Nigeria Content Online

A trio of young artists, Perrin Oglafa, Johnson Uwadinma and
Michael Kpodoh, based in Port Harcourt in the Niger Delta under the umbrella of
Mangrove Artists, held a one-week art exhibition with the theme ‘Views: Tales
of the Mangrove Artists’, at Mydrim Gallery, Ikoyi, Lagos, from the July 16 to
24.

E.J Alagoa, Emeritus Professor of History and mentor to the
trio, observed in the exhibition catalogue, “The Mangrove forest might look
monotonous to the casual uninitiated observer, but hides a surprising array of
colours and life within its foliage and undergrowth. So are the Mangrove
Artists, displaying a surprising variety of talent, from the background of the
Niger Delta environment out of which they have sprung, and in which they have
worked.”

Formed on March 15, 2009 in Port Harcourt, the friends, who have
been exhibiting together for over seven years, are all executives of the
Rivers/Bayelsa chapter of the Society of Nigerian Artists (SNA).

The mangrove tree

Collectively and in turn they pay tribute to the qualities of
the mangrove tree. “It is a tree known for its resilience,” Oglafa points out,
“so it represents a collection of our strength and, since it grows within the
creeks in the Niger Delta where we live and practise art, we have chosen it as
our symbol.”

Uwadinma highlights another characteristic: “It has strong
commercial value, and since art has always been something of great value to
society we can now begin to associate with that characteristic of the
mangrove.” “We also relate to how the mangrove seed floats down to other
regions; in that we are not restricted to our terrain. So we want to spread our
art to the world and the mangroves’ colourful leaves shows in the different
approach in our works,” Kpodoh concludes.

It was a big group exhibition, with each artist contributing 10
large works and 15 miniatures. Oglafa’s big works were mostly in acrylic and
oil on canvas while his miniatures were gouache. He describes his concept and
style as “basically abstract and that appeals to me so much.”

Egbelegbe Dance Predictably, Kpodoh’s main themes centre on
culture, environment and life in the Niger Delta. ‘Egbelegbele Dance’ is one of
the cultural gems of Bayelsa State; a dance of maidens in their pre and early
teens. “I have interpreted the rhythm and motion of these young girls in my own
way, using a bit of pointillism and incorporating a raffia-like style.

In ‘Wasted Wealth’ I depict oil spillage and pollution over time
in the Niger Delta to show that most of the resources are wasted and cause a
lot of ecological problems for the people. And in ‘Hope for Tomorrow’ (a
multi-coloured close-up of a face with a fish skeleton depicting one of the eyes)
it is a symbol that in the face of various threats to life, hunger,
environmental crisis and degradation, people are still living.”

His miniatures are licensed in the United Kingdom by the
Bridgeman Arts Library and one of them has been chosen by a top U.K publisher
as the book cover for a new edition of ‘King Solomon’s Mines’.

Michael Kpodoh describes himself as an experimental artist
“working in all art mediums: charcoal, pastel, pen and ink, oil and acrylic.”
His main theme is water pollution; with a teasing example of a huge charcoal on
canvas filled with scaleless fish.

In his bid not to limit himself he “uses different materials so
I’m not tied to a particular style.” ‘Who’s behind the Mask’, is a work of
current social commentary. “When Ijaw youths started using masks people called
them militants,” he explains, “but I believe that it is the politicians who are
putting on masks on the Niger Delta issue.” ‘Native Pot’ – a pen and ink work
on culinary culture, uses motifs and symbols; crocodile for the strength of the
Ijaw and fish for their principal occupation.

Michael Nwadinma is driven by issues. “I try to look at issues
that concern humanity and find ways to interpret them.” One such poignant work;
acrylic on canvas, is Acid Rain; a visual commentary on the national scare
after a prediction that there was going to be acid rain. “There was panic among
the citizens. Some people said it was a myth but it is real in the Niger
Delta,” Uwadinma justifies his painting.

In ‘Innocence’, a remarkable work of realism, which he argues “is not
influenced by photography,” depicts an ‘alien’/non-indigene woman whom he
“views as innocent of the agitations and pollution of the Niger Delta space.”
‘Full Moon’ is rich in symbols and themes. “It depicts an attainment of
success, richness and wealth; the fullness of it, and because we are talking
about the Niger Delta there is a whole lot of riches and wealth found there. So
it is a colourful canvas rich with symbols of people there!”

Like most young artists their ambitions are about the big hope that their
exposure in Lagos will be a springboard to greater heights. The stark reality
is that there isn’t an appreciative and big enough middle class in the Niger
Delta to patronise them. “Its mostly expatriates who patronise my work,” Kpodoh
admits, adding that, “Art is my calling and I believe that my art will go
beyond this level.”

For Uwadinma the Lagos exhibition was a big learning process. “I see myself
going beyond my imagination and I hope to become a big name in the art scene,
in the world!” President of Mangrove Artists, Perrin Oglafa, credits the idea
of forming the group to an exhibition they held at the 2009 History Concourse
in Port Harcourt. “We hope to raise the awareness of the Arts in Rivers and
Bayelsa States, by having annual exhibitions, and our coming out to Lagos is to
promote Art from the Niger Delta to a wider audience.”

Unaware of the opinions and
sentiments these three artists had earlier expressed, Dr. Frank Ugiomoh,
sculptor, art historian, critic and lecturer Department of Fine Art and Design,
University of Port Harcourt; who wrote the introduction of the exhibition
catalogue; described them as “emerging global artists” at the opening ceremony.
Chair of the occasion, Yemisi Shyllon, an avid collector and great patron of
the arts knowingly observed that the exhibition had “very beautiful art works”
with the apt rider that “It is a Jonathan effect!”