ARTS & REVIEW
A cross-generational bond of 40 female artists has crystallized at the Yemisi Shyllon Museum of Art (YSMA) housed by the Pan-Atlantic University, Ibeju-Lekki, Lagos with a former interior designer, Olufisayo Bakare making her debut as guest curator of the show called The Invincible Hands. Yinka Olatunbosun reports.
Before the world went wild with associating women’s worth with the size of their bosom and derriere, women of substance across cultures and centuries had been judged by the value of their creations — if simplified, one would say “the works of their hands”. In Nigeria, Flora Nwapa, Ladi Kwali, Funmilayo Ransome-Kuti, Sandra Aguebor and a host of others have engraved their names in history by the virtue of the works their “hands” had done.
But the irony of it all is that the visual arts scene in Nigeria continues to be dominated by male artists. With the infiltration of new galleries in Lagos and environs, attention is beginning to shift to this imbalance in the visual arts eco-system. Curators have become more gender-sensitive and intentional in showcasing works of women who have demonstrated exceptional skills using diverse materials and media. To this end, the young art connoisseur Olufisayo Bakare has curated a body of eye-popping works by 40 female artists across generations and culture at the Pan-Atlantic University in Lagos.
A cathartic experience it was for Bakare; an interior designer whose grandmother was an adire-dyer of international repute. With a first degree and masters in interior design, her venture into art curation was well-timed despite the initial pressure from parental scrutiny.
From being inquisitive about art works, she evolved and engaged several artists in conversations, which fuelled the idea for this exhibition done with the support of the Pan-Atlantic University. With her need to preserve the various identities of these artists, some of whom had died, 69 works were selected for this show which kicked off on August 28.
“It started from that historic lens of paying homage to women who could have been marginalised and bring them to the forefront of the art,” she explained prior to the show. Behind her was a collection of brass and bronze pieces shining though the transparent glass compartment that secured them. “We want to close gender gaps in the art ecology. Through the vehicle of education, art history and culture, we want to start infusing into the minds of people identities and nationhood,” she continued.
The array of featured artists forms an intersection of ideas between established and mid-career artists and the emerging ones namely Fati Abubakar, Anne Adams, Peju Alatishe, Ruby Amanze, Lucy Azubuike, Olawunmi Banjo, Nike Davies-Okundaye, Ndidi Dike, Nathalie Djakou Kassli, Nmadinachi Egwim, Ayobola Kekere-Ekun, Joy Labinjo, Peju Layiwola, Amuche Nnabueze, Abigail Nnaji, Anthonia Nneji, Rita Doris Ubah, Valerie Fab-Uche, Omoligho Udenta, Chidinma Nnoli, Chigozie Obi, Wura Natasha Ogunji, Bolaji Ogunrosoye, Amarachi Okafor, May Okafor, Nnenna Okore, Ngozi Omeje, Nengi Omoku, Odun Orimolade, Obiageli Otigbo, Opeyemi Owa, Tiwa Sagoe, Damilola Tejuosho, Anthea Epelle, Juliet Ezenwa, Modupeola Fadugba, Taiye Idahor, Yadichinma Ukoha-Kalu, Winifred Ukpong and Susanne Wenger. Around the well-ventilated space is an assemblage of paintings, photography, tapestry and textiles, sculpture and mixed media. While some of them were curated from the permanent collection of the YSMA, others were temporary loans by artists and collectors. Call it a celebration of women’s contribution to the arts from the pre-colonial era to the more contemporary era, the show also tells a poignant story for every pair of keen and attentive eyes.
“You’d notice that the works speak to puberty, menstruation, and menopause,” Bakare added. “So, we start from the historic lens to mimic some of the founding mothers of arts in Nigeria and celebrate their historic contributions.”
The cross-pollination of ideas suggested through the arrangement of the works at this show is a like a mentoring session done in absentia. Most artists work in isolation — a situation which often makes it challenging to have that ‘table talk’ across generations of female artists. But with Invincible Hands, the gap is closed; and the pieces are sealed.
“None of these works would be sold and this is solely for educational purpose,” Bakare explained, revealing also that classes are held in the museum to rekindle the interest of students in Nigeria history which had long been expunged from the school curriculum.
“You’d see sculpture pieces. From that point where Modupe Fadugba’s piece is, I have a red wall that signals puberty and all the way down to the corridor has more intense constructions of red because of mimicking a woman’s evolution. And when you come towards the end, you’d see black and white which relates to menopause or the stopping of time. At the end of the show, we bring it back to Peju Olayiwola’s piece ‘Stamping History.’ In a way, we pay homage to history and prepare for the future.”
Although most of the featured artists are Nigerians, Djakou Kassli hails from Cameroon while Wenger was originally from Austria known for her historic role in reinventing the Osun Osogbo Sacred Grove to become one of the UNESCO World Heritage sites.
One of the most breath-taking pieces at the show is Natasha Ogunji’s four-piece centerspread painting at the floor ground christened, ‘Olori Funmilayo Shyllon Exhibition Gallery.’ On its right side hangs Okundaye’s characteristic and larger than life painting. Other captivating pieces include Nnaji’s electrifying wire mesh piece titled ‘Each for Equal’, Tejuosho’s mastery of nails in the making of the pointillist piece called ‘Distorted World View,’ amongst others.
“Conversations around identity can be found in Tiwa Sagoe’s works, and the intrinsic nature of basket weaving and how it is related to common practice today. This is her first show after school. There is a piece that is created from cigarette box and you’d see them starting there. That was done by Amarachi Okafor and it is about community,’’ Bakare said while walking through the exhibition hall.
Some of the guests at the grand opening of the show include the curator’s father, Pastor Tunde Bakare who scored the show high on attempting to break the barriers against female artists.
“For a very long time, you have a society that thinks that women are only good for this or that. What we can see today clearly shows that what men can do women can do and sometimes better,’’ he said. His views were mirrored by the lead patron of the museum, Otunbo Yemisi Shyllon who said that the show provides the “opportunity to tap the great potential of women artists in the growth and development of our country and in showcasing the positive image of our country.’’
The show which runs till January 18, 2022 is the third exhibition to be staged at the museum since its opening in 2019. Like the first Making Matter and the second Mirroring Man, the current show is designed as a pedagogical tool for the new audiences who will interrogate history through the works.
“The exhibition presents a perfect opportunity for the YSMA to gain more visibility and accessibility, provide more relevant resources on Nigerian art history and collaborate with artists to engage with the public,’’ the Director, Yemisi Shyllon Museum of Art, Pan-Atlantic Jess Castellote said.
