Born
in Benin City in 1965, Zinno Akpoghene Orara embarked on a creative
journey that resonated far beyond his beginnings. Educated at Government
College, Ughelli, and later at the Auchi Polytechnic School of Art and
Design, he honed his craft with a focus on painting and illustration,
graduating at the top of his class at the age of 23 in 1988.
Orara's
artistic prowess quickly found recognition, marked by his inaugural
exhibition at Lagos State's Didi Museum in 1991. From this milestone, he
embarked on a global journey, captivating audiences with numerous
exhibitions hosted in galleries and museums worldwide, culminating in
his recent joint exhibition with classmate and friend Gab Awusa titled
'Refreshing Dialogue' held in Lagos just last month. A show curated by
Moses Ohiomokhare
Regarded
as one of his generation's most influential artists, Orara transcended
mere creativity to become a beacon of guidance and inspiration for
countless young artists worldwide. His legacy as a teacher, leader, and
visionary continues to illuminate the path for future generations of
artists, ensuring that his impact endures far beyond his canvas.
Simidele Adesanya, a
second-generation Lagosian, embarked on an unconventional journey in the art
world. Despite her educated background as a lawyer, she followed her passion
for art, becoming a prominent arts promoter in Lagos. Her talent for networking
and hosting intimate art gatherings in her home helped her build connections
and attract art enthusiasts.
In 1992, she officially registered
her gallery, facing financial challenges but maintaining unwavering commitment.
Simidele's gallery stood out for its mission to elevate artists and the art
profession, treating artworks as valuable assets. Her dedication bridged the
gap between the artistic community and the wider public, leaving a significant
mark on Lagos' art scene and the profession itself. In those early years her
currency of trade was high ethical behaviour and conduct, with transparency and
integrity as cannons. This professional behaviour brought a lot of respect not
only to artists by the society at large, and gave a sense to many artists that
one could survive from the toil of creating good works of art.
In the 2nd decade she collaborated
and partnered with many persons and institutions, like Bisi Silva, where
training seminars and education series across the country where developed. Also
were auctions with Terra Kulture. Other shows like watercolour and pastel
Exhibitions were developed and perfected. These were exploratory years that were
ruled by a lot of passion and better business planning than the proceeding
decade.
In the third decade of Sinmidele
Adesanya's gallery journey, a period of consolidation took shape. With a stable
source of income firmly established, Sinmidele began to channel resources into
projects that aligned with her gallery's artistic interests and ambitions.
One notable outing was the gallery's
participation in Art Dubai in 2016. Art Dubai provided a global stage where
artists and their works could be showcased, reaching a diverse and
international audience. Another significant milestone was the Masters show, a
prestigious event that attracted distinguished dignitaries, including the
former Vice President of Nigeria. These 2 events underscored the growing
influence and impact of Simidele's gallery on the national and international
art scene. While the cash flow generated at such international events might not
have been the most favourable, the exposure and publicity and lessons gained
were immeasurable
Looking ahead, Sinmidele believed
that the art industry could progress by fostering greater cooperation and
reducing personal agendas. Collaboration among artists, galleries, and
institutions could lead to more meaningful and impactful artistic endeavours.
She envisioned a future where well-thought-out ideas could be supported through
sponsorship, allowing for the creation of even more remarkable events and
exhibitions.
Sinmidele's "My Drim
Gallery" proudly stood as a testament to her dedication and perseverance.
Over three decades, the gallery had hosted over 200 exhibitions and provided
crucial support to over 300 artists. It had become a hub of artistic
innovation, a platform for artistic expression, and a driving force in
propelling the Lagos art scene onto the global stage.
Simidele Adesanya's journey was a
testament to the transformative power of passion, determination, and a
commitment to promoting the arts. Her gallery had not only contributed
significantly to the cultural landscape of Lagos but had also set a shining
example for the entire art industry, showing what could be achieved through
cooperation, vision, and unwavering dedication to the world of art.
CHIEF Timothy Adebanjo Fasuyi, a founding father of
the Society of Nigerian Artists (SNA), was a visionary. His role in
nurturing the SNA was pivotal, fostering a community where artists could
collaborate and flourish. His leadership was not just administrative;
it was inspirational, empowering artists to explore and express, shaping
a vibrant artistic culture in Nigeria.
During the Nigerian Civil War, Fasuyi’s role was profound. He was
among the select artists whose works toured globally, not merely as
exhibitions but as emissaries of Nigerian creativity and resilience.
These exhibitions served as powerful counter-narratives to the
prevailing stories of conflict, showcasing our rich cultural heritage
and artistic prowess.
As an art adviser to the Nigerian Government, Fasuyi wielded his
expertise to shape national art policies and programmes, championing art
education and cultural development. His tenure marked a significant
elevation of art in our national consciousness.
Late Pa Timothy AdebanjoFasuyi
Fasuyi’s artistic brilliance was most vivid in his mixed media works.
He captured the essence of Nigerian life with a blend of surrealism and
symbolism, integrating various mediums and styles seamlessly. His works
were not just visually arresting; they were narratively compelling,
deeply connected to our culture and traditions.
Chief Fasuyi’s legacy continues to illuminate the art world. His
unwavering commitment to nurturing emerging talents and elevating
Nigerian art, both locally and globally has left a profound impact.
Through initiatives like the Fasuyi Prize at Ahmadu Bello University and
the establishment of The Tim and Carol Art Gallery by his son, his
lifelong dedication to art endures, serving as an enduring symbol of his
passion and influence in the artistic community.
Through his works, leadership in the SNA, international exhibitions,
and advisory roles, Fasuyi’s influence remains a cornerstone in the
narrative of Nigerian art. He inspired a future where creativity,
community, and cultural pride are celebrated, leaving a legacy that
continues to inspire and guide future generations.
In tribute to Chief Timothy Adebanjo Fasuyi, I salute a life richly
lived in the service of art, education, and culture. His journey was a
testament to the transformative power of art in shaping society and
legacy. His spirit lives on in every brushstroke, in every young artist
he inspired, and in every corner of the Nigerian art world he helped
shape.
* Onobrakpeya, a Nigeria National Order of Merit (NNOM), and
UNESCO Human Living Treasure, wrote in this glowing tribute for the
recently deceased Fasuyi from Lagos
Tam
Fiofori, was a visionary filmmaker, photographer, and writer, whose
indelible mark enriched Nigeria's artistic realm profoundly.
Tam Fiofori's creative brilliance shone brightly across our cultural
landscape, yet our society's nurturing of his genius fell short. In
comparison to his equally talented peers in more supportive settings,
Tam's full potential may not have been fully realized.
To honour his legacy and support future luminaries, our society must establish
genius grants and specialized funds. These initiatives empower gifted
individuals to create impactful contributions, fostering a nurturing
environment where their creativity can flourish. Such support not only
enhances their productivity but also enriches our collective cultural
fabric.
Nigeria remains a
reservoir of exceptional talents like Tam, yet many struggle to realize
their full potential due to inadequate support structures. Despite
their occasional reclusiveness or rebellious nature, these geniuses
deserve our steadfast protection.
Remembering
kindred spirits like Ayodele Awojobi, Ola Balogun, Tijanni Mayakiri,
Jimi Solanke and Oyiza Adaba underscores the importance of organizations
like CORA, dedicated to celebrating our true talents.
Tam's
absence leaves a void among close friends and fellow participants at
the Harmattan workshop, organized by the Bruce Onobrakpeya Foundation,
where his presence was deeply felt and cherished. His legacy as a
confidant, friend, and artistic luminary who was a keen Chronicler of Nigerian culture, will endure, inspiring
generations to come.
Bruce Onobrakpeya
Lagos
UNESCO Human Livng Treasure, Founder and Foundational Member of the Annual Harmattan Workshop
May the Divine guide travelers on unknown paths and grant them peaceful settlement
A daily walk with Bruce Onobrakpeya: Day 8
Even in times of forced change and uncertainty, we are never alone. The
strength and wisdom of our ancestors and the enduring stability of
nature guide and protect us. This connection offers hope and resilience,
reminding us that in the transient journey of life, we carry forward
the legacy of the past and the promise of safe passage, regardless of
the challenges we face."
Picture Credit: Onobrakpeya Travelers shows . the image of people on the move, carrying their essential belongings on
their heads and shoulders, powerfully symbolizing the reality of forced
migration, a global issue affecting millions. It evokes the struggle of
leaving familiar environments, where generations have lived, due to
unforeseen circumstances, be they natural disasters or human conflicts.
This scene is not only a stark reminder of the transience and
uncertainty of life but also serves as a poignant prayer for protection
and safety over all those compelled to undertake such journeys. It
underscores the profound truth that stability can be fleeting, and
today's settled individuals might find themselves as travelers tomorrow.
This visual and narrative representation captures the essence of
vulnerability, resilience, and the unceasing hope for a safer future
amidst the trials of forced displacement.
This expression which roughly translates to "May the Hawking tray always return with its
owner at the end of the day" can be understood as a prayer or a wish for
both success and safety. The "Hawking tray" in this context symbolizes
the means or tools one uses to earn a living, akin to a hawker's tray
full of goods for sale. The phrase "always return with its owner"
underscores the dual hope that the individual not only achieves success
(represented by the tray being full of the day's profits and gains) but
also returns safely home at the end of the day. This proverb, therefore,
encompasses a comprehensive blessing – that one's daily efforts lead to
fruitful gains and that these are safely brought back home, ensuring
both economic well-being and personal safety. On a reflective note the expression may also be an invocation and prayer to God, for the Gift of a life well spent, crowned with attributes like Wealth, Peace of mind, Prosperity and a Great legacy in life
Picture Credit: Onobrakpeya. InAtete Gwre Ighoro-o, Onobrakpeya depicts two poles supporting a third
bar to form an entrance gate to a village.
Suspended from the cross-bar is the "Atete" (straw-tray) which
contains prayers and blessings tied to its middle.
Though the forest might seem daunting and mysterious to many, it's a
sanctuary to the leopard. This metaphor underlines the profound truth
that what may be challenging and unfamiliar to some can be a haven of
comfort and familiarity to others. It highlights the rich tapestry of
diverse experiences and viewpoints that different individuals or groups
possess. Furthermore, it serves as a call for unity, inviting people
from all walks of life to embrace and learn from each other's unique
perspectives."
Picture Credit: Leopard In the Cornfield by Bruce Onobrakpeya, 1966
The Bruce Onobrakpeya Foundation (BOF)is an artist led non-governmental organization formed in 1989.
BOF's mission is to engender the growth of art and culture through the provision of opportunities for artists to improve themselves through skills acquisition and empowerment, also it seeks to promote and develop public interest in the visual arts by creating awareness for the intrinsic values of African art and its benefits to society.
The Bruce Onobrakpeya Foundation has been an enduring player in the visual arts scene since its inception in Nigeria.
It has organized the Amos Tutuola Show, Lagos (2000), the Annual Harmattan Workshop since 1998, and
participated at the Commonwealth Heads of State and Government Meeting (CHOGM) Exhibition, Abuja (2003),
Art & Democracy Exhibition, Asaba, Delta State (2004), and the Harvest of the Harmattan Retreat Exhibition
organized in collaboration with the Pan African University, Lagos (2004) amongst other programmes.In May 2012, BOF featured the works of 20 artists at the Exhibition Bruce Onobrakpeya and Harmattan Workshop Experiment at Kajinol Station in Dakar, Senegal during the 2012 Dakar Biennale.
