New Book : Jewels of Nomadic Images

DETAILS

439 b/w and colour illustrations196 pages
ISBN: 978-2509-57-4
Binding: Soft Cover
First published: 01/June/2009
Price:$50.00
Publisher: Ovuomaroro Studio Press
Subject: African Studies
STATUS: Available
Contact: Bofound.ng@gmail.com

This book was originally planned as a catalogue accompanying an exhibition of a selection of artworks titled Jewels of Nomadic Images, created by the artist Bruce Onobrakpeya over a period of three decades (1978 – 2008) The pictures in the book are called Jewels not only because many of them are wearable, but also, they are attempts to capture life’s essence. They are further described as nomadic images as several of the artworks shown in the book, have gone through some kind of metamorphosis before attaining their present state. The artist takes advantage of the dynamic technique of printmaking and experimentation, to manipulate the same motif or idea to produce different design effects. Tiny line engravings have been developed and transformed into low relief sculptures called plastocasts and in some cases enlarged into bigger reliefs or paintings, and vice versa. It is this process of transformation, or migration of a design from one artistic medium, size or combination, to another, that is described as nomadic images, from which the book also gets it’s title. Features of the jewels of the nomadic Images are the aesthetic effect, various art pieces have especially when they are grouped or shown as installations. These images are at the same time, historical, cultural and innovative. The very essence of the jewels and images in the book, have been captured, in the opening chapters in essays by, Olu Amoda, the exhibition’s curator, Peju Layiwola and Ekpo Udo Udoma. Their essays give insights into a better understanding and appreciation of the works featured in the book, which is also richly and vividly illustrated with over 435 pictures, most of which are in colour. The book also gives opportunity, for the artist to explain the thoughts behind several designs, which have been profusely displayed in panels or used individually as jewelries. The final chapters, focus on a host of imaginary images, appearing singly or in groups, which were a dance series initially inspired by the novel “My Life in the Bush of Ghosts” written by Amos Tutola. A lot of the names given to the pictures speak volumes of the creator of the artworks, Urhobo-centric worldview. Atasa is the Urhobo name given for instance, to narrations of experiences, or the proclamation of ideas. Some of these concepts have been treated successfully by the artist, as figures which have been displayed or paraded in horizontal formats to reflect Urhobo calligraphy called Ibiebe. There are also pictures which show tunics made of sack cloth and leather, over which pendants and other objects are suspended. The Jewels of Nomadic Images narrates a compelling story, mostly through its richly illustrated pictures, of the immensely fertile artistic landscape of Africa, as seen through the eyes of award winning artist Bruce Onobrakpeya. He seems to be affirming too, that Africa has emerged from its colonial past, and is once again asserting its own identity.

Contents
1 Three Essays
2 Jewelry
3 Nomadic Masquerades (Installations)
4 Millennium Masks
5 Dance to Enchanting Songs
6 Atasa (Narrating Experiences)
7 Tunics of Nomadic Images

REVIEWS
Bruce Onobrakpeya is among the most successful artists to have emerged in West Africa during the 20th century, with continuing and commanding influence on the generation of artists in Nigeria, who have come to maturity in the post colonial period. – John Picton is Professor Emeritus at the School of African and Oriental Studies (SOAS) of the University of London.

Onobrakpeya’s jewels are not just mere objects for body adornment. They are a conflation of memory and histories of all kinds – economic, social and religious. Indeed Onobrakpeya like the shinning metal foil plates that characterize his works, illuminates and reflects his society and the unending conversations between cultures – Peju Layiwola lecturer: Department of Creative Arts, University of Lagos. Nigeria.

The jewels and images like other objects are charged with tiny bits of spiritual essence, when many of them, though unrelated are assembled or fused in form of mixed media, the product is a visual feast which affects the observer like magic.-- Olu Amoda, lecturer: School of Fine and Applied Art of Yaba College of Technology, Lagos Nigeria.

The artist’s ability to adopt a childlike attitude that enables him to pick up ideas and inspiration from almost anything, helps him to identify new and fascinating areas of artistic exploration very easily. This to all intent and purposes, is the success story of an artist like Bruce Onobrakpeya — Ekpo Udo Udoma is of the Visual Art Association of Nigeria.

Always eager to experiment with new things, Bruce Onobrakpeya has found inspiration in certain aspects of African traditional dress sense, particularly the necklaces of sub-Saharan Africa. – Moses Ohiomokhai is Curator of the Quintessence Gallery, Lagos, Nigeria.

Different Periods of the Art of Bruce Onobrakpeya

The Palm Wine Women from The Sunshine Period 1965

A Window into the Art of Bruce Onobrakpeya: A Slice of a Master's Oeuvre

A definitive work on the art of Bruce Onobrakpeya would have to be an intense exercise in order to capture the true essence of the artist, this exhibition, which has been confined to a two-week event that is part of several other activities, lined up to commemorate his 77th birthday, would not do justice to the subject. Therefore this presentation aims to highlight a few epochal pieces that will help the audience appreciate the influences of the artist and his response to various scenarios within the Nigerian sociopolitical milieu.
For ease of interpretation, the exhibition is divided into eight segments. Each of these segments represents specific periods in the artist's studio practice, which spans a period of 50 years.

The first segment is the Mythical Realism (1957-1962), which represents paintings, and lino cut prints that depict folklore themes, and Northern landscapes (Zaria). This is the period of his early development as an' artist, which coincided with Nigeria's Independence. The idea of projecting the African personality was of major importance to the artists of this period. It was also at this time that the Zaria Arts Society, the forerunner of the Society of Nigerian Artists (SNA), was formed and accompanied by the propagation of the concept of "natural synthesis". Works in this category include the paintings: Awhaire & the Bird, Hunters Secret, and A Tree in Northern Landscape, and the Lino Cut Prints Zaria Indigo, Two Faces, Boli Woman and Awakening (Negritude)

The second segment focuses on the artist's workshop experiments and his Bronzed lino relief series otherwise known as the Sunshine Period (1962-1967). This is the period when he started to attend various workshops. Some of the popular works of this period include Leopard in a Cornfield (Iino print), Scarecrow (silkscreen) and Man & Two Wives (silkscreen)

The Mask and the Cross (1967-1978) series represents the period when the artist executed several Christian themes commissioned by the Church such as Nativity /I (Iino engraving), The Last Days of Christ (plastocast), Obara Ishoshi (bronzed Iino relief) and Pope John Paul (metal foil)., as well as the Plastography Period, a time when the artist developed a lot of ideas he started in Zaria in the late 1950s and early 1960s such as Travellers II, Songs of Life, and Rain & Cry at Otoragba.

The fourth segment represents the historical vignettes. These are pictures known as the Symbols of Ancestral Groves (1978-1984) They depict historical figures, mostly royalty from the Benin Kingdom such as Oba Aka. Other works in this period include Eghrighri and Ibiebe.

The Sahelian Masquerades (1984-1988) were pieces created to highlight the destruction of the environment These works focused on the on the cultures of the Sahelian regions Works in this period are also loaded with a lot of political undertones such as Horns Of Freedom, and Edjo Aton (principles of good governance), which draws a lot of attention to role of government in relation to the issues of desertification.

The Mask Series (1990-1995) represent the development of images, which inspired depictions of masks treated in different print media that bring out the philosophies of the people. They also address' the subject of change. Images I and /I as well as A Panel of 15 represent this period.

Social Unrest (1995-1999) is the period of strife within the society. This is represented by large paintings, which are prayers for divine help against military
dictatorship and political instability. Here we have drawings and pictures, which focus on the murder of Ken Saro Wiwa. On the front burner. are the ecological and socio-economic problems. In this segment you have works like Ekugbe (Unity), Nude & Protest and Smoke from the Broken Pipe

Finally we enter the Installations Period (1995 - Date), which is the period the artist embarked on installations as an art form. These works are characterized by the arrangement of different discarded materials to create works of art. These installations were essentially to draw attention to importance of protecting our environment. Works in this category include Animals of Eve, Adjene, New City III and Voices of silenced Voices.

Clearly one can see the nuances of the artist and how his works have been closely tied to the Nigerian condition. Working over a period of up to five decades, the art of Bruce Onobrakpeya has gradually transformed from isolated personal view points to more nationalistic depictions as seen in Nude and Protest and Smoke from the Broken Pipe that have now become a fountain of socio-political and historical reference points from which all are free to share.