The threat to humanity-particularly press freedom- forms the spine of the body of works at the on-going solo exhibition by the master of metals, Olu Amoda at Art Twenty One, Victoria Island, Lagos, says Yinka Olatunbosun.
A spirit of solemnity engulfs anyone who walks into Art Twenty One, an exhibition space inside Eko Hotel and Suites, Victoria Island. The mind-blowing installation, made of welded steel rods, mesh, stainless steel and mirror has a morbid memory. Its maker- the renowned sculptor- Olu Amoda had been inspired by global events particularly the story of the murder of Jamal Khashoggi, the Saudi-Arabian journalist who was last seen alive entering into the Saudi Consulate in Istanbul, Turkey.
The segmented installation-with a long pen laid on it- is a reminder of how Khashoggi’s body was reportedly dismembered. Its imposing presence at the show is a strong artistic statement in the cry for press freedom and the question of one’s ability to disrupt. Titled, ‘New Normal- The Divide Between Good and Evil (2019),’ the work is one in a body of works for this solo exhibition with the theme ‘Carte Blanche.’ Drawn from French origin, the exhibition title seems to suggest ‘no holds barred.’
The show which runs till January 29, 2022 is Amoda’s fourth solo exhibition at Art Twenty One, parading his works from the past three years and more. With a purposeful use of repurposed materials like mild steel objects, nails, rods, aluminium and wood, the Warri-born artist deepens conversations around socio-political issues beyond the surface aesthetics. The show is not just an expression from an environmental artist; it is reflective of challenges that threaten our collective humanity such as banditry, state-sponsored executions, and other brutal acts. Amoda embraces the world as his living theatre and places Nigeria at the centre stage for observing those crimes that have remained unsolved.
For Amoda, art critics should be positioned as cultural provocateurs; using art forms to stir up social discourse and helping to drive cultural change.
“One of the strategies explored in this body of work is using the familiar to uncover the unknown where each piece challenges what is seen and expressed as artwork. They are complex in composition but mirror today’s society’s organized chaos, the eternal desire to accumulate more than we need. The ants in their colony will marvel at how humans have managed so far and not extinct themselves. Today’s challenge is about one’s ability to disrupt,” he said.
Drawing upon African literature, some of Amoda’s pieces at the show are characters that ‘dare to disrupt’ from the Wole Soyinka’s tragic drama, ‘Death and the King’s Horseman.’ For instance, ‘Mrs Pilkins III’ is a visual reference to the character that imposed British colonial power on the Yorubas as well as the struggle for identity in post-colonial Africa. With the pieces ‘Dialogue-Olunde’ and ‘Elesin Oba III,’ the artist juxtaposes the mind-set of an educated African who considers the ritual suicide as an honour and a traditional ruler who is a slave to his own flesh- his insatiable sexual appetite. In the resolution of the dramatic conflict, Olunde dares to disrupt the colonial order.
Attuned to national developments, Amoda also made a mesh piece titled, ‘Ruga.’ Using the cow motif, this piece alludes to the Nigerian policy introduced by the Buhari Presidency to resolve the crisis between the nomadic Fulani herdsmen and the farmers.
Amoda, one of the most consistent artists in the past three decades is also a muralist, furniture designer and multimedia artist. Best known for using repurposed materials arising from consumer culture, Amoda boldly confronts provocative subject matters.
His seminal body of work, ‘Sunflower,’ explores the connection between mass industry and the organic. It won the top prize at the DAK’ART Biennale in Dakar, Senegal in 2014. Amoda has also exhibited at the Museum of Art and Design in New York, the Victoria and Albert Museum in London, Villa Arson in Nice, France, and the Bag Factory in Johannesburg. His work is included in the collections of the Newark Museum, USA; Fondation Blachère, France and the Sindika Dokolo Foundation.
