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US-based artist
Nnenna Okore’s last Lagos exhibition was ‘Of Earth… Barks and
Topography’, held at the Goethe Institut in 2009. The prolific sculptor
remains productive, as evidenced by two solo shows holding almost
simultaneously in New York and London. She talks to NEXT about her art
practice and the new exhibitions.

Have you always been this prolific, because you seem to be averaging two to three shows (or more) a year?

I guess you could
say so. I tend to keep busy even when I don’t have upcoming events; but
my involvement in numerous exhibitions makes it imperative that I stay
productive.

The last
time I wrote about your work, I called you the “the goddess of small
things”, but looking at the large scale of a work like ‘When Heaven
Meets the Earth,’ (in a coming exhibition) the title no longer seems
appropriate.

Thanks, I am very
flattered. To a large extent, my works and processes still rely heavily
on the use of multiple small parts, which ultimately result in
expansive spatial compositions. But unlike previous works, which
accumulate small or mundane things, ‘When the Heavens Meet the Earth’
is created from a subtractive process, where the materials have been
teased and stripped down.

How does it feel to be collected all over the world?

It feels
gratifying. Such appreciation suggests that the works are universally
appealing and meaningful to people of distinct backgrounds.

You are an
Associate Professor and Chair of the Art Department at North Park
University in Chicago – how do you combine your academic work with
regular art production?

It can be
challenging to combine both fields because they are equally demanding.
In my case, I maintain a balance by devoting specific times to my
academic work, creative endeavour and family responsibilities.
Typically, I commit two days in the week to my studio work, which makes
it easy to stay on top of my artistic projects.

For me as an artist, the gestation period of an idea takes much longer time than the execution, how is it like for you?

The opposite may
be true for me. Once an idea is conceived, I instantly get to work;
allowing the idea to develop and evolve simultaneously with my
materials and techniques. Personally, I think artists should give
themselves permission to wonder and deviate from an original idea, from
time to time.

What difficulties (if any) do you face as an African artist in the West?

Not many. Being so
far away from my home country (Nigeria) and not having immediate access
to the people, landscape and indigenous materials or tools, sometimes
limits my sphere of inspiration and ability to accomplish certain
ideas.

What was it like to be featured in the prominent 29th Sao Paulo Biennial?

Until recently,
representation from Africa was almost nonexistent at the Sao Paulo
Biennial. Hence, I was extremely thrilled to be included as one of the
artists from the African continent.

Your works are such an oxymoron – so fragile, yet so strong. How do you balance that duality?

You make an
interesting observation and I am glad you raise this. The fragility
that my works embody, often result from processes that involve pairing
down and fraying my materials. Some added reinforcements provided by
strong adhesives, acrylic mediums, and wire armature gives them their
robustness. Moreover, I believe that the works becomes more engaging
and stimulates the viewer’s curiosity, with such tension.

Tell me
about ‘Torn Apart’ which opened at the David Krut Gallery in New York
on April 28 and ‘Metamorphoses’, opening at the October Gallery in
London on May 6.

Deriving
inspiration from life’s degenerative cycles, the works exhibited at
‘Metamorphoses’ and ‘Torn Apart’ will focus on material transformation
and transition. They will also highlight stunning textures and forms
inspired by the natural and manmade environment. I have become
increasingly obsessed with creating sculptural forms that bear the
marks of time and mimic terrestrial occurrences in the physical
environment. I hope that my works, whose formations also reflect on our
mortality, will inspire people to contemplate the use and preservation
of our earthly resources.

How would you like to be referenced, Nigerian artist, African artist or just artist – period?

Frankly speaking,
I am a little ambivalent about how people chose to refer to me. I am a
Nigerian, I am African and I am an Artist; and therefore well suited
for all the titles. What is of greater concern to me is that my works
remain universally relevant and acceptable.

I always wonder on how to reference you – are you a sculptor or a painter?

Call me an artist; that should work.

If I were allowed a peep into your studio now, what will surprise me?

It may surprise
you to see that my studio is organised in spite of all my trash and
clutter. I guess mine is no different from most artists’ studios that
I’ve visited. I have a pile of newspapers on one end of the room, and
then several shelves house random collected items and materials.

What do you mean when you reference your art making process as “re-purpose”?

‘Re-purposing’ has
to do with reusing discarded materials in ways that changes both the
original function and meaning. For instance, my transformative process
strip newspapers of their ability to give news, and reconfigures them
to bear a resemblance to wooded or earthy objects.

You are one
of the hottest young African artists blazing the trail in the Western
art world today, what and who do you attribute such success to?

Without hard work,
consistency and perseverance I wouldn’t be at my stage in life. But
with such vibrant and competitive global art scene, I think it’s most
important to establish a unique style and visual language that will set
one apart from the crowd.

Any advice
on how to handle your very fragile works in an environment like Nigeria
where I have seen art being rough-handled like yam in the market?

Anyone who really
cares for his or her art collection would not mishandle it. Given the
delicate nature of my art, I expect it to be cared for, protected
against the elements and cleaned occasionally like any other artwork.
And those who have collected my works so far are committed to doing so.

Nnenna Okore’s
‘Torn Apart’ is at the David Krut Gallery, New York, till June 4; and
‘Metamorphoses’ is at October Gallery, London, till June 18.