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Why Art?

Art is one of the oldest forms of self-expression. It harbours instinctive and meditative impulses. It makes manifest those subjective, abstract, and fugitive notions, which define a people and record their history. To those who have the flair or talent, art becomes an inevitability. It comes naturally to some although, like many other pursuits, becoming versatile at it requires a certain degree of nurturing. Art is, above all, a powerful tool for inscribing a people’s ethos, aesthetic, and belief systems. It is central to the affirmation of culture and testifies very powerfully to the validity of a people’s history. Art allows people like me to leave their footprints on the thresholds of history.
Training I was a part-time student at Yaba College of Technology (where I studied with Yusuf Grillo, Adebayo Ajayi, P.A. Salu and others) before obtaining my first degree in Painting and Drawing from the Ahmadu Bello University, Zaria (1973). Did you say that was so last century? I followed up with two more degrees: the MA (1981) and Ph.D (1983), both in Art History, from Indiana University, Bloomington, USA. But there are other non-credentialed trainings that have immensely enriched my perspectives and contributed to my own educational growth. Teaching generations of students remains a rewarding experience because the process is, of necessity, dialogic: I learn as much from them as they do from me. And, as a life-long learner, my training remains incomplete.
Medium Two-dimensional, mainly. I use oil, latex, acrylic, graphite, pen and ink, and collage on suitable and appropriate grounds.
Influences As an individual, I’ve come under multifarious influences. I admire the forthrightness, dedication, moral integrity, and altruism of such Nigerians as the late Simon Adebo, Akinola Aguda, Maitama Sule, Olikoye Ransome-Kuti and Bolanle Awe. My favourite artists include Fela Anikulapo-Kuti, Miles Davis, and John Coltrane. I am comforted by those whose lives exemplify the triumph of modesty, creativity, incorruptibility, and hard work.
Inspirations I am inspired by the dedication and the indefatigable spirit of the downtrodden; by the poor but honest and hard-working farmer; the road-side trader; and the humble cobbler who toils relentlessly to eke a living. I am inspired by women whose protective instincts are immortalised by Prince Nico Mbarga in his hit album, ‘Sweet Mother’. I empathise with all spirits that are imbued by strong ethics, dependability, and compassion. In the season of the locust when our collective wealth is being squandered by a privileged but conscienceless class, I draw my inspiration from those who continue to do what is right, even when others are not watching.
Best work so far My best work, either as an academic or artist, is yet to be produced.
Least satisfying work I am my own best critic. I take cognisance of the varying degrees of conceptual and methodological approaches that sustain my work and discard whatever I find to be deficient or unsuccessful. Each signed artwork remains a valid spirit, complete with its own soul and attitude. All my work is accorded equal respect even though they vary in their demands and temperaments. The good, professional artist is one who is not afraid to push boundaries, but who also knows when to stop working on a given piece.
Career high point Each career path has its own peak, which is not necessarily a terminality. I enjoyed my time and work as Art Editor, art critic, and cartoonist at the Daily Times in the 1970s. Yet, I knew that I needed an academic environment to give me the intellectual amplitude that was necessary for my inquisitive spirit. Becoming a tenured, full professor, especially in reputable academic institutions in the U.S., represents yet another milestone. It felt good to be appointed Chair of art departments on two different occasions after two national searches were conducted. As a painter, I continue to explore and challenge myself. Every solo exhibition is issues-oriented. The artist, especially in Africa, advances the march of progress by deploying his or her art to highlight not only formalistic but also socio-political issues. I have very little tolerance for art that rambles.
Favourite artist living or dead Yusuf Grillo; Bruce Onobrakpeya; Hale Woodruff; and Kara Walker.
Ambitions To continue using my work-as scholar and visual artist-to edify concepts that extol our highest ideals. As one whose canvases are receptacles and archives for deeply personal visual soliloquies, I hanker after an art that conscientises my people; an art that is at once progressive and caustic. I want my art to speak to generations unborn-in another century or even another millennium-about the travails of hapless Nigerians; about the profligacy of the ruling class; about the entrenchment of mediocrity; about the institutionalisation of corruption and self-aggrandisement by those whose claim to wealth was through the barrel of the gun or through the ballot box.