Visions and Nuances of Sustainability

Segun Ade-Martins

On Monday, February 13, in the evening, an exhibition of two artists, Moses O. Njoku and Jane E. Ugah, was opened at the Matrix Gallery of Contemporary Art. Respectively, they were the second- and third-place winners of the visual arts competition 2022, organised by the Embassy of Spain in Nigeria.

The exhibition was masterfully curated by Rowland Goyit, and it made use of the entire main gallery area to present the artworks. Each sculpture and artwork was evenly spaced out, allowing spectators to concentrate and appreciate the nuances.

Moses Njoku’s works are soft sculptures with a simple colour palette of blue, red, white, and yellow made from discarded Perspex, a material commonly used for signage. While Jane E. Ugah’s medium is acrylic on canvas, with the occasional use of “Ankara” fabric and African wax print glued on some paintings.

The works of both artists are figurative and emotive, but that sums up their similarities. Jane Ugah’s paintings are predominantly melancholic, as evident from the poses of the figures in the paintings. All the subjects have their eyes closed in all the paintings. The ecstasy is palpable in the works, as they all appear in a reflective mood. Tranquillity is the overtone of her work. Ugah also thought it was a good idea to make her pieces similar in dimension. They provide a spectacular visual rhythm, which adds to the visual drama of the display. 

Ugah’s pieces are dreamy and transcend the peace they portray. Most might be drawn to her Mother Nature painting, which depicts a mother and child dressed in Ankara. The mother and child as well as all the figures in her works can be described as anthropomorphic rocks or people with rock-like skin. 

The most emotive standout piece would be “A Simple Song,” where the main figure plays a non-existent “piano” with so much bliss. The character seems lost in the ecstasy of a song the viewer cannot hear. 

As for Njoku, the standout pieces are clearly “Surugede Dancer,” “Women Leader,” and “Adamma.” “Surugede Dancer” calls to mind a frivolous display. Its subject is depicted in motion, but the story behind it brings a great juxtaposition to the concept of the work. Frivolity and gaiety meet spirits, benevolent or evil.

“Women Leader” paints a picture of a boss lady in charge of her domain. “Adamma,” meanwhile, has the most fitting title among all his works, as it depicts a woman with a deep disdain for the presence of her “peasant-like” observers. The sense of conceit in the work seems palpable as it hangs in the gallery. 

The things to note about Njoku’s work are his predominant depiction of women and the technique of forming the perspex pieces. It is clear he is strongly influenced by the women in his life and surroundings. Also, he has a strong sense of anatomy drawing in two and three dimensions. 

The Embassy of Spain in Nigeria has recognised these artists through their visual arts competition with the theme of sustainability. Indeed, the use of discarded perspex and the inventiveness of showcasing aspects of his culture earned Njoku his selection.

 Ugah’s paintings depict people “made” from rocks with grass or flowers growing as their hair. Even the use of African wax print and Ankara fabric also shows the recycling or repurposing of discarded materials.

It is interesting to note that since 2006, 16 Nigerian artists have travelled to Spain to partake in an International art fair. However, this privilege is reserved for the first-place winner of the visual arts competition who at the time of writing is in Spain.

Generally, this exhibition and the visual arts competition are thoughtful examples of cultural exchange from the Embassy of Spain in Nigeria. Here they are, discovering and showcasing Nigerian artistic talent to Nigeria and Spain, as well as using this creativity to promote social awareness about “sustainability in all its forms.”  

It would be interesting to keep an eye on Eva Barta Martin’s portfolio, who serves as the cultural adviser for the Spanish Embassy in Nigeria, to see what other cultural initiatives they have.

However, from my observations, art exhibitions held by diplomatic missions are usually only open to the diplomatic community and a few Nigerians with connections to the artists. This was also true in this case. Unless one is already familiar with an embassy’s previous cultural exploits, most people are unaware of their events. It begs the question of who these exhibitions are for.

Nonetheless, it is obvious that the events’ restricted nature is due to the insecurity situation in Nigeria. Foreigners go to tremendous efforts to defend their residents, who are easy pickings for villains. One must applaud the missions, in this case the Spanish Embassy, for continuing to look for local talent and engage in cultural interaction with us.

• Ade-Martins writes from Abuja