May the True Gains of our Work Never be dispersed

Nigerian Proverb (Urhobo)

Atete Gwre Ighoro-o

A daily walk with Bruce Onobrakpeya: Day 6

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. In Atete 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.

The Leopard In a random walk in the Cornfield

Nigerian Proverb in Pidgin English

One Man meat, na another Person Poison

 A daily walk with Bruce Onobrakpeya: Day 4 

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
 

MUSON FESTIVAL EXHIBITION

 The highly anticipated Muson Festival is set to captivate art enthusiasts from October 22nd to 29th, offering a breathtaking showcase of artistic brilliance. This year's festival promises to be nothing short of extraordinary, featuring a remarkable collection of works by the celebrated Bruce Onobrakpeya, spanning various forms of media. 

Among the highlights of this artistic extravaganza are the enchanting lyrical prints by the avant-garde artist, Folahan Olumide. These pieces promise to challenge conventional artistic boundaries and inspire creativity.

Moreover, the festival embraces the theme of "Resilience" with a curated selection of traditional art pieces. These works will reflect the enduring spirit of artists throughout history, embodying their ability to overcome adversity and emerge stronger, more vibrant, and creatively invigorated.

In total, the Muson Festival will proudly display around 30 exquisite pieces, each a testament to the power of art to inspire, provoke thought, and transcend barriers. Don't miss this opportunity to immerse yourself in a world of artistic wonder and celebrate the enduring legacy of these remarkable artists. Join us from October 22nd to 29th for an unforgettable journey into the heart of creativity and resilience.

THE MASK AND THE CROSS

 "The Mask and the Cross" are artworks created by Bruce Onobrakpeya, set in the final days of colonial Nigeria and shortly after its independence. These works offer a unique African perspective, delving into the underlying teachings, principles, and lessons derived from the life of Christ and the Resurrection of Christ.

The artist refers to these pieces as "New Masks" because they represent his endeavor to reconstruct and re-imagine artworks using ideas from old masks, many of which were discarded and burnt by early Christian missionaries. 

The New Masks by Onobrakpeya retain the aesthetic potency of the original masks, now manifested in various media such as paintings, plastocasts, low relief sculptures, and other techniques that he has developed and  innovated throughout his nearly 65-year artistic career.

These artworks are infused with the same esoteric meanings, conveying a narrative that transcends geographical and chronological boundaries, making them accessible to people of any culture. 

"The Mask and the Cross" serve as narratives that reinterpret the universal essence of goodness by focusing on the core values that should foster a deeper understanding of the Christian message. In these artworks, Jesus Christ and other religious figures are depicted as universal symbols, emphasizing the essence of Christianity rather than being bound by the geographical and anatomical contexts of the Jewish and Roman people.

 

2nd June 2023

 

 

POSTSCRIPT

The Solo exhibition by Onobrakpeya  which was extremely well received at the prestigious High Museum in Atlanta, came  to a close, at the end of July. "The Mask and the Cross" is now billed to travel to The Smithsonian Institute, Washington D.C., in the second quarter of 2024 and the National Museum of Montreal, Canada and Vatican Museum shortly after.

3rd Sept 2023

Mudiare Onobrakpeya

Seasonal Greetings

Nativity (Mother and Child), Metal Etching, Bruce Onobrakpeya,1996

Seasonal Greetings

Bruce Onobrakpeya Foundation

41 Oloje Street, Papa Ajao,

Mushin, Lagos, Nigeria

Tribute to Frank Chukwuma Okonta by Onobrakpeya

Chief Frank Chukwuma Okonta

I visited Chief Frank Chukwuma Okonta in his country home in Ibusa, Delta State a few years ago with Kunle Adeyemi, during one of the editions of the Harmattan workshop. I was immediately struck by the serenity of his home where he demonstrated his love for nature through his garden and palatial space, he also had quite a collection of art which he fondly displayed hanging on many walls of his home. Chief Okonta came across as an endearing gentleman with a lot of warmth in his heart. He spoke flawless Hausa, had gone to school in the north and now lived in Lagos.

Okonta was a seasoned administrator given his background as a past director in the Ministry of Information, Secretary General of the Nigerian Olympic Committee, chairman Nigerian Boxing Committee and President of Nigerian Cycling Association. He clearly was a gentleman that understood the inner workings of the Nigerian government, based on his varied and accumulated experience in government service.

Over time he also collected art wherever he travelled to, all over Nigeria and very widely abroad. This collection crystallized in his founding the Nkem gallery, where his collection could be viewed. He also became like Gbadamosi and Olagbaju, a great admirer of Nigerian art, and often could be seen encouraging budding and mature artists by attending and visiting exhibitions and shows very frequently. Okonta visited my show Onobrakpeya and the Harmattan Experiment, at Kadjinol station during  Dakar 2012 Biennale in Senegal.

But by far his greatest and most significant achievement will be helping to found and later becoming the pioneer President of the Art galleries Association on Nigeria (AGAN). AGAN was the umbrella organization for gallery owners all over the country. AGAN also has to its credit staging the historic art Expo which brought together in an Art fair setting many galleries in Nigeria and West Africa to Lagos.

His legacy will have to be helping to raise awareness of the generality of people about the greatness of Nigerian art, through first his acquisition of a personal collection of art, then owning and operating the Nkem gallery in Lagos, and later organizing the epoch making Art Expo, which was a historic and cultural landmark event, Art Expo brought several galleries together to celebrate Nigerian art and once again reestablish Lagos as a notable art epicenter in West Africa.

Frank Okonta loved great traditional and modern music, and in fact was also an avid fan of Fela, he also loved fine dinning and great gourmet, and civil community and society, but above all he was a connoisseur of Nigerian modern art, who had passion to showcase the magic of Nigerian art.

He will be greatly missed by the creative industry where he laboured greatly to show our, elegance and nobility as a people through the fine arts.

Bruce Onobrakpeya

Sterling Qualities of Prof. Stella Idiong by Bruce Onobrakpeya

Chairman’s Opening Speech

At the

Commissioning of the Art Exhibition in honour of Late Prof Stella Idiong

University of Uyo

It is an honour and privilege to be the Chairman at the commissioning of an art gallery and a commemorative exhibition in honour of late Prof. Stella Idiong here in the University of Uyo. I am particularly happy to  be part of the process of immortalizing Stella Idiong because she was one of our very own. As an alumnus of  the Harmattan Workshop, an informal educational forum, which I founded in Agbarha Otor,  Delta State, her participation and creative innovations in printmaking during several workshops she had attended, have been of great inspiration to us. Indeed this connection opened the way for my many visits to Uyo, and my claim as a son of Akwa Ibom.

Stella Idiong was a great teacher with vision, she commissioned an etching Press to be built in Lagos for Printmaking here in Uniuyo Art Department. She knew the important role that art galleries play in the education of the artists, and actually established the first gallery of Art in the University art department, where she encouraged art exhibitions.

With the commemorative Exhibition “Artforms” the function of an art gallery in a University has started to be made manifest. We can see and appreciate beautiful artworks which are not inhibited  by pressures of commercial art that Prof. Idiong, art works and those of faculty members and students  are now been showcased.

Prof.  Idiong’s art particularly the prints are timeless. Equally great  are pieces  by A. John Sampson, Dr. Anselem Nyah, Dr. Okonofua who I already know from their participation in the Harmattan workshops. Works of other members of the faculty  include Efiong Asukwo, Eyefiokio, Dr. Emoidem Udoh, Udom Bassey, Utom Obong – Ajuzie, J. Akim, Itoro Ekong and Ibrahim Bai are also  great.

The students works show great promise. I urge them to take art as a journey of discovery, adopt mentors and patrons and by so doing not even the sky will be their limit.

Unuiyo should be proud to be one of the very few Universities in Nigeria, to establish their own art gallery. I hope in the future, this gallery which is being commissioned today will be a full fledged department with its own director.

University art galleries own collections which along with changing exhibitions attract visitors from outside  the university community, thereby promoting the idea of  ” the town meeting the gown” To this effect I hereby donate my artwork titled Thanksgiving to the Stella Idiong  Art Gallery. This is in thanks to God for her life and her contributions to humanity.

Finally we are grateful to the family of late Prince Sampson Idiong and Late Princess (Professor) Stella O. Bernard Idiong for the magnanimous gift.

We pray that the legacy of Stella idiong, art teacher, Lecturer, Educationist and a distinguished fine artist, may last forever.

Bruce Onobrakpeya NNOM

29^th January 2018