t have an opportunity.”

As a conceptual artist, Shonibare has always been a perpetual project manager. Needless to say, project management is the way forward for rebuilding the art sector in the post-pandemic period. To meet the demands of the project economy, he shares ideas on what makes a project work.  

“Without good project management, you don’t realise your goals,” he declared. “You have to be strategic and organised and you have to be an expert in foreplanning. And you have to be able to mitigate any risk. And you have to be quite fast in thinking. To make a project like this in Nigeria is not easy at all. I came across quite a lot of obstacles that i don’t even want to repeat here but if you are determined and you plan properly, you could mitigate most of those difficulties and it is something I am used to doing.  And I actually like challenges. If somebody says I can’t do something, I will want to do it more.  This is proof that it is possible to make this kind of project here.” 

He left with the promise that he would visit Nigeria more but as regards making an autobiography at 60, he responded,”Well, I am still young. Maybe I will do that someday. I still have so much to do before doing that.”