Nigeria Content Online

The struggle for
the emancipation of the Niger Delta received a boost recently, thanks
to a new exhibition by artist Nelson Edewor. The latest campaign in
support of the cause of the oil rich region came in the form of
‘Totalities’, a solo show held at the Maxin Lotus Motel in Warri, Delta
State. The exhibition opened on Friday April 23 and closed on Friday
May 7.

Nelson Edewor, who
claims divine inspiration for his works on display in the exhibition,
is a unique sculptor. His main medium of artistic expression is a
special kind of wood indigenous to the forests of the Niger Delta.

Another feature of
his work is that each of his carvings tells a story about life in the
Delta. The oil pipelines, the many ethnic groups in the region – all of
these are well represented in the artworks.

Writing in the
exhibition catalogue, Maureen E. Ebulue of the Ezzi Gallery, Warri,
which supported the show, said, “Edewor’s wood carvings are sculptural
works which have… bridged the gap between contemporary and traditional
art as existent in the African multicultural and multi-ethnic
continent. Every piece has a deeply rooted story from history. It is,
therefore, aimed as a collector piece, going beyond its function, to
serve as history.”

H.U.M Bazunu,
sculptor and art historian with Delta State University, Abraka,
observed further that, “In this exhibition, [Edewor] seems to have
touched every aspect of life in the Niger Delta.” Commenting on the
artist’s artist method, Bazunu wrote that, “Like El Anatsui who uses
motorized tools and burning technique to create his aesthetically
pleasing and highly expressive wood sculptures… Nelson Edewor, now
using motorized tools, has gone ideographic and pictographic in his
art. This is with a view to raising his horizon, going beyond
oil/petroleum to touching as many areas of life as possible with his
art.”

Speaking at the
opening event on April 23, Nelson Edewor disabused the minds of those
who hold on to the opinion prevalent in some quarters, that African
carvings are idolatry. He does not share this demonising view of art,
and insists that, far from items of idol worship, carvings such as
those on display in ‘Totalities’ are beautiful decorative objects only.

A guided tour of
some of the exhibits revealed much about the fine and applied art
lecturer’s thematic concerns. ‘Victims’ – with sober faces on five
pieces of carved human forms – is a vivid reflection of the
victimisation endured by the people of the Delta. ‘Faces of Hope’ gives
reassurance and hope in the face of such oppression.

‘Dance the Pain to
Silence’ explores female circumcision. The newly circumcised maiden
dances her pain to silence as her peers sing her praises; in the same
vein, Niger Deltans also dance the pain of environmental and economic
oppression to silence.

‘The Hand that
Giveth’, a beautiful masterpiece carved from a single tree, depicts the
long hand of the oil-rich region that gives from her abundant wealth to
the rest of the nation.

‘Constitutional Conference’- invites all Nigerians to a conference where credible leadership can lead to good governance.

In the words of Grace Ojie, Head of Department of Fine Art, Delta
State University, Abraka, Edewor’s work is “splendid and heavily
culture based, and full of creativity with a unique style of
finishing.” Others noted the very inspirational quality of the works
displayed, as well as their African touch.