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NDIDI DIKE: A MODERN NIGERIAN FEMALE ARTIST

BY

ODIKE, FELICIA IJEAMAKA

PG/MA/07/42885

PROJECT SUBMITTED TO THE DEPARTMENT OF FINE AND

APPLIED ARTS, UNIVERSITY OF NIGERIA, NSUKKA IN PARTIAL

FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF A

MASTER OF ARTS (MA) IN ART HISTORY

DECEMBER, 2009

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CERTIFICATION

Odike, Felicia Ijeamaka, a postgraduate student in the Department of

Fine and Applied Art with registration number PG/MA/07/42885 has

completed the requirement for research work for the award of Masters

Degree in Art History. The work embodied in this report is original and has

not been submitted in part or in full for any Degree of the University or any

other University.

………………….. …………………..

Prof. Ola Oloidi

Supervisor Head of Department

……………………..

Professor P.S.O. Aremu

External Examiner

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APPROVAL PAGE

This project has been examined and approved for the Department of Fine

and Applied Art, University of Nigeria, Nsukka

By

………………………

Prof. Ola Oloidi

Supervisor

……………………...

Head of Department

………………………

Professor P.S.O. Aremu

External Examiner

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DEDICATION

This project is dedicated to the Almighty God for his guidance and

protection throughout my academic years.

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ACKNOWLEDGEMENT

My unreserved gratitude goes to my supervisor, Professor Ola Oloidi

for his advice, encouragement and constructive criticisms which helped me

to write and complete this project successfully. I give special thanks to my

husband, Mr. Peter Odike, for his unflinching support. I am also grateful to

Rev. Father Raphael Odike, Okwy, Okey and my mother, Mrs. Bridget

Dibor for their encouragement.

I am equally indebted to the entire staff of the Department of Fine and

Applied Arts, University of Nigeria Nsukka for their encouragement and

help in the completion of this work. For typing of this project, I am grateful

to Ulumma, Blessing, Bondy and Ifeyinwa.

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TABLE OF CONTENT

Title Page - - - - - - - - i

Certification - - - - - - - - ii

Approval - - - - - - - - iii

Dedication - - - - - - - - iv

Acknowledgement - - - - - - - - v

Table of Contents - - - - - - - - iv

Picture of the Artist - - - - - - - - viii

List of Plates - - - - - - - - ix

CHAPTER ONE: INTRODUCTION

Background of the Problem - - - - - - 1

Statement of the Problem - - - - - - 2

Objectives of the Study - - - - - - 2

Scope of the Study - - - - - - 3

Significance of the Study - - - - - - 3

Methodology - - - - - - 3

Limitations - - - - - - - - 4

Organization - - - - - - - - 5

Literature Review - - - - - - - - 5

CHAPTER TWO: NDIDI DIKE: A PROFILE

Early life and Education - - - - - - - 13

Profession Training - - - - - - - 17

CHAPTER THREE: NDIDI DIKE THE ARTIST

The Modern Female Artist - - - - - - 23

The Postmodern Female Artist - - - - - - 24

Her Challenges as a Female Artists - - - - - 27

Her Influence on Other Female Artists - - - - - 29

CHAPTER FOUR: NDIDI DIKE; VERSATILITY PERSONIFIED

The Painter - - - - - - - - - 33

The Sculptor - - - - - - - - 35

Analysis of Her Works - - - - - - - 37

Final Assessment of Her Works - - - - - - 90

CHAPTER FIVE: NDIDI DIKE CONTRIBUTIONS TO THE

DEVELOPMENT OF MODERN NIGERIAN ART- - - 94

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CHAPTER SIX: CONCLUSION - - - - - 98

Bibliography - - - - - - - - - 100

Appendix - - - - - - - - - - 104

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PICTURE

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LIST OF PLATES

Plate 1 Pantheon of The Gods - - - - - 39

Plate 2 Northern Architectural Cloth - - - - 40

Plate 3 Amanikpo - - - - - - - 41

Plate 4 Cloth from The Apprentice Weavers Loom - - 42

Plate 5 Mother and Child - - - - - - 43

Plate 6 The Evil Spirits Converge - - - - 44

Plate 7 Moonlight - - - - - - - 45

Plate 8 Uli Form - - - - - - - 46

Plate 9 Adhiambo - - - - - - - 47

Plate 10 Child Custody Battle - - - - - 48

Plate 11 The Elegance Of Uli - - - - - 49

Plate 12 Colours of My Universe - - - - - 50

Plate 13 The Muse‟s Delight - - - - - 51

Plate 14 Creating My Own Fabric - - - - - 52

Plate 15 Earthly Feeling - - - - - - 53

Plate 16 Peaceful Ascension - - - - - 54

Plate 17 Many Rivers to Cross - - - - - 55

Plate 18 Luscious - - - - - - - 56

Plate 19 Glory to Our Fatherland Mural - - - - 57

Plate 19b Glory to Our Fatherland Mural - - - - 58

Plate 20 Ifa Divination Board - - - - - 60

Plate 21 Igbo Mirror Holders - - - - - 61

Plate 22 Chequer Board Series - - - - - 62

Plate 23 The Elders Meeting - - - - - 63

Plate 24 Mahogany Cloth - - - - - - 64

Plate 25 Untitled - - - - - - - 65

Plate 26 Cultural Heritage - - - - - - 66

Plate 27 Full Moon on Cammood - - - - - 67

Plate 28 Deligates to the African Union - - - - 68

Plate 28b Deligates to the African Union - - - - 69

Plate 29 African Passage Participants - - - - 70

Plate 29b African Passage Participants - - - - 71

Plate 29c African Passage Participants - - - - 72

Plate 30 Offering for a Child - - - - - 73

Plate 31 Akwete - - - - - - - 74

Plate 32 Akaraka (Destiny) - - - - - - 75

Plate 33 Pennies and Palms - - - - - - 76

Plate 34 Duality - - - - - - - 77

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Plate 34b Duality - - - - - - - 78

Plate 35 The Couple - - - - - - - 79

Plate 36 A Drop in the Ocean - - - - - 80

Plate 36b A Drop in the Ocean - - - - - 81

Plate 36c A Drop in the Ocean - - - - - 82

Plate 36d A Drop in the Ocean - - - - - 83

Plate 36e A Drop in the Ocean - - - - - 84

Plate 37 Dwellings, Doors and Windows - - - - 85

Plate 38 Voyage - - - - - 86

Plate 39 No Easy Walk to Freedom - - - - 87

Plate 40 Ndigbo Traditional Delegate - - - - 88

Plate 40b Ndigbo Traditional Delegate - - - - 89

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CHAPTER ONE

INTRODUCTION

BACKGROUND

Ndidi Dike graduated from the Department of Fine and Applied Arts,

University of Nigeria Nsukka, in 1984, majoring in painting but later built

her reputation as a sculptor. She is currently involved in sculptural

installations with thematic focus on Africa. Ndidi Dike is one of the

outstanding female contemporary visual artists from Nigeria. From

childhood, Dike has been naturally endowed with innate creative tendencies.

With her formal education, Dike has been fully committed to art. Ndidi Dike

is a reputed sculptor, specialist in mixed media painting, art consultant and

cultural activist; she is also a ceramist, and batik artist who is self-employed

as a full time artist. She is an uli exponent.

Uli is an internationalized traditional Igbo decorative linear painting

tradition, which has been taken to global height by Professor Uche Okeke.

Uli actually became a defining style for Nsukka School where Ndidi Dike

trained as an artist. Dike‟s career has experienced more than ten solo

exhibitions and over fifty-seven group exhibitions all over the world. Her

latest exhibition titled Tapestry of Life took place at National Museum,

Lagos, on 26th April 2008. It was opened by Chief Ojo Maduekwe who was

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the Minister of External Affairs, a solo show exhibiting predominantly

paintings and a few sculptures.1

STATEMENT OF THE PROBLEM

In Nigeria, there are many exhibiting artists who are successful like El

Anatsui, Obiora Udechukwu, Olu Amoda, among others. People have tried

to study them to find out the secrets behind their successes. Today, over a

century from the unofficial pioneering role of Aina Onabolu, there has been

no serious research on female Nigerian artists2. Rather, focus has been

mainly on male artists. The only few exceptions, however, are female artists

like Afi Ekong, Ladi Kwali and Etsu Clara Ugbodoga-Ngu. This is why it is

pertinent here to focus on Ndidi Dike, one of the notable modern Nigerian

female artists who are currently making waves in the Nigeria art industry.

OBJECTIVES OF THE STUDY

Attempts will be made to achieve the following objectives:

1. To examine her contributions to the growth of modern art in Nigeria

2. To find out the extent her activities have encouraged other female

artists

3. To identify the challenges of female artists in Nigeria

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SCOPE OF THE STUDY

The scope of this study is concerned with the life and work of Ndidi

Dike as a modern female Nigerian artist. Attempts will therefore be made at

studying the artist, her works, professional career and status in modern

Nigerian art scene.

SIGNIFICANCE OF THE STUDY

This study is significant for some reasons. It will serve as a foundation

on which students can carry out further researches on women artists in

future. The information in the study would be useful to art students,

especially the females, who would be able to have a comprehensive

knowledge of this female artist; thus serving as an inspiration to them. The

study will also enrich the knowledge of the art historians. Finally this work

will help to broaden the horizon of the society and change its perception of

the image of the female artists.

METHODOLOGY

The study relied heavily on primary and secondary sources. Primary

sources include visiting the artist in the studio for oral interview and

discussions, then sighting the relevant works and photographing them.

Observations in some art seminars and workshops have also fortified the

research energy of the study. Other primary sources include photographs of

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works from private collections, text messages and telephone conversations

with the artist in question.

The Secondary sources are collected from Internet and published

materials such as exhibition catalogues, books, journals, magazines,

newspapers and conference papers. Few undergraduate and postgraduate

projects, dissertations or thesis from some tertiary institutions have also

served as good secondary sources of information.

Methodologically, the study has employed narrative evaluation and

descriptive approaches to process information.

LIMITATIONS

Some factors have created problems for this research. For example,

the long distance between the researcher and the artist who is resident in

Lagos made frequent visits to the subject impossible. Another limitation is

that traveling expenses from one part of the country to another in order to

make contact with the artist were enormous and this naturally limited the

frequency of the researcher‟s travel to some sources of information. The

artist on the other hand was so busy that she cancelled appointments on

many occasions. Some of the works produced by the artist were no longer in

her possession and could not be located. Some in private collections could

also not be reached.

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ORGANISATION

The entire work is broken into six chapters. Chapter one consists of

introduction and methodology, while chapter two is devoted to Dike‟s early

life, education and professional training. In chapter three, the focus is on

Dike as a modern female artist with postmodern tendencies, her influence on

female artists and the challenges she faced as an artist. Chapter four

examines Ndidi Dike as a versatile painter and sculptor, and the analysis and

final assessment of her works. Dike‟s contributions to the development of

modern Nigerian art are discussed in chapter five while chapter six brings

the study to a conclusion.

LITERATURE REVIEW

Not much has been written and documented on contemporary

Nigerian artists. Even the existing literature on contemporary Nigeria artists

are in form of biographical sketches, exhibition catalogues, reviews,

citations in biographical compilations, lecture scripts, special projects

written by academics and students, articles in newspapers, magazines,

journals and even those written by the artists themselves. It is even worse in

the case of modern Nigerian women artists who are given scanty coverage.

Kojo Fosu `s 20th Century Art of Africa attempts to trace the development of

contemporary African art from 1900 to its early 1980s by presenting

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biographies of artists with brief sweeping analysis and discussions of their

individual works3.Older generation artists like Ladi Kwali, Kamala Ishag,

are the focus of his study. However, the younger generation artists who were

still evolving were not accommodated in this work.

New Currents, Ancient Rivers: Contemporary African Artist In A

Generation of Change by Jean Kennedy ranks among the most ambitious

research on contemporary African art by its scope and focus4. The author

weaves together the various aspects of art like painting, sculpture, poetry,

prose, music and theatre. Female artists are her focal point, though she also

acknowledges the dominance of men in the arts.

She mentions traditional female artists like the mothers of

Uche Okeke and Festus Idehen. She also recognizes the pioneer female

artists like Etso Clara Ugbodaga – Ngu and Afi Ekong but dwells more on

the arts of Collete Omogbai and Sokari Douglas Camp. In Pat Oyelola`s

book titled, Every Man’s Guide to Nigerian Art, the work of the author is in

the category of biographical compilations5. This amply illustrated

publication gives an insight into the personalities of contemporary artists and

their individual philosophies. It is only a commemorative documentary of

Nigerian art.

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Articles in journals and magazines discussing contemporary female

Nigerian artists can be found, in Lawrence Allagoa‟s Exhibition Centre’s

New Home6. Etsu Ngu, a pioneer female artist and teacher whose paintings

and sculptures shown in her sixth solo exhibition in early 1967 at the New

Exhibition Center, Lagos, are analyzed by Lawrence Allagoa in the Nigerian

Magazine.

Ndidi Dike is among the popular modern Nigerian female artists

whose works have received critical reviews from many writers. This has

made it relatively easy for one to have documents on her exhibitions in form

of catalogues, journals, newspapers and magazines, but there is no published

book wholly devoted to Ndidi Dike and her works. In his article,

Contemporary Nigerian Artists: A Betrayal of Masters?, Funso Taiwo

mentions new artists like Nsikak Essien, Ndidi Dike, and Lara Ige among

others7.

Their views on modern Nigerian art, patronage and exhibitions and

their relationship with such older artists like Bruce Onobrakpeya, Demas

Nwoko, Dele Jegede among other are discussed. Chika Okeke‟s article in

Classic Magazine titled “Nigerian Women Artists: Amazons of a New

Order” brings to light prominent female Nigerian artists8. He discusses

Theodora Ifudu, Chinwe Uwatse, Ndidi Dike and Omolara Ige among

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others. Female pioneer artists in the person of Afi Ekong and Theresa Luck

Akinwale were mentioned and their professional courage acknowledged. Ola

Oloidi in his article “Art Patronage and Professionalism: Towards a Golden

Era in Nigeria”, discusses the galaxy of Nigeria artists who showed their

works during Guinness Nigeria sponsored exhibition titled Unity Through

Art:

The above comment is evidence of Ndidi Dike‟s focus as a serious

professionalising artist and her boldness of spirit in competing with

experienced male artists. Kunle Filani in his critique titled, “The Art of

Ndidi Dike as a Poetic Projection of Culture” says: “for Ndidi, figures

especially human figures are out of her visual vocabulary. Except for

coincidental allusions of recent totem images, her formal expressions are

suffused with coded motifs and patterns of culture10

”. Ola Oloidi‟s article,

Philosophical and Ideological Triumvirate, counts Dike among the members

of Nsukka School which has become a movement with global manifestation

when he says: “Today Nsukka School is professionally, intellectually and

The works, which are predominantly paintings, represent twelve

artists whose professional careers are well validated by their

already projecting artistic personalities. The artists represented

are Bruce Onobrakpeya, Kolade Oshinowo, Mike Omoighe,

Obiora Udechukwu, Olu Amoda, and Ndidi Dike … Dike has

suppressed limiting feminity to feature more encouragingly in

her sculptural medium9.

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ideologically made up of Obiora Udechukwu, EL Anatsui, Tayo Adenaike,

Olu Oguibe, Chike Aniakor, Chika Okeke-Agulu, Ola Oloidi as well as

Ndidi Dike, Chinwe Uwatse, Macia Kure (Okeke-Agulu…)”11

.

Kingsley Ene-Orji, in his unpublished M.A Thesis titled Postmodern

Tendencies and Affirmations in Modern Nigerian Art, describes Ndidi Dike

as one of the foremost female Nigerian artists who have carved out a niche

for themselves as sculptors.12

He maintains that Dike‟s eclectic sourcing of

materials by a recourse to her Igbo tradition and that of others to create

modernist work is not a new phenomenon. Bisi Silva sees Dike as, “well

known for her wood sculpted totem poles__

traditionally the preserve of male

sculptors within Nigerian society__

and her wall hanging wood reliefs. After

over a decade of transgressive sculptural practice, Dike successfully added

painting to her artistic repertoire”.13

Silva who gave detailed description of Dike‟s work in the exhibition

titled Wake-into-Bondage talks of the conceptual meaning of these works.

Marcia Kure also sees Dike as a well-established professional sculptor who

has inspired a new generation of female sculptors in her unpublished B.A.

thesis titled Ndidi Dike and Omolara lge: Two Contemporary Female

Nigerian Artists14

.The Challenges of Nigerian Women’s Art by Stella

Idiong picks Dike among the front-liners of unconventional avant-gardes

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and highly experimental post modern expressionists15

. Jerry Buhari‟s article,

“The Changing Female Calender”16

, Chike Aniakor‟s “Crossing Boundaries

Gender Transmogrification of African Art History”17

, and Krydz

Ikwuemesi‟s article “Between Nkiru Nzegwu and The Politics of Gender

Transmogrification”18

, have all made positive comments about Dike‟s

professional career as an artist. From the foregoing, it is obvious that no

detailed work has been done on Dike and her works.

The literatures reviewed are mainly newspaper articles, journals,

publications and exhibition catalogues. Dike has been projected as a

contemporary female artist, an inspiration and role model/ icon to

generations of modern artists, in Nigeria, but many aspects of this radical

female artist are not covered by these works. With the above reviews in

mind, it is evident that there is the need to produce detailed, up- to- date and

comprehensive work which will be a contribution to modern art in Nigeria.

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REFERENCES

1. Interview with Ndidi Dike, 45 Raymond Njoku Street, 10th November

2008, Lagos.

2. Kingsley Ene-Orji, Postmodern Tendencies and Affirmations in

Modern Nigeian Art 1985 – 2005”. M.A. Thesis, University of

Nigeria, 2007, p.2.

3. Fosu Koju, 20th Century Art of Africa, Vol. 1. Zaria: Gaskiya

Corporation Ltd, 1986.

4. Jean Kennedy, New Currents, Ancient Rivers: Contemporary Africa

Artist in a Generation of Change. Washington D.C Smithsonian

Institute Press, 1992.

5. Pat Oyelola, Everyman’s Guide to Nigerian Art; 2nd

Edition (Lagos:

Nigeria Magazine, 1980) pp.77-128.

6. Lawrence Allogoa, “Exhibition Center‟s New Home”, Nigeria

Magazine, No 93. 1967: 126-144.

7. Funso Taiwo, “Contemporary Nigeria Artists: A betrayal of Masters”?

Expression Magazine, April 3, 1992. 16-22.

8. Chika Okeke, “Nigeria Women Artists: Amazons of a New order”,

Classic Magazine. October 5, 1992. 27-29.

9. Ola Oloidi, “Introduction. Art Patronage and Professionalism:

Towards a Golden Era in Nigeria” Guinness Nigeria Ltd. Exhibition

Catalogue. Lagos: 1990.

10. Kunle Filiani (2004). The Art of Ndidi Dike as a Poetic Projection of

Culture. Available at www.kunlefiliani.com. (Accessed 10 August

2008)

11. Ola Oloidi “Philosophical and Ideological Triumvirate: Schools,

Discourse and Styles in Modern Nigerian Art” in Styles, Schools and

Movements in Modern Nigerian Art: National Gallery of Art 2008. p.

14.

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12. Kingsley Ene-Orji Postmodern Tendencies and Affirmations in

Modern Nigeria Art 1985 – 2005, M.A. Thesis, University of Nigeria,

Nsukka, 2007. p.37.

13. Art talk (2008) Ndidi Dike & Bisi Silva. Available at

htt://wordsbody.blogspot.com/2008/02/waka-into-bondage-

talk.html(Accessed 8 August 2009).

14. Marcia Kure “Ndidi Dike and Omolara Ige: Two Contemporary

Female Nigeria Artists”, B.A. Thesis, University of Nigeria, Nsukka,

1993. p. 47

15. Stella Idiong, “Challenges of Nigerian Women‟s Art,” in Nigerian

Women in Visual Art, National Gallery of Art, 2004. p. 169.

16. Jerry Buhari, “The Changing Female Calendar”, in Nigerian Women

in Visual Art, National Gallery of Art, 2004. P. 171.

17. Chike Aniakor, “Crossing Boundaries Gender Transmogrification of

African Art History” in Nigerian Women in Visual Art”, National

Gallery of Art, 2004. p. 157.

18. Krydz Ikwuemesi, “Between Nkiru Nzegwu and the Politics of

Gender Transmogrification” in Nigerian Women in Visual Art”

National Gallery of Art, 2004. p. 164.

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CHAPTER TWO

NDIDI DIKE: EARLY LIFE AND EDUCATION

Ndidi Onyemaechi Dike Nnadiekwe was born on the 16th of June,

1960, in London, England1. She hails from Amaokwe Item, in Bende Local

Government Area, of Abia State, in the eastern part of Nigeria. She actually

spent the early part of her life in London where she attended Mossford

Primary School, Barkingside, England from 1963 to 1969, and Fairlop Girls

Secondary School, Essex, England between 1969 and 1974,before obtaining

her Junior Certificate of Secondary School Education (C.S.E). She then

came back to Nigeria and resumed her secondary school education at the

Queen of the Rosary College (Q.R.C), Onitsha between 1974 and 1976 and

obtained her West African School Certificate (W.A.S.C).

In her revealing conversation with Bisi Silva, Dike said she developed

interest in art around the age of 5 or thereabout2. In her primary school at

Mossford in England, she was exposed early to art experiences both in

human and material resources. Therefore, she always enjoyed any activity

that required the use of hands. She was always attracted to bright colours

and different shapes. During art classes, she liked playing a lot with colour

papers, crayon, clay and paper mache. Ndidi Dike always found such

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experiences exciting and engaging. In her early years at secondary school in

England, Dike revealed that she spent a lot of time making collage; drawing

and painting with watercolour. She even dabbled a little in poetry,

embroidery and learnt also to play the piano. Ndidi Dike loved the sense of

freedom, of interpretation, of exploring different media and, always felt a

sense of peace during creative activities.

Ndidi Dike believes that every individual possesses a supreme gift

within, an innate energy that has its own sense of direction. Some people call

it talent and she believes that hers is anything that involves creativity. On her

return to Nigeria, Dike had a private teacher, as art was not available in her

school`s curriculum. This provided her with the opportunity to experiment

with a diversity of materials such as colour glass beads, shells, seeds and

enamel paints before enrolling to study art at the tertiary level.

Knowing quite well that art would be her life- long endeavour, Dike

entered University of Nigeria, Nsukka, in 1976 but surprisingly opted for

Diploma in Music Education due to little deficiency in her entry

requirements, which disqualified her from gaining admission into the

Department of Fine and Applied Arts. She studied Music from 1976 to 1981

majoring in Voice before being admitted as a direct entry student for

Bachelor of Arts degree in Fine and Applied Arts, which spanned between

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1981 and 1984. When Dike was studying Music Education, she became a

founding member of a multi-racial jazz group known as Mixed-Blood. She

also become a suprano singer of the University Choral Society. Ndidi also

played major roles in two operas, Yeamen of the Guard and Bless the Bride

respectively.

All these culminated into what one could discern as intrinsic creative

tendencies in her blood. On her entry into the Department of Fine and

Applied Arts, Dike chose painting as her area of specialization. Her lecturers

were Uche Okeke, Obiora Udechukwu, Seth Anku, Ola Oloidi, Nnah

Udosen and Chike Aniakor. Courses she was exposed to were life drawing,

life painting, art history and painting composition. The painting composition

course included mixed media technique and this is what Dike specialized in.

Dike was in love with abstraction and stylization, which characterized (and

still does) most of her works. Her expectations about what she could learn in

school to help nurture and exploit her creative inclinations were high. She

was energetic, confident and optimistic about the path she was treading. She

graduated in 1984 with a Second Class lower Division.

Talking about her university experience, Dike did not see it as

challenging as she had expected. Nevertheless, she was interested in

exploring how different media could be incorporated into a traditional

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painterly style. While her classmates were using conventional

media/mediums like oils, acrylics and gouache for painting, Ndidi was busy

using or working with unorthodox painting surfaces like plantain leaves.

Even though she majored in mixed media painting at the University of

Nigeria, Nsukka, Ndidi Dike has acquired a reputation as a sculptor which

actually attests to her intrinsic creative versatility3. When she finished her

university education, Ndidi did the obligatory twelve months National Youth

Service.

While in service, she continued with her mixed media painting

because she had made up her mind to professionalize; that is to become a

professional studio artist based at home in Owerri, Imo State. During her

Youth Service, she served at the Nigerian Telecommunication, Kaduna

between 1984 and 1985. All the works she produced during her service

culminated in her first solo exhibition in 1986, at Multi Purpose Hall,

Owerri. The exhibition was titled Mixed Media Expos’19864. From there

onwards, the sky became her limit. She is well grounded in creative art

despite her gender. Ndidi has about ten solo exhibitions and more than fifty-

seven group exhibitions from 1986 till date. Her late parents were very

supportive and encouraged Ndidi in her chosen career when they were alive.

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PROFESSIONAL TRAINING

It should be noted that Ndidi Dike always claims in her curriculum

vitae that, she holds a Bachelor of Arts degree in Fine and Applied Arts,

rather than narrowing it down to the specifics of specialization. This is an

index of her liberated mind because she never allowed her specialization in

painting to box her into a corner, rather she sees herself as an artist in whose

hands all materials could be transformed into aesthetically satisfying end.

Ndidi is an experienced sculptor, an installation artist, and a painter. Dike

has been exposed professionally both at home (Nigeria) and internationally.

Her wonderful relief sculptures and artistic career in general have exposed

her work to the critical attention of notable art critics, art historians and

reporters such as Kunle Filani5, Jess Castellote

6, Krydz Ikwuemesi and

Emeka Agbayi7 among others.

Her works have been reviewed in Nka journal8 and Position

International Art Review9. Ndidi Dike was one among the galaxy of

Nigerian artists, who took part in an exhibition sponsored by Guinness

Nigeria Limited in 1990. This exhibition titled Unity Through Art featured

prominent Nigerian professional artists like Bruce Onobrakpeya, Obiora

Udechukwu, Sina Yussuf, Jimoh Buraimoh and others. Ola Oloidi`s review

18

of the art works, putting Dike on the same pedestal with these professional

giants is an attestation to her artistic exposure and professionalism10

.

In a personal conversation with this researcher11

, Dike revealed that,

in her professional career as an artist, she drew inspiration and

encouragement from her parents: Mr. and Mrs. Dike Nnadiekwe of the

blessed memory. According to her, they were very supportive and her

mother in particular was instrumental to her becoming a successful artist.

She cited Igbo culture with regard to styles and traditional colours such as

red, yellow ochre, white, earth hues and synthetic blues as another source of

inspiration for her works. Dike confessed to love of abstraction, which is a

common phenomenon in her works. She has widened the scope of her

artistic horizons through international exhibitions, workshops, community

art investment projects, major commissions, seminars, symposia,

professional lectures, critical reviews of her works by art critics and

membership of professional bodies.

During the Africa‟ 95 season12

, Ndidi Dike was in England as a

Visiting Artist- in- Residence at the Gasworks, an artist studio complex, in

London. She also took part in both the TENQ/Articulations workshop13

organized in Senegal and the PAMOJA International Sculpture Workshop14

at Yorkshire Sculpture Park, England, which formed part of the Africa‟ 95

19

season events. Dike also took part in a group exhibition organized at Jean

Welz Gallery in South Africa in 2005, the exhibition titled The Rediscovery

of Tradition15

focused on Uli and the challenges of modernity. She has

exhibited in such places as South Africa, United State of America (USA),

England, Senegal, Berlin, Switzerland, Indonesia, Tunisia, Kenya, Canada,

Netherlands, Indiana, Cuba, and Nigeria.

Ndidi Dike is a member of the following professional bodies: National

Directory of Arts, Committee for Relevant Art (CORA), Society of Nigeria

Artists (SNA), Sculptors Guild of Nigeria, The Art Council of the African

Studies Association Washington D.C (ACASA) International Federation of

Business and Professional Women (Young Career Women), Guild of Fine

Artists, Nigeria (GFAN), Canadian and African Business Women‟s Alliance

(CAABWA) among others16

. Dike believes in the spirit of professional

bodies, which creates avenues and opportunities for teamwork. She believes

that it also fosters community or team spirit, which promotes

professionalization and other artistic collaboration like workshops,

community projects and even national issues that have artistic relevance.

She acknowledges the influence of Jimoh Buraimoh, as well as the

inspiration of Ray Soko‟s mixed media technique and Ben Enowonwu‟s

textures on her work. She also recognizes influence of traditional art forms

20

such as masks, carved doors, posts, decorative motifs, Uli designs, motifs

from Akwete and Okene clothes and local mats, in her work. Dike has this to

say about her professional inspirations:

On another note she said:

As I gain more experience and visibility I had the

opportunity to work with national and international art

facilitators, curators etc in diverse capacities such as Art

Adviser/Consultant, and in Exhibitions Jury Panel. I have

attended and participated in seminars, symposia,

international workshops and lectures

Ndidi Dike is a serious professional and she admires other

professionals like Bisi Silva (a curator), Nnenna Okorie (a sculptor) Macia

Okeke-Agulu (a painter), Ben Osagie Eluwa among others. Her advice to art

students who are planning to professionalize is to work hard, show total

commitment and be positive and also initiate research.

I will also like to single out my visit in 1994 to Senegal for TENQ

a workshop for painters and sculptors which acted as a prelude to

the African ‟95 season held in Britain. It was an exciting and

engaging experience which provided the opportunity to meet and

work with colleagues from the Francophone countries, South

Africa and Europe, notably with artists such as Mustapha Dime,

Elhadji Sy, Souleymane Keita, Fode Camara, David Kolowane

and Yinka shonibare. I will never forget my meeting with the

sculptor, the late Mustapha Dime and visiting his studio on Goree

Island inside a cliff. It was a great experience and I appreciate the

professional advice that he so generously shared with me17

.

21

REFERENCES

1. Marcia Kure Ndidi Dike and Omolara Ige: Two Contemporary

Nigerian Artists, B.A. Thesis University of Nigeria, Nsukka, 1993.

p.41.

2. Bisi Silva (2005) Ndidi Dike – A Leading Female Contemporary

Visual Artist from Nigeria. Available from http://www.ndidike.com

(Accessed 10 August. 2008)

3. Kingsley Ene-Orji, Postmodern Tendencies and Affirmations in

Modern Nigerian Art 1985-2005. M.A. Thesis, University of Nigeria,

Nsukka, 2007. p.37.

4. Ndidi Dike, Exhibition Catalogue titled Mixed Media Expose 86. June

22-27: Multipurpose Hall, Owerri, 1986.

5. Kunle Filiani (2004) The Art of Ndidi Dike as a Poetic Projection of

Culture. Available at www.kunlefiliani.com (Accessed 20 August

2008)

6. Jess Castellote (2008) Ndidi Dike at CCA, Lagos: A View From My

Corner. Available from http://jesscatellote.wordpress.com (Accessed

20 August 2008).

7. C. Krydz Ikwuemesi and Emeka Agbayi ( 2005), The Rediscovery of

Tradition: Uli and the politics of Culture. Lagos: Pendulum art

Gallery, 2005, p.129.

8. Katy Deepwell (1996), “Reading in Detail the Work of Ndidi Dike”,

Nka Journal of Contemporary African Art. Available from

http://web.ukonline.co.uk (accessed 10 August 2008)

9. Frank Aig-Imoukuede “Art of Ndidi Dike”, Position International Art

Review Vol. 2.

22

10. Ola Oloidi, “Art Partronage and Professionalism: Towards a Golden

Era in Nigeria, Guinness Nigeria. Ltd:. Exhibition Catalogue, Lagos:

1990.

11. Interview with Ndidi Dike, 45 Raymond Njoku Street, 10th November

2008, Lagos.

12. KABASA Exhibition Catalogue, Gasworks Studio and Gallery,

London, England. September 23 November 6 1995.

13. TENQ/Articulations Workshop. St Louis Du Senegal, September 15-

30 1994.

14. PAMOJO International Workshop/Exhibition, Yorkshire Sculpture

Park, England, September 1995 – February 96.

15. Ndidi Dike (2004) Artistic Profile. Available from

www.ndididike.com about ndidi.html (Accessed 20 August 2008).

16. Ndidi Dike (2004) Artistic Profile. Available from

www.ndididike.com about ndidi.html (Accessed 20 August 2008).

17. Ndidi Dike (2005) A Conversation with Bisi Silver. Available from

htt://www.com (Accessed 10 August 2008).

23

CHAPTER THREE

NDIDI DIKE THE ARTIST

In this chapter, Dike who is somewhat possessed with the spirit of

quest and experimentation is here viewed from postmodernist angle and will

also be discussed as a typical modern female artist, also gradually moving

from modern to postmodernist culture, which is the prevailing global

phenomenon. To be discussed also in the chapter is the influences of her

activities on female artists and the challenges she has faced as female artist.

THE MODERN FEMALE ARTIST

Ndidi Dike is an exceptionally active female artist who has to her

credit more than 10 solo and 57 group exhibitions1. She is a versatile artists,

professionalizing in ceramics, painting, textiles and even a man dominated

area, sculpture. Dike is among other younger generation artists who make

use of composite panels pioneered by El Anatsui2, but along different

stylistic plane. She probably wanted to rebel against female absence in this

field, which might be the factor that made sculpture her choice of artistic

expression. It may be because it suits her tactful, yet restless character. Her

reason for being able to achieve this in a society where women are

disadvantaged, and in a field dominated by the men folk, lies in her

professional determination.

24

Dike‟s exclusive area is relief and freestanding sculptures in wood

combined with strange elements like metal, beads, pieces of mirror, cowries,

leather and musical instruments3. These sculptural pieces are made to serve

functional and aesthetic purposes. The Exhibitions circuits are male-

dominated but in several significant exhibitions held both inside and outside

the country, Dike often participated actively. Typical example is Artgrads

UNN exhibition titled Homage (1991)4. Ndidi Dike and Chiwe Uwatse were

the only female among thirty-five male participants. Dike was also a front-

liner in the exhibition tagged The Challenges of Nigerian Women`s Arts5 for

the commemoration of Nigeria‟s 41st independence anniversary in the year

2001 at Abuja and Lagos respectively. Dike is well grounded in creative

history and artistic philosophy. She understands the essence of art and her

purpose as a contemporary female artist.

A POSTMODERN FEMALE ARTIST

Well known for her totem wood poles and her wall hangings as well

as wood reliefs, Dike suddenly decided to add some touch of post

modernism to her artistic creation and treasure bag. Actually, one cannot but

emphasize the need for artists to exercise freedom in the choice of subject

matter and style. The world at large is the constituency of any liberated

artist.

25

The contemporary artist is also bombarded with various new

possibilities, not only from constant travels but also through electronic

interconnectivity. He is therefore regularly subjected to influences from the

array of artistic creativity coming from all over the world. It will be unwise

not to react to these modern tendencies rather; it is ingenuity to appropriate

these variety of visual experiences into a personal style which is a product of

prevalent cultural mood referred to as postmodernism. “Since art is a salient

aspect of culture, it has evolved a postmodern interpretation. Postmodernism

is today seen as a negation of modernism and recourse to past conventions

and art practice”.6

This mode of artistic expression has gained a global currency. Though

it is not yet popular in Nigeria because contemporary Nigerian art practice is

still fixated in modernism, very few artists create works that fit into the

postmodern category, particularly those who are exposed to western art

practice. Some academic and adventurous artists like Sokari Douglas Camp,

a Nigerian artist in diaspora, El Anatsui of University of Nigeria, Nsukka,

Uchechukwu Onyishi, graduate of University of Nigeria, Nsukka, Eva

Obodo, Obiora Anidi, Diplompiizulike and of course Ndidi Dike among

others are involved in postmodernism.

26

In Waka-Into-Bondage7, Dike‟s exhibition at Center for

Contemporary Art (CCA), Lagos, held between 2nd

Feburary and 8th

March

2008: her works took on a more conceptual framework to enable her

actualize ideas researched over a considerable period. This exhibition, was

an excursion into a less familiar territory for her: Installations in form of two

large carved canoes filled with bloodlike liquid and sugar respectively

hanging powerfully from the ceiling, just hovering above the ground, which

was filled with subtle allusion to the “transatlantic passage”. The exhibition

actually takes on the history and the effect of slave trade on the local

population, in this case the coastal town of Badagry. Dike attempts here, to

trigger traces and memories of our forefathers as they walked the last three-

quarter mile into slavery.

Her recent wood panels, also in the show continued her familiar

exploration of the use of motifs in her timber planks and panels. But these

works are less decorative than the previous ones; there is a greater depth of

meaning. As Dike matures as an artist, her works acquires more

appropriation of meaning and less about the formal qualities of patterns and

motifs. It is a gradual movement from modernism to postmodernism, all the

way keeping her characteristic identity as an artist. When asked why she

used pinewood for the panels, Dike replied, “the planks are from harbour

27

pallets. The type of wood is important. Slaves were taken away in wooden

ships and canoes. Their homes and cabins in the new world were also made

out of wood. They gazed out of the wooden windows contemplating their

freedom…”8. Ndidi didn‟t say it, but this is also a formal device: the

smoothness and whiteness of the pine planks act as a counterbalance to the

roughness and blackness of the charred areas and the rusty irons. The tactile

qualities of the found objects, the mirrors, the old coins, the wire mesh, suit

well the plainness of the wood.

Dike‟s Traditional Igbo Women Mirror Holders is an assemblage of

panels and a variety of mirrors used by women in Igboland,

Ndigbo Regalia, and African Historical Cloth among others, are testimonies

of her works with postmodern tendencies9.

HER CHALLENGES AS A FEMALE ARTIST

One of the challenges Ndidi Dike encountered as a female artist was

what one could term gender discrimination. Typical example of this is her

elimination from the Smithsonian Exhibition which took place in 1997 under

the curatorship of Simon otternberg, despite her international stature as an

artist10

. Nkiru Nzegwu an eminent art historian lamented that that two

important female artists with solid creative credentials in the persons of Dike

and Uwatse were left out of this exhibition is enough evidence that this is a

28

general problem associated with Nigerian female artists. Nzegwu actually

saw this sexist bias as obvious in its gender blindness. The dominance of

seven male artists, as against one on the female side is undiluted gender

discrimination. This then brings us to the politics of representation and

gender issue, in shaping of an art exhibit. In a case like this Dike reasoned

that one has to work harder in other to make enough impact in her

profession.

Ndidi also maintained that initially, it is not easy really when one

considers the challenge one encounters in getting sculptural materials like

wood in a predominantly male environment. In wood market women are

non existent and such situation does put her off but she overcame the

challenge because she meant business11

.

Other challenges that could be easily seen through the lens of

outsiders as it concern female artists in general is the lack of participation in

art exhibitions, low self esteem, negative family attitudes and unwillingness

to compete in men‟s world which Ndidi Dike has adequately overcome

through hardwork. Idiong, Stella in her article titled “The Challenges Of

Nigerian Women‟s Art12

” published in the journal of Nigerian Women In

Visual Art stresses also the importance of wealthy women sponsoring

exhibition for female artists, establishing art galleries and accepting female

29

artworks in their galleries. The challenges for female artists are multifarious

but with proper support and encouragement, the Nigerian female artists who

are hard-working, courageous and dynamic will surmount all cultural and

social challenges to stay on the job and contribute significantly to art

development in Nigeria. Dike on her side believes that there is nothing like

challenges if one is determined. She agrees that sculpture is dominated by

men but procurement of wood for her now is no longer a big deal13

.

HER INFLUENCE ON FEMALE ARTISTS

No doubt Ndidi Dike had been presented as an ambitious, active and

creatively experimental artist who has earned the respect of female artists

through hard work. She has held many group exhibitions with notable

female artists like Funke Ifeta, Chinwe Cynthia Uwatse, Ada Udechukwu,

Marcia Kure, Lara Ige among others. Dike‟s determination and contributions

to the advancement of art has encouraged other female artists who are

professionally weak to revive their creative talents. Her exhibitions and

exposure has also restored confidence in female artists who lack professional

rigour, dedication and sophistication in their career. Marcia Kure in her

unpublished theses titled Ndidi Dike and Omolara Ige: Two contemporary

Female Nigerian Artists14

maintains that Ndidi Dike‟s professional rigour

has encouraged and inspired, especially, women helping them to shape their

30

own styles and views in art. She said that Dike is a well established

professional sculptor who has inspired a new generation of female sculptors

despite the domination of the field by men.

Ndidi is constantly set to correct some obnoxious assumptions about

female artists as seen through the lens of certain critics. Marcia Kure an

artist and Nkiru Nzegwu, an eminent art historian, have written about Dike

and her works showing their acknowledgment of her promotion of the image

of female artists in Nigeria.

Dike has served as member of Artist Mentorship Project for women

and children artwork in 2003 and also member of the Exhibition Jury for

Women and War in 2001. It is a competition organized by the International

Committee of the Red Cross. She won the award of best female artist in

2001 presented by Pan African Broadcasting Heritage and Achievements

Awards (PABHA)15

. These achievements won her the admiration of notable

female artists and also exerted great positive influence on up surging modern

young Nigerian female artists. During a discussion the researcher had with

Ndidi Dike about the influence of her artistic activities on female artists, she

maintained that those things written about her and her works could easily be

traced in the internet, because she is on the move and cannot clearly

remember every comment made16

.

31

REFERENCES

1. C. Krydz Ikwuemesi and Emeka Agbayi, The Rediscovery of

Traditions: Uli and the Politics of Culture. Lagos: Pendulum Art

Gallery, 2005. p.212

2. Chijioke Onuora, Historical and stylistic Trends of Wood Burning

Sculpture Techniques Among Nsukka Artist, 1975 – 2007. M.A.

Thesis, University of Nigeria, Nsukka, 2008. p.24.

3. Chike Aniakor, “The Ijele Mask” African Arts, Vol. xi. No. 4, 1978

p.151

4. Artgrads, UNN Exhibition Catalogue Titled Homage March 20-23:

Continuing Education Centre, University of Nigeria, Nsukka 1991.

5. Stella Idiong, “Challenges of Nigerian Women‟s Art” in Nigerian

Women in Visual Art. Nigeria: National Gallery of Art, 2004. p.169

6. Kingsley Ene-Orji, Postmodern Tendencies and Affirmations in

Modern Nigerian Art 1985 – 2005”. M.A. Thesis, University of

Nigeria, 2007 p.1

7. Ndidi Dike “Waka-Into-Bondage” (catalogue) Centre for

Contemporary Arts, Lagos, February 2-March 8 2008.

8. Jess Castellote (2008) Ndidi Dike at CCA, Lagos. Available from

http://jesseastellote.wordpress.com/2008/02/26/ndidi-dike-at-cca-

lagos. (Accessed 20 August 2008)

9. Kingsley Ene-Orji, “Postmodern Tendencies and Affirmations in

Modern Nigerian Art 1985 – 2005”. M.A. Thesis, University of

Nigeria, 2007 p.37.

10. Chike Aniakor, “The Ijele Mask” African Arts Vol. xi. No. 4, 1978. p.

151.

11. Felicia Odike, Personal Discussion with Ndidi Dike at 45 Raymond

Njoku Street, Lagos, March 2009.

32

12. Stella Idiong, “Challenges of Nigeria Women‟s Art in Nigeria Women

in Visual Art. Nigeria: National Gallery of Art, 2004. p. 170

13. Felicia Odike, Personal Discussion with Ndidi Dike at 45 Raymond

Njoku Street, Lagos, March 2009.

14. Marcia Kure Ndidi Dike and Omolara Ige: Two Contemporary

Nigerian Artists, B.A. Thesis University of Nigeria, Nsukka, 1993.

p.47.

15. Ndidi Dike (2004) Artistic Profile. Available from

www.ndididike.com/about ndidi.html (Accessed 20 August 2008).

16. Felicia Odike, Personal Discussion with Ndidi Dike at 45 Raymond

Njoku Street, Lagos, March 2009.

33

CHAPTER FOUR

NDIDI DIKE: VERSATILITY PERSONIFIED

Ndidi Dike is well grounded in creative history. She trained as a mixed

media painter but built her reputation on sculpture. Evidently her numerous

exhibitions proved Ndidi‟s diverse creative essence. She is a competent

carver, an inquisitive painter, a ceramist and sees herself as an artist in whose

hands all materials could be transmitted into aesthetically satisfying ends. She

therefore creates textile and painterly effects even while working with wood.

For her, materials and techniques are means of communication, hence she

manipulates texts and textures of diverse cultures to create art. Through her art

Ndidi creates a curious window through which one can peep into the crevices

of her creative mind1.

THE PAINTER

Ndidi Dike has always been a painter despite her repute in wood

carving. Painting as a branch of art was her area of specialization while, at the

University of Nigeria, Nsukka, studying for her bachelors degree. In her

mixed media painting, Dike displays a stylistic affinity with Jimoh Buraimoh,

a prominent Oshogbo artist who creates mixed media painting using beads

and paints. With her first exhibition Mixed Media Expose 86, at the Multi

Purpose Hall Owerri, Imo State (from 22nd

-27th

June) 1986, Dike launched her

34

professional career. The exhibition featured works done in various media.

These included seeds (cereals), sawdust, corks, gravel, beads, crushed

pebbles, brass chippings, dried grass, plantain leaves and stems and enamel

paint. Other works shown were paintings made by the artist as a child. Here,

the artist tried to promote and expose to the public a non-conventional

painting technique which has not been properly explored by other art students

and artists. Dike‟s early paintings and mixed media paintings consist of

Elegance of Uli, Uli Form, Child Custody Battle, Mother and Child,

Moonlight and Colours of my Universe.

Ndidi Dike loves abstraction and stylization in her paintings with few

exceptions like Elegance of Uli. She is interested in exploring how different

media could be incorporated into a traditional painterly style. This is why she

opted to work with traditional materials like plantain leaves instead of using

conventional medium like oil only. Her paintings are essentially

monochromatic, sometimes heavily textured and marked with simple

anecdotal symbols of culture. She often creates her own pace and space of

reality, culminating in fascinating titles such as Tapestry Of Life, Life Game,

Political Fantasy, Rhapsody in Blue, and Uli Dreamscape among others.

Some of her paintings and images are composed with ingredients of uli

35

calligraphy which qualifies her as an uli exponent and member of the Nsukka

School.

THE SCULPTOR

Ndidi Dike is a sculptor of acclaim who majored in mixed media painting but

taught herself to sculpt. Her primary medium is wood, carved and assembled

in panel forms. She produces single works as part of a larger series using

found objects to enhance the quality of such works. Her relief sculptures rely

on both accumulation of details, „multi-layered‟, textured and a strong tactile

sense2. Dike‟s choice of wood ranges from natural woods like rose wood, elm,

spotted beech, cedar, iroko, pirana, camwood, mahogany, apa, gmelina, and

pinewood which are occasionally enhanced with ink stains that generally

highlight the basic colour of the wood3.

She uses objects from Akan, Fulani and Igbo material cultures and

fuses them together with uli, nsibidi and akwete motifs and designs to create

work that is definitely African. In her works, Ndidi Dike repeatedly uses a

circle motif as spiritual symbol and also visual focus to unify her work. She

uses African imagery and symbols in her production techniques referred to as

mobile mixed media4. Her sculptures are composite assemblages of different

but mainly African woods. A typical example is The Traditional Igbo Women

Mirror Holder. Dike also uses strong vertical design in combination with

36

motifs and patterns which accumulate across the panels emphasizing a

multiplicity of textures and different intensities between burnt carving and flat

surfaces designed to bring the flat pieces of wood to life. Incorporated into her

reliefs are drawn motifs of textile patterns, lizard and tortoise from uli motif

derived from Igbo folk tales. Her style of wood-carving bears an echo of the

carving techniques of Igbo doors5, typical example of such work is Ndigbo

Regalia. Ndidi‟s favourite colours are red, white, umber, siennas, ochres and

sometimes yellow, black and green derived from wood colour, pigments, dyes

and acrylics. Her colour is mostly restricted to earth colours. The introduction

of colour to her works may be due to the fact that she specialized in painting

which influences her sculptural works. This combination affords her the

opportunity of synthesizing the two art forms

As mentioned earlier Ndidi Dike favoured relief sculptures with few

exceptions like African Passage Participants and Delegates to the African

Union which are sculptures in the round, in the form of totem poles.

Dike actually is unusual among her female contemporaries in her

adoption of carving as her sculptural specialty. Evidently, her works are a

critical re-engagement with traditional forms, a search for a new identity, from

the perspective of the modern African artist. Some of her noted carved works

are Pantheon of The Gods, Northern Architectural Cloth, Amanikpo,

37

Mahogany Cloth, Cultural Heritage, and Full Moon on Camwood among

others.

ANALYSIS OF HER WORKS

Ndidi Dike‟s art works cover a broad spectrum of media, styles and

techniques. She has produced works ranging from mixed media paintings to

mixed media sculptures and in between. She has also produced ceramics and

ceramic-related sculptures. Her works are characterized by abstractions and

stylization, which give them prominently African features and outlook: Her

medium of expression is wood with which she creates variegated forms of

relief-sculptured assemblage in panel forms. She produces single works as

part of larger series. She incorporates uli, nsibidi, and akwete motifs and

design in her works. In her panels, Akan, Fulani and Igbo material cultures are

fused together to create something definitely African.

Dike has many works of art to her credit, which she creates in Africa

imagery, symbol and concept. She produces burnt carvings and with her

power tools makes incisions on wood panel. These wood panels, it should be

noted, are often cut into pieces and later joined together to form a cohesive

whole.

Dike groups her works into interesting headings like Uli Suites of

Paintings, Mixed Media, Totem Poles and Relief among others. Apart from

38

Uli Suites of Paintings, others are sculptural works executed with woods and

enhanced with found objects which are either in relief form or freestanding as

the case may be.

MIXED MEDIA

In her Mixed Media Ndidi chose woods of different colours, grains and

density in her work. She incorporates the traditional Igbo palette white-nzu,

uhia-red, ochre-odo, uli-blue and black which is achieved with an acetylene

touch and numerous other elements to create sculptural reliefs that combined

painting and sculpture9. These styles she maintains actually appeal to her new

found sensibilities and artistic challenge. One of these mixed media works is

Pantheon of the Gods (Plate I). It is pertinent to know that in this sculpture,

only natural wood colouring is exploited for compositional and design effect.

It is a twenty-three door-post like carving. Each of the poles, individually

worked, seems to represent a god in African mythology; like the Amadioha,

Otutunzu, Sango, and Ikenga, among others. The pieces consist of mansonia

wood (dark), oak (ochre), edo (brownish yellow), akparata (streaked), and red

camwood. The colours range from sepia to blackish brown and from golden

yellow to reddish brown. On the surfaces

of these carved gods are intricate chisel marks, which define the composite

whole.

39

Another mixed media titled Northern Architectural Cloth (plate 2) has

the characteristics of mural decorations found mostly in the northern part of

Nigeria, particularly on the walls of Emirs‟ palaces. It consists of six defined

architectural features distinctly segmented by plain colours of apa wood, dyed

wood and areas designed with leather. This beautiful work has three

horizontal designs of varying sizes across its breadth with two curved

designed shapes on the lower part which ends up on designed edges. The top

part of this sculpture relief has also been designed leaving the remaining two

vertical sides plain. This work produced in 1997 functionally can be used as

beautiful room divider in any Emir‟s palace.

Amanikpo (plate 3) is a relief sculpture produced with found objects,

woods and acrylic. Structurally, the work consists of horizontal section

Title: Pantheon of The Gods

Medium: Mixed wood

Dimension: 61 x 91 cm

Year: 1989

Source :Internet.Ndidi Dike (2005). Mixed media. Available at

www.ndididike.com/mixedmedia.html

Plate 1

40

which appeared like a belt on which the six vertical stripes of woods gained

their support. This horizontal flat surface of the relief sculpture consists of

seven traditional masks painted in varying colours, of black, white and light

orange. The six stripes of woods which run vertically from, the horizontal

stripe are of varying lengths, and sizes with intricate and bold carvings on

their surfaces which make them look like beautiful adire clothes displayed for

their aesthetic appeal.

Title: Northern Architectural Cloth

Medium: Apa wood, leather, wood dye etc

Dimension: 71x 61 cm

Year: 1997

Source : Internet.Ndidi Dike (2005). Mixed media. Available at

www.ndididike.com/mixedmedia.html

Plate 2

41

These intricate carvings are in different shape and colours- geometric shapes

of varying sizes and beautiful lines that run horizontally and vertically in

varying movements and colours of white, dark and light brown, orange and

blue. The biggest stripe of the woods has Dike‟s characteristic burnts executed

across it in two sections. The entire surface and its designs make aesthetic

appeal to the eye. Functionally it would be used for interior decoration in an

Igwe‟s palace.

Title: Amanikpo

Medium: Mixed wood/ found objects, acrylic etc

Dimension: 99x80 cm

Year: 2001

Source: Ndidi Dike

Plate 3

42

Cloth from Apprentice Weaver’s Loom (Plate 4) presents the picture of

cloth weaving process in typical African Culture. This sculptural relief

produced from apa wood consists of two parts, the first section where some

natural colours of the wood is enhanced by beautiful texture and another part

where natural colour of apa wood is dyed with ink and wood dye to

complement it. There are also additions of white paint to create an illusion of

weaving yarn used in production of African rich fabrics.

Title: Cloth from The Apprentice Weavers Loom

Medium: Apa wood

Dimension: 71x 61 cm

Year: 1995

Source: Ndidi Dike

Plate 4

43

Mother and Child (Plate 5) is one of Ndidi Dike‟s early works produced

between 1974 and 1976 when she was still in secondary school. It was

executed with seashells and multiculoured beads. The work presents a picture

of two abstract figures represented as mother and child. The background

colour alternates between dark brown and yellow ochre, giving aesthetic

satisfaction to the observer. Functionally this product could serve as wall

hanging in the reception of hotels, palaces, public buildings and private

homes.

Title: Mother and Child

Medium: Multi coloured glass

beads, seashells, etc

Dimension: 108x61 cm

Year: 1974/1976

Source: Ndidi Dike

Plate 5

44

The Evil Spirits Converge (Plate 6) is typical of Ndidi‟s imagination

which reminds one of the Devil and his evil antics. It is mixed media which

consists of jute rope, sand and multi-coloured glassbeads. The colours used

range from light to darkbrown, yellow and white colour scattered all-over the

rentangular plane used in portraying the ugly faces and shapes of the evil

spirits converging to execute their evil plans on humanity. The work invokes

wired and fearsome reaction on observers. It is nightmare personified.

Title: Evil spirits converge

Medium: Jute rope, multi-

coloured glass beads, sand, etc

Dimension: 127x127 cm

Year: 1984

Source: Ndidi Dike

Plate 6

45

Moonlight (Plate 7) is a mixed media production measuring 90 x 90cm in size.

It is a moonlike shape produced with cork, sand, gravel and acrylic.

Structurally, it consists of an upper dark area, white stripes drawn horizontally

across the moon. Below, purple and brown abstract lines are drawn diagonally

across it with some white patches. The moon is resting gracefully on a dark-

purple background. Functionally, it could serve as wall decoration in parlours

in private homes and even in public places.

Title: Moonlight

Medium:cork,sand,gravel,

acrylic. Dimension: 90 x 90 cm

Year: 1986

Source: Ndidi Dike

Plate 7

46

ULI SUITES OF PAINTINGS

Dike‟s Uli Suites of painting is derived through instinct and

experimentation from uli traditional form of painting specific to Igbo women

from the south eastern part of Nigeria. It is the vegetable dye which is

designed or painted on the body of women during special occasions and

festivals. It is also used to paint murals on the walls of houses through

collaboration of women. Ndidi confessed that: “The attraction for me is

spontaneity, freedom of expression, lyrical qualities and rhythm I encountered

when executing a work10

.

Title:Uli Forms

Medium: Acrylic on canvas

Dimension: 45x40 cm

Year: 2004

Source: Ndidi Dike

Plate 8

47

The first painting in uli suites series under discussion is Uli Form (plate

8). It is an acrylic painting on canvass with the dimension of 45 x 40cm.

Structurally, it consists of four different monochromatic backgrounds cut

across by wavy and long line. This is a beautiful abstract painting where the

artist captures the fluid grace of indigenous forms. The entire arrangement

creates different types of shapes that could be formed by uli designs and

symbols.

Title: Adhiambo

Medium: Acrylic on canvas

Dimension: 45x40 cm

Year: 2004

Source: Ndidi Dike

Plate 9

48

Adhiambo (Plate 9) consists of monochromatic backgrounds that

characterize Dike‟s painting, and a lone abstract figure with axe-like head

bending towards the left side. Evidently, there are marks of uli symbols and

designs distributed strategically on the work. But her painting here is sparse

and she deployed uli symbols in a rather minimalistic key. It is an acrylic on

canvas with the dimension of 45 x 40cm produced in 2004.

Plate 10

Title: Child Custody battle

Medium: Acrylic on canvas

Dimension: 45x40 cm

Year: 2004

Source: Ndidi Dike

49

Another painting in the Uli Suite series titled Child Custody Battle

(Plate 10) is a painting of a separated family struggling over the custody of

their child. It is an acrylic on canvas with the dimension of 45 x 40cm. The

father who is represented in semi abstract form is seen using all his masculine

strength to win the battle. The entire picture captured here is fierce family

battle where the furniture and family properties are scattered and in disarray.

This actually may as well represent the emotional state of children from

separated and chaotic homes which does not augur well for them and the

society. This is a common phenomenon in African culture where children are

highly valued assets.

Plate 11

Title: Elegance of Uli

Medium: Acrylic on canvas

Dimension: 45 x 40 cm

Year: 2004

Source: Ndidi Dike

50

The Elegance of Uli (Plate 11) is a complete designer`s wear or outfit

treated with acrylic on canvas with dimension of 45 x 40xm. The

monochromatic painting consists of a beautiful hat, an elegant blouse and

skirt. The skirt and the hat have plain matching colours while the blouse is

treated with lighter grade of the same colours. All are placed in a position to

create the impression that they are already on the body of the model.

Plate 12

Title: Colours of my Universe

Medium: Acrylic on canvas

Dimension: 108x61 cm

Year: June 2004

Source: Ndidi Dike

51

Another work from Dike‟s Uli Suite of painting is Colours of My

Universe (Plate 12). This work consists of a monochromatic background

which incorporates two half circles of varying sizes located at strategic places

in the painting. Other shapes that appear in the work is a lone twinkling star

up in a dark-blue sky and a faint snakelike shape in light blue colour placed

horizontally across the fore ground of background. The beauty of this work is

enhanced by contrast in the colours of the star up in the blue sky and an

unidentifiable object treated with orange and white colour against the

background. This work is acrylic on canvas measuring 108 x 61cm in size,

produced in June 2004.

Plate 13

Title: The Muse's Delight

Medium: Acrylic on canvas

Dimension: 108x61 cm

Year: June 2004

Source: Ndidi Dike

52

The Muse’s Delight (Plate 13) is made up of very light and bright

background containing an abstract painting of what looks like the half torso

of a musician playing his musical instrument. This work is produced with

bright orange colour with some shapes of brown patches and very light orange

colours. The overall effect of the work is an atmosphere of relaxation, peace

and happiness probably evoked by the music, floating from the instruments,

which is believed universally to be the delight of every soul.

Title: Creating My Own Fabric

Medium: Acrylic on canvas

Dimension: 108x61 cm

Year: June 2004

Source: Ndidi Dike

Plate 14

53

The next painting, Creating My Own Fabric (Plate 14) has two

dramatic undulating lines moving vertically upwards to create a beautiful

contrast against the dark areas they passed through. This work is created only

with simple shapes but accentuated with colours distributed to create a

dramatic effect on the observer. Here the artist draws her inspiration from

traditional textiles, particularly those found in Nigeria to create this beautiful

work. The distribution of light and dark colours at strategic places in this work

also add strength to its beauty.

Plate 15

Title: Earthly Feelings

Medium: Acrylic on canvas

Dimension: 108x61 cm

Year: June 2004

Source: Ndidi Dike

54

The pictorial structure of Earthly Feelings (Plate 15) in summary is of

three thick circle of varying sizes on white patch separated by two horizontal

thick lines of unequal sizes. The background of the painting is rendered in

tints of orange, shades of brown and patches of white. There are remarkable

presence of faint shapes similar to logs of wood and tall grasses which makes

the composition earthy because the earthly environment is associated with

grasses and woods.

Title: Peaceful Ascension

Medium: Acrylic on canvas

Dimension: 45x40 cm

Year: 2004

Source :Uli Suites of Painting(2005). Available at

www.ndididike.com/ulisuite.hml

Plate 16

55

Peaceful Ascension (Plate 16) presents the picture of a trunk of a big

snake, probably a python, ascending up into the spiritual realm. The Python

represents the king of snakes and using it symbolically here may mean the

ascent of a great man probably a powerful king leaving his earthly throne to

occupy a spiritual one. Many Rivers to Cross (Plate 17) is composed of two

half circles in a rectangular background with a little gap at their middle which

may probably be the obstacle to be surmounted before victory is achieved.

Source :Uli Suites of Painting(2005). Available at www.ndididike.com/ulisuite.hml

Title: Many Rivers to Cross

Medium: Acrylic on canvas

Dimension: 45x40 cm

Year: 2004

Plate 17

56

The two shapes may be described as hearts yearning for union in love and

marriage but are prevented from their desire by obstacles of different cultural

background which makes it impossible. Here the artist has the freedom to play

with abstraction, positive and negative spaces and proper colour distribution

to achieve exciting and dramatic effect on the observer.

In Luscious (Plates 18) a reflective interpretation could depict the work

to mean a sweet, attractive and promising venture or future that entails steps

or stages of works and struggles to undergo before the goal is reached. Dike

here has the freedom to play with lyrical and rhythmic movement of her

brush-washes, strokes, colours, textures and forms which all combine to evoke

a dream like state in observer.

Plate 18

Title: Luscious ?

Medium: Acrylic on canvas

Dimension: 45x40 cm

Year: 2004

Source:Uli Suites of Painting(2005). Available at www.ndididike.com/ulisuite.hml

57

Another colourful work titled, Glory To Our Father Land (plate 19) is

a mural painting at the National Museum, Onikan, Lagos. This painting

produced in 2008 by Dike was funded by the Ford Foundation and other

prominent individuals. The work could easily be mistaken for paintings

produced by popular Black American painters like Jacob Lawrence due to

dorminance of bright colours in its execution __

yellow, ochre, blue, green,

orange, violet, white, little brown and black.

Plate 19

Title: Glory to Our Fatherland Mural

Medium: Acrylic on Canvas

Dimension: 109x383 cm

Year: 2008

Source: Ndidi Dike

58

Different faces, some with tribal marks and symbols were deployed in

portraying different people with different tribal identify under one national

umbrella and leadership as a country. It is a work of great length.

Title: Glory to Our Fatherland Mural

Medium: Acrylic on Canvas

Dimension: 109x383 cm

Year: 2008

Source: Ndidi Dike

Plate 19b

59

RELIEF

Ndidi Dike uses woods of diverse qualify and colours drawn from different

cultural backgrounds to create relief panels in which she also incorporates

found objects and elements like bones, cowries, beads among others to

enhance and accentuate their aesthetic qualities.

Her prominent relief sculptures discussed in this chapter are first, Ifa

Divination Board (plate 20) which is structurally a rectangular relief carved

with teak wood. At the centre of the board is the divination circle painted with

ochre. This circle contains four divination symbols produced with cowries and

other found objects. The board itself has beautifully designed edges and three

weavy lines running horizontally on top and below the divination circle

respectively. Two coloured found objects are also placed beside the two sides

of the divination circle. The aesthetic appeal produced by this relief piece lies

in the contrast between the light colour of the divination circle and dark brown

background of the board surface.

60

Title: Ifa Divination Board

Medium: Teak wood, brass object, etc

Dimension: 71x61 cm

Year: 2002

Source: Ndidi Dike

Plate 20

61

Igbo Mirror Holders (Plates 21) produced with teak wood is an

assemblage of panels and a variety of mirrors used in the past by Igbo women.

These mirrors are deployed strategically at the upper part of the panel. At the

lower part, a winding linear design is carved and darkened by wood dye. The

works describe a general vertical orientation and are imbued with hues of

brown in horizontal direction.

Title: Igbo Mirror Holders

Medium: Teak wood, mirror, wood, dye

Dimension: 80 x 92cm

Year: 1995

Source: Ndidi Dike

Plate 21

62

The next relief work titled Chequer Board Series (Plate 22) is a

sculptural relief produced in 2003. It is carved with Gmelina wood and

decorated with bones and acrylic paint. The dimension of the work is 71 x

71cm. Structurally it is rectangular in shape with plain background and

beautifully designed edges. The inner part of the relief is segmented into

sixteen smaller rectangles alternating between carved and elevated plain white

surfaces stringed with found objects which help to harmonize the whole work

to give it an aesthetic appeal. Only one square surface is painted deep red.

Title: Chequer Board Series

Medium: Gmalaina wood, bone, acrylic, etc

Dimension: 71x51 cm

Year: 2003

Source: Ndidi Dike

Plate 22

63

Dike‟s relief sculpture titled The Elders Meeting (Plate 23) produced

with Iroko and acrylic paint has a dimension of 46x92cm. It was produced in

2001, and consists of ten heads and carved traditional patterns. The beauty lies

in the variation of contrasting colours and intricate African designs which

cover the entire surface. Only one head, which is more naturalistic and

unAfrican, appears above the nine Africa heads below as though intruding,

uninvited. The work has been singly carved and then merged into a composite

whole which could function as an aesthetic room divider in public buildings

and palaces.

Title: The Elders Meeting

Medium: Iroko wood, acrylic paint

Dimension: 46x92 cm

Year: 2001

Source: Ndidi Dike

Plate 23

64

The concept of Mahogany Cloth (Plate 24) oscillates between conflicting themes

of beautiful traditional Adire cloth and an aesthetically designed wooden gate on a

geometric structure. The entire work consists of brass objects built into intricate

beautiful design with vertical arrangement. The lower part of the work remains

plain dark red which has been used as a compositional tool to balance the

multicolored patterns and designs on the upper part of the work.

Title: Mahogany Cloth

Medium: African paduka wood, brass objects, etc

Dimension: 84x71

Year: 1990

Source: Relief (2005). Available at www.ndididike.com/relief.html

Plate 24

65

In the next sculptural relief which is Untitled (Plate 25) two separate

planes of unequal dimensions are used to create a vertical structure which

consist of two types of woods (Ebony and Apa) with delicate designs

accompanied with clay beads and bones. The surface of the work has

occasional burnt marks at strategies areas. The entire designs flow down

vertically, beautifully blocked by the lower part of the wood which remain

plain, but aesthetically form a unitary whole with the upper part. This work

was produced in 2001 and measures 84x71cm is size.

Title: Untitled

Medium: Apa wood, clay/coloured beads, ebony, bone, etc

Dimension: 84x71 cm

Year: 2001

Source : Relief (2005). Available at www.ndididike.com/relief.html

Plate 25

66

Cultural Heritage (Plate 26) consists of a combination of techniques of

carving, burning and application of wood dyes and ink stains to enhance the

natural colours of the wood used.

There are also images and designs in diverse colours – white, siennas ,

ochres and browns. Vertical designs that run down the panel are arranged in

different patterns of delicate and bold carvings. Below the panel, natural

colours of different woods used remain untouched but are accentuated with

the same type of texture made with chisel. The whole arrangement is designed

to portray the multicultural nature of our country Nigeria. The sculptural relief

produced in 1999 could be used to decorate the offices of government officials

like the president of Nigeria, governors, and Ministers among others.

Title: Cultural Heritage

Medium: Mixed wood, wood dye, brass objects.

Dimension: 71x60 cm

Year: 1999

Source: Ndidi Dike

Plate 26

67

Full Moon on Camwood (Plate 27) is a rectangular or sculptural relief

produced with mahogany wood, clay beads and acrylics in 2001. Structurally,

it consists of a big dark circular or moonlike shape at the lower part of the

structure, five rectangular carved shapes containing clay beads at their centers

respectively are placed vertically on the structure. It also contains five carved

ozo stools, elegantly carved wavy lines on both sides, burnt linear holes,

textured lower part and beautiful designs arranged in strategic positions.

White, yellow and dark colours are sparingly used to harmonize with the

natural colour of mahogany. This relief sculpture also has beautifully designed

edges and could serve as a room divider in public buildings.

Title: Full Moon on Camwood

Medium: Mahogany wood, clay beads,acrylic.

Dimension: 84x71 cm

Year: 2001

Source: Ndidi Dike

Plate 27

68

TOTEM POLES

Ndidi Dike draws inspiration for production of her totem poles from

house post which is the hallmarks of the Oba house of the Ohafia-Bende-

Abriba belt (her paternal source): an elongated version of the Ikenga from her

maternal source in the Awka; the Yoruba verandah post with its naturalistic

aspects; and the ancestral staff that is common to Benin, Igala and Ijebu11

. The

totem poles are sculpted in varying sizes and forms.

.

Title: Delegates To The African Union

Medium: Mahogany wood, acrylic and metal

Dimension: 183x15 cm

Year: 2002 Source:Totem Pole (2005)Available at www.ndididike.com/totempoles.html

Plate 28

69

One of the totem poles titled Delegates To The African Union (Plate 28)

are sculptural installations produced in 2002 with mahogany, acrylic and

metal. They are stylized African imageries elongated in structure and with

circular metal bases possibly for support, all enhanced with white, deepgreen,

sky blue and yellow colours.

Title: Delegates To The African Union

Medium: Mahogany wood, acrylic and metal

Dimension: 183x15 cm Year: 2002

Source:Totem Pole (2005)Available at www.ndididike.com/totempoles.html

Plate 28b

70

The totem poles actually stand in group as the elected representatives for an

all Africa conference. The aesthetic appeal here lies in the contract between

the deep and light colours used.

Title: African Passage Participants

Medium: Apa wood, metal

Dimension: 183x15 cm

Year: 2003 Source Totem Pole (2005)Available at www.ndididike.com/totempoles.html

Plate 29

71

In African Passage Participants (Plates 29) the structure has intricate

delicately chiseled designs and contrasting bold ones which make them unique

as they stand on their metal base.

Title: African Passage Participants (Side View)

Medium: Apa wood, metal

Dimension: 183x15 cm

Year: 2003 Source: Totem Pole (2005)Available at www.ndididike.com/totempoles.html

Plate 29 b

72

The uniqueness and beauty of the abstract figures also lie in the sameness of

colour of woods used in production of the work. The images stand dignified as

people united by one purpose and destiny. It is a rare work where Ndidi has

expressed a profound concept using sculpture in the round.

Source: Totem Pole (2005)Available at www.ndididike.com/totempoles.html

Title: African Passage Participants

Medium: Apa wood, metal

Dimension: 183x15 cm

Year: 2003

Plate 29c

73

INSTALLATION

In installation Dike liberated her relief sculpture from the wall and

moved some of them into the round. One of these is Offering For a Child

(Plate 30) which depicts a doll with akuabalike features and comblike legs

mounted vertically on the upper part of the work. The doll is hanging at the

middle of steplike openings facing each other. This installation is produced

with mixture of pine and camwood darkened at strategic places with ink while

the base on which it stands has very light colour. This work makes an allusion

to sacrifices associated with families seeking for fruit of the womb. This is a

common phenomenon in Africa where children are highly valued in family

life.

Plate 30

Title: Offering for a Child

Medium: Pine wood, camwood, ink

Dimension: 183x122 cm

Year: 1995

Source: Ndidi Dike

74

Akwete (Plate 31) is an installation with a plane and smooth base but the

background is half covered with beautifully incised textures in form of small

squares. These squares are coated with red, ochre and black pigments while

the structure of masonia and camwood used have general vertical orientation

in hues of brown. There are a few clusters of the square textures also at the

left top corner of the work which harmonizes with the ones below to create a

beautiful contrast on the entire surface. This work is one of the simulations of

fabric that looks like Akwete Cloth from eastern part of Nigeria.

Plate 31

Title: Akwete

Medium: Masonia/camwood

Dimension: 158x152 cm

Year: 1988

Source: Ndidi Dike

75

Similarly Akaraka (destiny) (Plate 32) is an exploration of the word

destiny, which can be explained from different points of view. Different

people are endowed with different gifts and talents by God. The artist used

solid semi abstract figures and forms, positive and negative spaces to convey

her meaning. The use of palms in this work is connected to the Igbo belief that

one‟s destiny is written on his palm. The medium used here is Iroko tree

which is believed to be important and is the tallest tree in Igbo land.

Rationalizing its use in the creation of Akaraka could mean that one‟s destiny

is important and cannot be changed or exchanged.

Title: Akaraka (destiny)

Medium: Iroko wood

Dimension: 178x152 cm

Year: 1989

Source: Ndidi Dike

Plate 32

76

In the refreshingly free-standing work titled Pennies and Palms (Plate

33), Dike addresses the theme of slavery, depicting a convoy of kidnapped

women and men bound in ropes of bondage. Slave trade occurred as a result

of greed and vanity of many African rulers who were in turn rewarded with

mirrors, gun powder and alcohol in exchange for their people. The people

were taken to America and were forced to work in plantations under

subhuman conditions. There are textures used on the base of the work, then

body of the slaves to indicate clothes. The works are covered with green,

orange, white and hues of brown. The human figures portrayed in this work

are generally stylized.

Plate 33

Title: Pennies and Palms

Medium: Iroko wood, rope

Dimension: 168X152 cm

Year: 1987

Source: Ndidi Dike

77

Another work titled Duality (Plate 33) paints a literal and metaphoric

picture of struggle for supremacy. It depicts two hefty figures in victory and

loser stance. The victor raises his hands in victory while the loser bends his

head in shame of defeat. Duality could be interpreted as the struggle between

political opponents during elections. It has global implications. The figures

and background are treated in varying colours of brown, little white, orange,

blue and hues of purple. The back view has a vertical line broken by a large

hole at the centre. It is produced with cedar wood and rope. Both figures have

robes tied across their waist.

Title: Duality (Back View)

Medium: Cedar wood, rope

Dimension: 176x152 cm

Year: 1987

Source: Ndidi Dike

Plate 34

78

The Couple (Plate 35) constructed with cedar wood, rope and found

objects consists of an abstract structure probably a chair on which sits the

husband while the wife brings some refreshments to him. The couple

depicted here are a modern couple.

Title: Duality (Front View)

Medium: Cedar wood, rope

Dimension: 176x152 cm

Year: 1987

Source: Ndidi Dike

Plate 34b

79

The background is treated with ochre and white while the actual composition

is treated with brown, red, black and white. Next, A Drop in the Ocean (Plate

36) are two installations inform of white canoes filled with sugar and blood-

like liquid dangling from the ceiling.

Title: The Couple

Medium: Cedar wood, rope, etc

Dimension: 183x122 cm

Year: 1987

Source: Ndidi Dike

Plate 35

80

The bloodlike liquid represents blood shed during and after transatlantic slave

trade while sugar represents rewards received by the African chiefs for sale of

their people to the white man. These rewards are in form of snuff, gun

powder, hot drinks and other items imported by the white man. The two

canoes ironically represent and remind one of the modes of such tragic

voyages. Dike‟s visits to Badagry in 2002 and 2007 were the catalyst for

Waka-into-Bondage12

.

Title: A Drop in the Ocean.

Medium: Pine wood, iron shell, bloodlike liquid, acrylic

Dimension: 366x 122cm

Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at

www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html

Plate 36

81

Dwellings Doors and Windows (Plate 37) is a recent wood panel produced in

2008. Pine wood, mirrors, old coins wire mesh and other found objects were

deployed in its production.

Title: A Drop in the Ocean.

Medium: Pine wood, iron shell, bloodlike liquid, acrylic

Dimension: 366x 122cm

Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at

www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html

Plate36b

82

The type of wood used for panel is a reminder of the wooden ships in which

the slaves were transported to the new land.

Title: A Drop in the Ocean.

Medium: Pine wood, iron shell, hot drinks, sugar, acrylic

Dimension: 366x 122cm

Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at

www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html

Plate36c

83

Their dwelling places and cabins were also made out of wood. Structurally,

the work is an assemblage of pine planks whose smooth and white nature acts

as a counter balance to the rough and black charred areas and found objects

located at strategic places. There is evidence of use of motifs on the base of

the planks and other parts of the panels.

Title: A Drop in the Ocean.

Medium: Pine wood, iron shell, hot drinks, sugar, acrylic

Dimension: 366x 122cm

Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at

www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html

Plate36d

84

Voyage (Plate 38) is one of the slavery images of Waka-into Bondage exhibited

by Ndidi Dike at the Centre for Contemporary Art (CCA) Lagos. It presents the

picture of somber rectangular structure consisting of a paddle placed horizontally

across the top part of the work.

Title: A Drop in the Ocean.

Medium: Pine wood, iron shell, hot drinks, sugar, acrylic

Dimension: 366x 122cm

Year: 2008 Source: Arts talk(2008)Ndidi Dike & Bisi Silva. Available at

www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html

Plate36e

85

Different colours of woods-dark ochre and brown were used in combination

with found objects, acrylic and other attachment to achieve stunning effect on

the observer. Within the wooden composition is a dark rectangular window

encased within half-oval, half- rectangular shape crossed vertically by a long

ash coloured plank with brown patches of the lower part.

Title: Dwellings Doors and Windows.

Medium: Pinewood, mirror, iron.

Dimension:122 x 91 cm

Year: 2008

Source: Ndidi Dike

Plate37

86

The paddle placed across the upper part of the work symbolically

reminds one of the means of such tragic voyage. Here Dike creates work that

explores Igbo and Nsukka styles with uncommon insight.

Title: Voyage.

Medium: Medium wood, acrylic, iron.

Dimension: 109 x 127 cm

Year: 2008

Source: Ndidi Dike

Plate 38

87

Another slavery image produced by Dike is No Easy Walk to Freedom (plate

39). The characteristic use of geometric design and colour distribution

observed in Voyage recurs in No Easy Walk to freedom with some degrees of

variation. The rectangular structure consists of ringed moonlike shape at the

upper part beside three staff with carved lower parts placed at varying lengths

at the right side of the structure. At the upper part too cutting across the three

staff is a graceful curved shape with designed edges. Placed vertically at the

left edge of the panel is an elongated plank which bears Dike‟s characteristic

carvings at strategic places highlighted with dark ink and acrylic.

Title: No Easy Walk to Freedom

Medium: Wood, ink,

iron,acrylic.

Dimension: 109x 127 cm

Year: 2008

Source: Ndidi Dike

Plate 39

88

Below the structure are three horizontal planks welded together with some

planks. The dark circle at the centre has dark burns and patches around it and

seem to represent the unknown and uncertainty future of slaves who have left

their homes for a strange land full of insecurity. The colour combination here

is cool with patches of white at strategic places signaling hope at a distance.

Title: Ndigbo Tradition Delegates.

Medium: Wood.

Dimension: 109x 383cm

Year: 2008

Source: Ndidi Dike

Plate 40

89

Ndigbo Traditional Delegates(Plate 40) is a group of colourful totem-

poles with an aura of magnificency around them. The colours vary from

white, yellow, ochre, orange, dirty-green, light brown, dark brown and dark

colours evenly and beautifully distributed to awake a sensation of pleasant

feelings on the observer.

Title: Ndigbo Tradition Delegates.

Medium: Mixed wood/found object, acrylic.

Dimension: 109x 383cm

Year: 2008

Source: Ndidi Dike

Plate40b

90

The geometric shapes of the poles, at their varying length present the

magnificence of the multiplicity of Igbo cultures. The spatial orientation of the

work reminds one of Dike‟s similarly arranged Pantheon of Gods. This panel

could serve as the traditional panel for Ofala festivals in Igbo land. Even the

negative spaces created by the arrangement of the wooden poles has its own

stunning effect on the observer.

FINAL ASSESSMENT OF HER WORKS

Dike has explored the techniques of drawing, painting, moulding,

mixed media carving and wood burning extensively in the production of her

works, but there are limitations. First of all, her method of production,

particularly her relief sculptures, is more of incision than carving with her

power tools. Looking through her works, one notices prominently the

combination of techniques and materials like ink stains with burnt chisel

marks, chisel marks with found objects or colour stains on wood. Largely,

exploring the mixed media or combination techniques, Dike has not pushed a

singular technique or material to a logical conclusion.

However, she is very good at exploring materials provided by nature in

her works. Compositionally, Dike uses multiple figures and crowd formations.

She also uses masks, faces, geometric design, textures, symbols, lines,

colours, and motifs. With these pictorial elements she attempts to elicit the

91

feeling of mystery and exhilaration in the observers of her work. The visual

symbols and motifs she employs range from uli, nsibidi and akwete. Her

colours are red, white, umber, sienna, ochre, yellow, black and green mostly

derived from wood colour, pigments, dyes and acrylics. Her colour is mostly

restricted to the traditional colours. The introduction of colour on her

sculptural works may have been influenced by the fact that she is trained as a

painter.

Ndidi Dike‟s works combine and reflects the relationships between the

modern and the traditional in contemporary Nigeria art as well as the politics

of “Natural Synthesis” developed by the Zaria Art Society, in Nigeria. Dike‟s

wood panels are seen as a successful synthesis in which “objects from Akan,

Fulani and Igbo material cultures are fused together to create arts that reflect

African origin and are at once dispassionately contemporary. Chika Okeke

highlights the critical relationship of her work to traditional art forms, which

is characteristic of Dike‟s work and its modernity; while also suggesting that

this different relationships may be as a result of her different lived

experience13

. How can we characterize this experience: as African, as

specifically Nigerian, as female, as an artist? One can only say that Dike has

curved out an unusual creative space of her own for her contemporaries.

92

REFERENCES

1 Kunle Filiani (2004) The Art of Ndidi Dike as a Poetic Projection of

Culture. Available at w.w.w.kunlefiliani.com (Accessed 10 August

2008)

2. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka

Journal of Contemporary African Art. Available from

http://web.ukonline.co.uk (accessed 10 August 2008)

3. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka

Journal of Contemporary African Art. Available from

http://web.ukonline.co.uk (accessed 10 August 2008)

4. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka

Journal of Contemporary African Art. Available from

http://web.ukonline.co.uk (accessed 10 August 2008)

5. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka

Journal of Contemporary African Art. Available from

http://web.ukonline.co.uk (accessed 10 August 2008)

6. Marcia Kure “Ndidi Dike and Omolara Ige: Two Contemporary

Nigerian Artists”, B.A. Thesis University of Nigeria, Nsukka, 1993.

p.65

7. Chika Okeke ,Exhibition Catalogue titled Seven Stories About Modern

Art in Africa. September 23 – November 27: White Chapel Art Gallery,

London, England, 1995

8. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka

Journal of Contemporary African Art. Available from

http://web.ukonline.co.uk (accessed 10 August 2008)

9. Ndidi Dike (2005) Mixed Media. Available at

www.ndididike.com/mixedmedia.html (Accessed 8 August 2009)

10. Ndidi Dike (2005) Uli Suits of Painting. Available at

www.ndididike.com/ulisuite.html (Accessed 8 August 2009

93

11. Frank Aig-Imokhuede (2005) Totem Poles. Available at

www.ndididike.com/totempoles.html (Accessed 8 August 2009)

12. Arts talk (2008) Ndidi Dike & Bisi Silva. Available at

htt://wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html

(Accessed 8 August 2009)

13. Chika Okeke Exhibition Catalogue titled Seven Stories About Modern

Art in Africa. September 23 – November 27: White Chapel Art Gallery,

London, England, 1995

94

CHAPTER FIVE

NDIDI DIKE: CONTRIBUTIONS TO THE DEVELOPMENT OF

MODERN NIGERIAN ART

Ndidi Dike has been active in the art scene for over two decades

promoting the image of modern Nigerian art both nationally and

internationally by her worthy contributions in various quarters. She has

represented Nigeria severally during art exhibitions and competitions, winning

many awards among which are; the award of best female artist in 2001,

presented by Pan African Broadcasting Heritage and Achievement Awards

(PABHA) 1

and one of the winners selected for three months international visit

programme, state tour and one month Artist in Residency Foundation for the

Arts Fellowship in Lake Forest at the Ragdale Forest, Illinois, Chicago,

U.S.A.2

Dike is also one of the artists that represented Nigeria at Senegal and

Yorkshire in England respectively during international exhibitions.3

The artist

has served as member of exhibition jury for art competition titled women and

war, sponsored by the International Committee of the of the Red Cross in

2001.4 She served also as member of Artist Mentorship Project for women and

children art work in 2003.5

95

As an executive member cum publicity secretary of Nigerian Society of

Artists (NSA) between 1993 and 1996, Dike promoted the society art

exhibitions by initiating public enlightment programmes in televisions, radio

and newspapers thereby creating and arousing public interests and patronage

of modern Nigerian Arts.6 One of the artist contributions worth of emulation is

the donation of her works to public cause. Dike donated her works at

Yorkshire Sculpture Park, England, in 1992, Senegal in 1995, National

Gallery of Arts and Culture, Abuja. At Agbaraotor specifically in 2010 the

artist worked for more than two weeks and produced a sculpture piece titled

Tribute to the Master Printmaker which she donated to the gallery of Bruce

Onobrakpeya, a famous printmaker.7

The Artist has also involved some young student artists, about six of

them, from Yaba College of Technology in an interactive session during her

waka-into-bondage exhibition in 2008. They worked with her helping in

completion of sugar in canoe project, filling the canoe with sugar and other

materials and getting them ready for exhibition.8

This in essence is an indirect

way of teaching the younger generation of Nigerian artists and development

of future professionals in our society.8

She has served as role model in the

capacity of an adviser to young female and many male artists.9

Then in the

capacity of a professional and art promoter, she has given art talk in America,

96

on radios and televisions, among which is “The Art House” covered by BBC

African Features in 1995.10

It is therefore an undisputable fact that Ndidi

Dike, through her art, has contributed immensely to the development and

promotion of the image of modern Nigerian Art far and beyond Nigerian

borders.

97

REFERENCE

1. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com

/aboutndidi.html (accessed 20 August 2008).

2. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com

/aboutndidi.html (accessed 20 August 2008).

3. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com

/aboutndidi.html (accessed 20 August 2008).

4. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com

/aboutndidi.html (accessed 20 August 2008).

5. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com

/aboutndidi.html (accessed 20 August 2008).

6. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,

2010, Lagos.

7. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,

2010, Lagos.

8. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,

2010, Lagos.

9. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,

2010, Lagos.

10. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com

/aboutndidi.html (accessed 20 August 2008).

98

CHAPTER SIX

CONCLUSION

To Ndidi Dike, gender is not a barrier to reaching her goal. She is an

inspiration and role model to many modern Nigerian artists, particularly the

women folk. She is versatile, an explorer, and a symbol of female artists who

work to overcome challenges .Ndidi believes in versatility; that is, she can be

viewed from men‟s dominated art, as a sculptor, a painter, mixed media artist

even as a postmodernist artist. Dike is energetic and always on the move. She

is even into furniture making as a versatile artist and her success lies in her

determination to succeed. Most of her compositions are based on traditional

themes and African mythology. Her works can be found in many parts of the

world where she has exhibited. She advocates hardwork and self confidence

especially in women artists from Nigeria.

Ndidi has produced uncountable works and she has also taken part in

many art exhibitions and competitions all over the world and won many

prizes. She has contributed immensely to the development of modern Nigerian

art. Dike has and is still promoting the image of Nigeria through her

exhibition and art works. Her commissions, both private and public, are

numerous. Perhaps Ndidi Dike is one Nigerian woman artist who has tried to

bridge the gender gap by demystifying “gender holes” in terms of art mode

99

(sculpture) as seen in her profound and prolific output. She has shown that

what men can do a woman and do it better.

100

BIBLIOGRAPHY

Books

Ikwuemesi, Krydz C. and Agbayi, Emeka. The Rediscovery of tradition: Uli

and the politics of Culture. Lagos: Pendulum Art Gallery, 2005.

Kennedy, Jean. New Currents Ancient Rivers: Contemporary African Artist in

a generation of change. Washington D.C. Smithsonian Institute Press 1992.

Koju, Fosu. 20th

Century Art of Africa, Vol. 1. Zaria: Gaskiya Corporation

Ltd, 1986.

Oyelola, Pat. Everyman’s Guide to Nigerian Art: 2nd

Edition, Lagos: Nigeria

Magazine, 1980.

Unpublished Works

Ene-Orji, Kingsley, “Postmodern Tendencies and Affirmations in Modern

Nigeria Art 1985- 2005. M.A. Thesis, University of Nigeria Nsukka, 2007.

Kure, Marcia. “ Ndidi Dike and Omolara Ige: Two Contemporary Female

Nigerian Artists”. B.A. Thesis, University of Nigeria, Nsukka, 1993.

Onuora, Chijioke. “Historical and Stylistic Trends of Wood Burning Sculpture

Techniques Among Nsukka Artists 1975-2007.” M.A Thesis, University of

Nigeria, Nsukka, 2008.

Magazines

Aig-Imoukhuede, Frank. “Art of Ndidi Dike” Position International Art

Review, Vol. 2.

Allogoa, Lawrence “Exhibition Centres New Home” Nigeria Magazine,

N.O.93, 1967.

Okeke, Chika.; “Nigerian Women Artists : Amazons of a New Order”, Classic

Magazine, October 5, 1992.

Taiwo, Funso. “Contemporary Nigeria Artists: A betrayal of Masters?”

Expression Magazine, Aprils 3, 1992.

101

Exhibition Cataloques and Journals

Aniakor, Chike, “Crossing Bondaries Gender Transmogrification of African

Art History” in Nigeria women in Visual Art” Nigeria National Gallery of Art,

2004.

Aniakor, Chike, “ The Ijele mask” African Arts, Vol. xi. No. 4, 1978 .

Artgrads, UNN Exhibition Catalogue Titled Homage March, 20-23:

Continuing Education Centre, University of Nigeria, Nsukka 1991.

Buhari, Jerry “The Changing Female Calender”, In Nigeria Women in Visual

Art. Nigeria: National Gallery of Art, 2004.

Dike, Ndidi, Exhibition Catalogue titled Mixed Media Expose, 86. June 22-27:

Multipuropose Hall, Owerri, 1986

Idiong, Stella, “Challengs of Nigerian Women‟s Art,” in Nigeria Women in

Visual Art. Nigeria: National Gallery of Art, 2004.

Ikwuemesi, Krydz, “Between Nkiru Nzegwu and the politic of Gender

Transmogrification” in Nigerian Women in Visual Art” Nigerian: National

Gallery of Art, 2004.

KABASA Exhibition Cataloque, Gasworks Studio and Gallery, London,

England. September 23 November 6 1995.

Oloidi, Ola. “Introduction. Art Patronage and Professionalism: Towards a

Golden Era in Nigeria” Guinness Nigeria Exhibition Catalogue. Lagos: 1990.

Oloidi, Ola “ Philosophical and Ideological Triumvirate: Schools, Discourse

and Styles in Modern Nigeria Art” in Styles, Schools, Movements in Modern

Nigeria Art: National Gallery of Art, 2008 .

Okeke Chika Exhibition Cataloque titled Seven Stories About Modern Art in

Africa. September 23 – November 27: White Chapel Art Gallery, London,

England, 1995

PAMOJO International Workshop/Exhibition, Yorkshine Sculpture Part,

England, September 1995 – February 96

102

TENQ/Articulations Workshop. St Louis Du Senegal September 15-30 1994

Internet

Arts Talk (2008) Ndidi Dike & Bisi Silva. Available at

http:llwordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html

(accessed 8 August 2009)

Bisi Silva (2005) Ndidi Dike – A leading Female Contemporary Visual from

Nigeria. Available from http://www.ndidike.com (Accessed 10 August 2008)

Bisi Silva (2008) Waka-into-Bondage. Available from http:llartspeakafrica.

blotspot.com (Accessed 10 August 2008)

Frank Aig-Imokhuede (2005) Totem Poles. Available at www.ndididike.com

/totem poles. Html (Accessed 8 August 2009)

Jess Castellote (2008) Ndidi Dike at CCA, Lagos: A view from my corner.

Available from http:ll jesscastellote.wordpress.com (Accessed 20 August

2008).

Katy Deepwell (1996) Reading in Details the Work of Ndidi Dike: Nka

Journal of Contemporary African Art. Available from

http://web.ukonline.co.uk (Accessed 10 August 2008)

Kunle Filiani (2004) The Art of Ndidi Dike as a Poetic Project of Culture.

Available at www.kunlefiliani.com (Accessed 10 August 2008)

Ndidi Dike (2005) A Conversation with Bisi Silva. Available from

http://www.com (Accessed 10 August 2008)

Ndidi Dike (2004) Artistic Profile. Available from www.ndididike.com/ about

ndidi (Accessed 20 August 2008)

Ndidi Dike (2005) Mixed Media. Available at

www.ndididike.com/mixedmedia.html (Accessed 8 August 2009)

Ndidi Dike (2005) Uli Suits of Painting. Available at

www.ndididike.com/ulisuit.html (Accessed 8 August 2009)

103

Interviews

Odike, Felicia Interview with Ndidi Dike, 45 Raymond Njoku Street, 10th

November 2008, Lagos

Odike, Felicia, personal Discussion with Ndidi dike at 45 Raymond Njoku

Street, Lagos, March 2009.

Odike, Felicia, personal Discussion with Ndidi dike at 45 Raymond Njoku

Street, Lagos, December 2009.

Odike, Felicia Interview with Ndidi Dike, 45 Raymond Njoku Street, 11th

November 2010, Lagos

104

APPENDIX

INTERVIEW WITH NDIDI DIKE BY FELICIA ODIKE, ON THE 10TH

OF NOVEMBER 2008, IKOYI, LAGOS.

Felicia: What is the name of your town?

Ndidi: Amokwe Item, Bende Local Government Area, Abia State.

F: Who and what are your inspirations in your professional career as

studio artist?

N: I draw my inspirations from Igbo culture with regard to traditional colours

such as red, yellow Ochre, White, earth hues and additional blues; with regard

to style also I indulge a lot in stylization and abstraction. My parents when

they were alive were encouraging and supportive. My mother in particular is

instrumental to my becoming a successful artist. You should also note that I

am Nsukka creation.

F: How does belonging to professional bodies help you in your career?

N: It fosters team spirit and creates opportunities for working together.

F: Who are your role models

N: Please note that I admire people like Bisi Silva, a curator; Nnenna Okorie,

a sculptor, Macia Okeke-Agulu, a painter and Ben Osagie Oluwa.

F: It seems you are expanding towards sculptural installations, which

manifested in your “Waka-into-Bondage”. What is the reason for this?

105

N: “Waka-into-Bondage” is about slavery and the concept could only be

adequately expressed in installation and sculptural relief

F: What is your advice to art students

N: They should show positive attitude to work, work hard, show commitment

and intiate research in their works.

F: What are you words of advice to those aspiring to professionalize

especially female artists?

N: Women should work extra hard, it is not easy and they should also have

self-confidence

F: What is the title and place of your recently concluded exhibition?

N: Tapestry of life, new beginnings at National Museum Lagos, 26th April

2008.

F: May I please know the personality who opened the exhibition?

N: It was open by Chief Ojo Maduekwe CFR. It was a solo show

predominantly paintings and a few sculptures.

F: What lessons have you learnt from being artist?

N: Dedication, hardwork, sincerity, because art of nowadays leaves a lot to be

desired.

F: What keeps you going in a field (art) where many women have failed

to be consistent?

106

N: It is something within you that you cannot control. If you are really an

artist, no one can control you. You just have to create; sometimes you have to

make sacrifices

F: Being a woman in the contemporary art scene, don‟t you think it is to

your advantage?

N: When comparing women to woman it is to my advantage because we are

few.

F: Which female artist inspire you?

N: None but I admire Nnenna Okorie and Macia Okeke Agulu.

F: What about the male artists?

N: El Anatsui, Ben Enwonwu and Ray Soko

F: What is your reaction to the fact that there are few women in the

contemporary Nigeria art scenes

N: I don‟t think there is anything wrong about it. Anybody should do what he

or she wants to do. The thing about arts is to be a sincere artists. There are

different levels in being an artist. Some go in because of money, others

because they have natural creative inclination.

F: How do you cope with professional male colleagues?

N: I relate very well with them, even better than most women since men

dominate this profession.

107

F: Most of your works are not naturalistic

N: Yes

F: Why

N: Naturalism is fixed and boring, it is not very interesting. It doesn‟t put you

to the test.

F: What element in uli attracts you?

N: It is very spontaneous and free. It is not rigid

F: So you are uli explorer.

N: Yes

F: How?

N: Because I incorporate it into my work

F: Do you believe in the theory of natural synthesis

N: Yes I believe, that is the blending of modern and traditional styles or

techniques

F: How have you applied it to your work?

N: At times I have dealth with traditional things by giving them modern

interpretation

F: Did you have any contact with sculpture when you were in school?

N: Not at all, it was only painting

F: Was El Anatsui your teacher?

108

N: No

F: Did you ever seel El Anatsui working while you were in school?

N: When I was in school I have never saw him working but it was after I left

school

F: Have you come in contact with his work before you started using

power tools?

N: I think I saw his carving, but never saw him in his studio when I was in

school.

F: Do you see yourself as a sculptor

N: Yes, I sculpt, sometimes I sculpt in clay

F: Why are you attracted to sculpture

N: It is challenging and intensive. A lot of physical work is involved in

creating sculptural forms. There are a lot of things I can express in wood,

definitely, not in painting.

F: Why do you use wood mostly as your medium of expression

N: If you are working with wood something keeps you. I don‟t really have a

background or even any education in handling wood. I just go on exploring,

experimenting, and satisfying that inner urge to create.

F: What will be the future orientation of your work?

N: It is unpredictable

109

F: What more would you like to say about your work, something you

have not been given the opportunity to say and say and you want people

to know about?

N: My works speak for themselves . if my works are admired and respected,

what more do I want? Sometimes you don‟t have any message but your works

are visually pleasing, they are fine to look at, you don‟t have to keep taking

and explaining. Art is more of visual experience.

INTERVIEW WITH NDIDI DIKE BY FELICIA ODIKE, ON THE 11TH

0F NOVEMBER 2010, IKOYI, LAGOS.

Felicia: As a member (exco) of Nigerian Society of Artists (NSA), what

role did you play towards the development of Nigerian Arts?

Ndidi: As publicity Secretary, I carried out public enlightment programmes on

television, radio, and press. Then as Financial Secretary, I am incharge of

collection of dues.

F: How many exhibitions have you sponsored for young artists?

N: None.

F: Where and where have you served in the Jury of Art Competition?

N: If you refer to my CV you can see many.

F: Have you served as a role model to young female and other artists?

N: Yes, in the capacity of adviser to female artists and many male artists.

F: Have you written any book on Art?

N: No.

F: How many artists have you mentored in your studio (industrial

attachment)?

110

N: I invited six student artists from Yaba College of Technology to watch and

work with me in the studio. It is a kind of interactive session, not actually

industrial attachment. This happened during waka-into-bondage exhibition.

They are involved in choosing the media too and filling the sugar in canoe

project with the appropriate materials and getting them ready for exhibition

which is an indirect way of teaching the younger generation of Nigerian

artists.

F: How many works have you donated to public cause?

N: Many, I donated works at Yorkshire, England, Senegal, National Gallery

of Arts and Culture, Abuja,then at Agbaraotor where I stayed for more than

two weeks this year working, I donated a work titled Tribute to the Master

Printer to the gallery there.

F: where and where have you given art talk?

N: At America, you can refer to CV.

F: What is your post and role within Guild of Fine Artists of Nigeria

(GFAN)?

N: I am not an executive member of GFAN, just an ordinary member.

111

EXHIBITION PROFILE

SOLO EXHIBITION

1. Tapestry of Life: Predomonantly paintings and a few sculptures,

National Museum Lagos, 18th- 26

th April 2008.

2. Waka-Into-Bondage: Centre for contemporary art, Lagos 26th

February 2008.

3. Toterns and Signposts: Exhibition of sculptures and multi-media

Goeth-Institute Internations, Lagos, 23rd

November – 6th

December

2002.

4. Cultural Caravan: An exhibition of sculptural relief with multi-media,

Maison de France, Ikoyi, Lagos, Nigeria, 27th January – 26

th February

2002.

5. Textural Dialogue on Wood: An exhibition of sculptural reliefs

Gallaria Romana, Ikoly, Lagos, Nigeria, 27th January – 14

th February

2000.

6. Rhythms in Wood: An exhibition of mixed media, sculpture and

contemporary furniture, National Commission for Museums and

Monuments, Lagos.

112

7. African Serendipity: An exhibit of multi-media sculptural reliefs

invited by Chevron Nigeria, Limited, Lekki, Lagos, Nigeria, 3rd

– 30th

May 1997.

8. Nigerian Contemporary Art: A woman‟s perspective, Ragdale

Foundation for the Arts, Lake Forest lllinois, Chicago, USA, October

1992.

9. Out of the Wood: An exhibition of totem poles, sculptural relief and

ceramic pieces, Soviet Cultural Centre, Lagos, 1st – 4

th July 1991.

10. Form in Festivity: A sculptural mimesis of forms and appliqué from

masquerades of Southeastern Nigeria, Italian Cultural Centre, Lagos,

26th May – 9

th June 1990.

11. Exploration into Nature: Mix media paintings and sculptural pieces,

Goethe Institute, Lagos, 1st – 31

st July 1987.

12. Mixed Media Expo ‟86: Mixed media paintings, Multi Purpose Hall,

Owerri, 22nd

– 27th June 1986.

JOINT EXHIBITIONS

13. Kabasa Exhibits: With two Zambian sculptors, Gasworks Studio and

Gallery, London, England, 29th September – 18

th October 1995.

14. Creative Sorority ‟86: Mixed media paintings, textiles and tapestry,

Multi Purpose Hall, Owerri 1986.

113

GROUP EXHIBITIONS (SELECT)

15. The Rediscovery of Tradition: Uli and challenges of modernity. Jean

Welz Gallery, South Africa 2nd

– 22nd

March, 2005. Alliance Franchise,

Enugu, 16th

– 20th

Februrary 2005. Pendulum Centre for Culture and

Development, Lagos, 22nd

– 29th

January 2005.

16. Painters, Potters and Patchers: Gallery Romana, Lagos, 11th

– 25th

November 2004.

17. Black Culture: In honour of Leo Sarkistan (VOA), National Museum

Onikan, Lagos, 8th

April 2004.

18. Strokes of Value: Exhibition of drawings, paintings and sculptures,

Nigerian Institute of International Affairs, Lagos, 10th March, 2004.

19. Contemporay Nigeria: An exhibition in honour of the president of the

World Bank, Mr. James Wolfesohn, Nicon Hilton, Abuja, 18th – 19

th

March 2004.

20. Journey Through Nigerian Art: Exhibition in commemoration of the

Common Wealth Heads of Government Meeting (CHOEM) Musa Yar‟

Adua Centre, Abuja 9th

– 13th December 2003.

21. Visual Art Exhibition “Ancient and Modern” (500BC – 2003AD):

Anniversary exhibition, Muson Centre, Onikan, Lagos, 17th – 26

th

October 2003.

114

22. African Passage: Six Nigerian Artists at the Air Gallery, 32, Dover

Street Picadily, London, England, 16th – 27

th September 2003.

23. Homage to Asele: An exhibition in honour of Uche Okeke, National

24. Transportale: Crossing-knotting at Nordahnhof Station in Berlin,

Germany, 12th

April – 11th

May 2003.

25. Klein Karoo National Arts Festival: 18 Women African Artists,

Oudtshoom, South Africa, 29th March- 5

th March – 5

th April.

26. Tribute Songs: Multimedia exhibit, shell club, Rumukoroshe, Port

Harcourt, 14th

– 20th

March 2003.

27. Nigerian Women in Art 1960- 2000: Organized by the National

Gallery of Art as part of the 41st Independent Celebrations, Abuja

Council for Arts and Culture 20th September – 20

th October 2001.

28. Reflection of Yester Years: National Gallery of Craft and Design,

25th July- 25

th August 2001.

29. Setting a New Standard: Vivs Gallery of Masterpiece, Ikoyi, Lagos,

August 2001.

30. Women to Women: Weaving Culture Shaping History: Table Art

Centre, Eastern lllinois University, Chicago, 19th

January – 25th

February 2001.Hearst Art Gallery of Saint Mary College, California, 9th

– 15th

September 2001.

115

31. L‟ Africa Che Verra Mostra: Maggio, Italy, 2000.

32. 50 Years of Contemporary Nigerian Art: Muson Centre, Onikan,

Lagos, 13th- 27

th May 2000.

33. L‟ Art Dans Le Monde 2000, Les Musees De la Ville De Paris (by

Beaux Arts Magazine) 9th

September - 8

34. Women to Women: Weaving Culture Shaping History: Indiana

State University, University Art Gallery 2nd

– 3rd

November 2000

35. “Le Temps des Livres” (Time for Books) Exposition Collective

Sculptures- Peintures- Photographies, Maison de France, Lagos-

Nigeria – 14th

– 31st October 1997.

36. 7th Organization of African UNITY/African Economic Community.

African Trade and Tourism Fair, titled Nigerian Art Exhibition, 1997

37. Five Artists Exhibition Contemporary Nigerian Art: Abraka Turf

Club, International Polo Tournament, Abraka, Delta State, April 1996.

38. “Seven Stories about Modern Art in African” Malmo Sweden, 27th

January – 17th

March, 1996.

39. “Looking at Ourselves”: Face/Mask Identity, Etowa Gallery,

Carterville Georgia, USA, 1996.

116

40. “Contemporary Nigerian Art (102 piece exhibit) at the World

Intellectual property (WIPO) Headquarters, Geneva, Switzerland, 25th-

28th September 1995.

41. PAMOJA International Sculpture Workshop/Exhibit: Access

Sculpture Park, England, September 1995 – February 1996.

42. “Seven Stories about Modern Art in African”: Whitechapel Art Gallery,

London, England, 23rd

September – 27th

November 1995

43. Contemporary Art of the Non-Aligned Countries (5 artists

represented Nigeria) Gedung Pameran Department endidikan and

Kabadayan, Jarkata, Indonesia, 28th April – 30

th June 1995.

44. “Dimensions of Harmony”: 28th April – 30

th June 1995.

45. Nigeria Exhibit: (6 artists) African Cup of Nations‟ 94, Lycee EI

Hadj Oumar Foutouyou Tall (ex-Lycee Faidherbe). Saint-Louis du

Senegal. September 1994

46. “Eight African Women Artists”: 181 Gallery, London 1993.

47. “Eight African Women Artists” Greenwich Town Hall, London.

(Black History Week), February 1993.

48. “Uche Okeke 60th

Birthday Retrospective Exhibition”: Goethe

Institute, Lagos, 28th April –14

th May 1993.

117

49. Eight African Women Artists:, Centrum at Ac Cadier en Keer,

Netherland, 2nd

-30th

March 1993. Indiana State University, University

Art Gallery, 2nd

-30th November 1993.

50. “Happy Christmas Africa”: Savannah Gallery London, 19th

December 1992-12th

January 1993.

51. “Uli Different Hands Different Times”: Exhibit of paintings,

drawings, textiles, ceramics, sculptures by 8 women artists,

Continuing Education Centre, University of Nigeria Nsukka, 14th

–17th

July 1992.

52. “Art for Want: Savannah Gallery, London, 18th

– 24th

December 1992.

53. “An Exhibition of Visual Artists”: Organized by the Nigerian

Copyright Council in Collaboration with the Goethe Institute, National

Theatre, Iganmu, Lagos, 27th April 1992.

54. International Federation of Business and Professional Women, xx

Congress:‟ 6th

–9th

November 1992.

55. “Creative Relay SNA” (Society of Nigerian Artists Exhibition:,

National Gallery for Crafts and Design, Iganmu, Lagos. 28th

November – 9th

December 1992.

56. “Nigerian”: (An exhibition of 6 Nigeria artists) Nigerian High

Commission, Accra, Ghana, 14th

– 21st November 1990.

118

57. “Images of the Nigerian Nations”: by the Society of Nigerian

Artists, National Theatre, Iganmu, Lagos, 29th September – 12

th

October 1990.

58. “Unity Through Art”: National Commission for Museum and

Monuments (Sponsored by Guinness Nigeria Limited) Lagos, 21st –

28th July 1990.

59. “Onira Arts Africa”: An exhibition of 11 Nigerian Artists, Canada, 5th

– 18th

April 1990.

60. Nigerian/German Workshop and Exhibit” Painting/mixed

techniques, Goethe Institute, Lagos, 13th – 18

th January 1989.

61. “3rd

Biennale Exhibition”: Wilfedo Lam Centre, Havna Cuba, 1989.

62. “Silver Jubilee Anniversary”: Exhibition of the society of Nigerian Artists

(SNA) National Theatre, Iganmu, Lagos 30th

November – 10th

December 1989.

63. Original Prints from the 3rd

Nsukka Workshop”: Goethe Institute,

Lagos, University of Bayreut, West Germany, Ana Gallery University of Nigeria,

Nsukka. 29th

October – 2nd

November 1987, Franco German Auditorium 4th

– 8th

November 1987.

119

ARTS ADVISORY AND CONSULTANCY ASSIGNMENTS

2003 One of several Arts Consultancy/Advisers to A passage to Africa – A

documentary by (CCTV) China Hong China Hong Central Television

and Phoxenix Satellite TV, Hong Kong. April

2002 Art Consultant for the Development of Digital Communications and

Exchange Network for Artists in Africa, to Gasworks Studios London.

2002 Art Consultant to David Stevens Partner of British Council on

developing future strategies for taking Arts Activities forward in

Nigeria. December

1992-1995 One of Several Art Consultant Advisers to Dr. Clement Deliss,

Artistic Director of Africa ‟95 on the visual arts programme involving

Nigeria‟s participation, seven stories about modern art in Africa,

Whitechapel art Gallery, London.

1995 Art Consultant/Adviser to Mr. Clive Adam on the 1st Kwanju Biennale

in South Korea on Nigeria Art. (Beyond borders Catalogue)

1995 Art Consultant/Facilitator to Contemporary Nigerian Art (102 piece

exhibition of sculptures/painting and Multi-media) at the

headquarters of World Intellectual Property Organization (WIPO),

Geneva, Switzerland. – 25th

– 29th September.

JURY EXHIBITION/COMPETITIONS:

Cate/Pendulum School health And Environment

Awareness Competition Using the Creative Arts (JSS3

SEED Year 2004 Greeting Card Artwork Competition

Organized by Schlumberger and Pendulum Art gallery Olokoto…Songs

of Chime Exhibit, A circle of Onitsha Ado Artists, Pendulum Gallery,

Lagos.11 February, 2003 (4 man jury)

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International Association of Lion Clubs

(Lions District 404 Governor 1997/98

Lions Year (Secondary School Exhibition)

President of a five man Jury for the Art

Competition “Woman and War” by the International Committee of

the Red Cross (ICRC) Lagos May 2001

AWARDS

2001 PABHA (Pan African Broadcasting, Heritage and Achievement

Awards) Culture and Sports for Exceptional Personality in Arts as

Best Female Artists.

2001 PABHA (Pan African Broadcasting, Heritage and Achievement

Awards)

Regional Winner, English Speaking West Africa. Best Artist (Female)

1998 18th Solidra Award for the Art.

WORK IN MAJOR COLLECTIONS/COLLECTORS/PATRONS

(SELECT)

PRIVATE:

General I. B. Babangida, (Rtd.) Former President and Commander-in-

Chief of the Armed Force of the Federal Republic of Nigeria.

Chief (Dr.) A. I. Ekwueme, Former Vice President of the Federal

Republic of Nigeria

Madame Theresa Houphet Boigny )Wife of the Late President of Cote

d‟Ivoire)

121

Hon. Prince Bola Ajibola SAN, KBE.

Mr. & Mrs. E. Odigbo

Dr. Myma Belo-Osagie

Chief Ojo Maduekwe

Mrs. Sylvia Bello.

Chief & Mrs. J. Ovia

Mr. & Mrs. F. Otedola

Captain Usman Muazu

Prof. & Mrs. O. O. Akinyanju

Bashorun J. K. Randle

Chief E. O. S. Olisambu

Chief E. A. Ukpabi

Chief & Mrs. B. Etete

Chief Rasheed Gbadamosi

Mrs. U. Ajukwu

Mr. & Mrs. Robert Mbonu

Mrs. Claudia Anyanso (USIA)

Professor Uche Okeke, Asele Institute Nimo, Anambra State

Mr. F. Imoukhuede, Federal Director of Culture (Rtd.)

Engr. Yemisi Shyllon

Dr. Adhiambo Dagan – Regional Representative Ford Foundation

Office, West Africa

Prof. Anya O. Anya

Ms. Susan Beresford – President of Ford Foundation

Mr. Henry Schmatt – Chairman board of trustees Ford Foundation

Dr. Voumard – Ex UNICEF Representative in Nigeria.

122

Chief Olu Falaye

Major General Ike Nwachukwu (Rtd.)

PUBLIC:

The Presidency Aso Villa Collection Vol. 1

Nigerian High Commission, Jamaica

National Council for Arts and Culture, Lagos.

Lagos State Council for Arts and Culture

British Council, Senegal.

Yorkshire Sculpture Park, England

First Class International VIP Lounge, Murtala Mohammed International

Airport, Lagos – Nigeria.

MAJOR COMMISSIONS (SELECT)

A mixed media painting and a mixed wood traditional reclining wooden

chair executed for the President and Commander-in-Chief of the

Nigerian Armed Forces – General I. B. Babangida, both commissioned

and presented by the Imo State Government during his official visit in

December, 1987.

Privately commission to decorate some designated areas with Igbo

cultural themes at Modotel Limited in Oko, Anambra state, Enugu State

and Owerri in Imo State 1 986.

Abia State Universityv (former Imo State University) students/multi-

purpose hall 1989.

Four traditional reclining chairs and centre table titled “Dabarinze”

commissioned and presented by the Imo/Abia States Government and a

sculpture relief title “Ikenga series 1” also by Bende Local Government

Area to Vice President Augustus Aikhomy during his official Visit to

the State. May 1991.

123

HONOURARY PRESENTATION:

A sculpture relief titled “Dusk” presented by Cadbury Nigeria Plc. To

the President and Commander in Chief of the Armed Forces of the

Federal Republic of Nigeria on his 50th Birthday. Saturday 17

th August

1999. General I. B. Babangida.

COMPETITIONS/FELLOWSHIPS/INTERNATIONAL WORKSHOPS

RESIDENCES:

2004 Goethe Institute/Quintessence Ceramic Workshop/slide presentation

by Inger Sodergren November 3rd

.

2004 National Business Incubation Association 18th International

Conference on Business Incubation April 25th – 28

th Atlanta Georgia

2002 Chronophotographic/chronophotography workshop Centre Culture

Fracaise, Lagos, Nigeria

1995 As part of the Africa ‟95 season. One of the 26 Artists Who participated

in the TENQ/Articulations in St Louis, Senegal. Also one of the 21

Sculptors (from 11 African Countries, U.K. and the USA) who

participated in PAMOJA International Workshop/Exhibit held at the

Yorkshire Sculptor Park, England.

1992 Participated in an international Visual Arts Competition organized by

the Mid-America Arts Alliance Programme, Kansas City. One of 15

winners selected from all over world (one among 3 from Africa) for an

9n International Visit Programme for 3 months, state tour and a 1

month‟s Artists in Residency at the Ragdale Foundation for the Arts

Fellowship in Lake Forest, Illinois, Chicago, USA.

124

MEMBERSHIP OF PROFESSIONAL BODIES (SELECT)

1. National Directory of Arts and Culture – Central Working

Committee Member under the Presidency

2. Committee for Relevant Art (CORA).

3. Society of Nigerian Artists (SNA). (National Member) Executive

member, Assistant Secretary 1989, Financial Secretary 1990,1991,

1992, Publicity Secretary 1993, 1994, 1995, and 1996.

4. MESOMA AFRICA Foundation for the Arts, Executive member: Fine

Arts Programme (one of the three foundation members).

5. Sculptor guild of Nigeria

6. ACASA (The Arts council of the African Studies Association)

Washington D. C.

7. International Sculpture Centre, Washington D. C (Former member)

8. National Museum of Women in the Arts, Washington D.C. (former

member).

9. International Federation of Business and Professional Women

(Young Career Women)

10. Artgrads (Alumni Association of Fine & Applied Art, UNN)

11. Ahiajoku Planning Committee Lecture Series, 1988/1989/1990/1991.

12. Africa ‟95 Nigeria Committee 1995 – 1996

13. former Chairman, Living Earth Nigeria (Environmental NGO)

14. Ozurimo Festival Planning committee 1987.

15. GFAN (Guild of Fine Artists Nigeria)

16. CAABWA (Canadian and African Business Women‟s Alliance)

17. International Association for Volunteer Effort (IAVE) Nigeria.

2001.

18. Imo State Technical Sub Committee for NAFEST, 1990

125

19. NAFEST 90-sponsorship committee. Lagos. NCAC

SEMINARS/SYMPOSIA/INTERNATIONAL WORKSHOPS AND

LECTURE (SELECT)

2004 A Round table discussion On Cultural Networking, Goethe Institute,

Lagos. 26th

June.

2004 Approaching Germany through the Internet, a one day seminar

Goethe Institute, Lagos. 23 June

2004 2nd

Seminar on Art Practice in Nigeria organized by USA (Universal

Studios of Art), National Center for Crafts and Design, Lagos. 26th

February

2004 1st Ben Enwonwu MBE Annual lecture, The place of creative in the

history of man by Chief Rasheed A. Gbadamosi OFC. NIIA (Nigeria

Institute of International Affairs) 25th February

2004 A performance of live literature by Dr. Benjamin Zephaniah. British

Council, Lagos. 21st February

2003 One of several speakers at the Artist Forum for Uche Okeke, O‟Jez

Club, Yaba.

2003 “Earth Day 2003” Public Affairs Sections American Embassy

2003 Women History 2003, Women Leadership and Political

Empowerment, American Consul Generals Residence, Lagos, Public

Affairs Section of the American Consulate. Tuesday 18th

March.

2003 Bridging Culture and Commerce, a round table discussion, Nigerian

German Business Council, Goethe Institute Lagos. 7th March.

2003 Woman Cooperative in Production and Export (One Day Seminar)

organized by Friedrich Nauman Stiftung. Lagos. 4th

March.

126

2003 The Role of Galleries and Museums in Lagos an Societal Impacts.

Goethe Institute, Lagos. 8th

February

2002 African Art or Art from Africa? Contemporary African Art and new

identities round table discussion Goethe Institute Lagos. 11th

November

2002 Dance meets Dance, Le Centre Francaise de Lagos. February 21 – 24

2000 IVAC Lecture Series (Institute 0f Visual Arts and Culture) Lagos.

1995 African American History Month lecture and slide presentation. Uli

Art; a Continuing tradition by Chika Okeke & Sarah Adams U.S.

Information Services, Lagos.

1995 International Sculpture Workshop/Exhibit Yorkshire Sculpture Park,

England.

1995 African Artists: School Studio and Society. The Centre of African

Studies, School of Oriental and African Studies (SOAS) University of

London, England

1996 Becoming a Sculptor … one of the three Artists Shown in the Video

Documentary Presentation. – 23rd

– 24th

.

1995 Mediums of Change: The Arts in Africa ‟95. The Royal African

Society, Brunie Gallery, (SOAS) London, England. – 29th

Sept. – 1st

Oct.

1994 TENQ Workshop International Des Arts Plastiques. – 15th

– 30th

September. St Louis Du Senegal. Participants.

1993 2nd

International Symposia on Contemporary Nigeria Art

LagosUniversity Auditorium April 27th

– May 1st.

1991 “The Black woman and the Problem of Gender: Her Trials,

Triuphs and Challenges”. (Guardian. Lecture) dekivered by Professor

Ali Mazrui, Nigerian Institute of International Affairs. – July 4th

.

127

1990 Seminar on “Nigerian Woman and the Arts”, Arts Theatre,

University of Lagos, Lagos, Nigeria. – July 20th

.

1990 “Thirty years of the Nigerian Woman” Organized by Women

Concerned, Commerce House, Victoria Island, Lagos. – 4th

– 6th

October.

1990 First Annual Copyright Forum, Nigerian Institute of International

Affairs, Lagos, Nigeria, - 6th

– 7th

, November.

1990 World Decade for Culture Development. (Observer Status), National

Theatre, Iganmu, Lagos. Nigeria. – 25th

– 28th

November

TELEVISION APPEARANCES/FILM AND VIDEO DOCUMENTARY

PRODUCTIONS:

April 2003 Interview and Commentator on Art in Africa and Contemporary

Nigerian art the younger generation for „A Passage to Africa‟ –

a documentary series by (CCTV) China Central Television and

Phoenix Satellite TV Hong Kong.

Jan. 2003 Life and Style Nigeria Television Authority (NTA 2) Channel 5

Nov. 2002 Interview on Totems and Signposts exhibition by NTA

network news. Goethe Institute, Lagos.

Jan. 2001 Reuters (African Journal) Interview at the French Cultural

Centre, Lagos on the cultural caravan exhibition by Ndidi Dike

also aired on CNN, BBC, SABC, etc.

Oct. 2001 „A Small world‟ French Television documentary contributions

from Ndidi Dike‟s Sculpture and multi-media reliefs. For Token

Productions by Veronika Petit.

2000 Women to Woman; Weaving cultures shaping history exhibition

documentary by Prof. Dele Jegede, Indiana USA

128

1995 Artist Video Documentary, Pavillion Gallery. – Sept. 18th –

Oct. 29th

. Produced by Zuleika Kingdom for the International

Sculpture Workshop/Exhibit, Yorkshire Sculpture Park, England.

1995 Worldwide international Television Programme Produced by Jo

Shinna for UK TODAY, on the International Sculpture/Exhibit.

1995 Seven Stories about Modern Art in Africa Video

Documentary, Artists talk about their work. Produced by Leo

Smith for the Whitechapel Art Gallery, London

1992 „Profile‟ Channel 10 Lagos. Women in Art. – April 11th

.

1991 Guest Artist, Channel 10 Lagos - July 4th

“The Sunday Show”

Arts Section.

1987 “Feminine World” NTA Channel 10, Lagos

1987 “Young Talents” Channel 6, Aba. Women Forum and Kiddies

Club Corner.

1986 Channel 5, Owerri, Imo State. Nigerian Television Authority

(NTA) has covered all solo exhibits till date.

RADIO INTERVIEWS;

1995 BBC African Features: “The Art House” produced by Fiona

Ledger. – September.

1995 BBC World Service, Features and Arts, Meridian Documentary

Africa ‟95 produced by Penny Boreham, September.

1995 German Service, Live interview at the Whitechapel Arts

Gallery by Arnne Macfenter. - September.

1995 BBC African Service, Live interview at the Whitechapel Art

Gallery by Vicky Ntetema. – September

129

1990 Radio Ghana interview on “Nigeriana‟ an exhibition mounted in

Accra, Ghana. – November 14th

.

1987 Interview on Exploration into Nature – by Federal Radio

corporation of Nigeria. July

PROFESSIONAL LECTURE SLIDE AND PAPER PRESENTATIONS:

Lecture and slide presentation on my work evolving around Nigerian

and Igbo themes on my multi-media and sculptural reliefs. University

of Mississippi, USA. – August 1992 during my International Visitor

programme.

Slide and Professional paper presentation (on my behalf by Prof. Nkiru

Nzegwu) college of art Association Conference in San Antonio, Texas.

Critique and Creativity; Women Art Contemporary Africa and the

Diaspora titled „My Art, My Life, My Heritage”. – January 25th

–

28th

1995. Organised by the African American Studies Programme,

University of Arizona, USA.

UNPUBLISHED PAPERS:

Excess Babbage: The Dilemma of the African Artist

Critique and Creativity: Women Arts Contemporary Africa and the

Diaspora titled „My Art, My Life, My Heritage”.