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NAME: OLA OLOWU | PROGRAM: MA DIGITAL ARTS | TITLE OF PAPER: Exploring the cultural and psychological effects of Neo- colonialism in Nigeria through the works of two indigenous artists. | DATE: 27 November 2012

Neo-colonialism in Nigeria

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This paper analyzes the extent to which this new form of colonialism – Neo-colonialism, affects Nigeria today. Through the review of the works of two Nigerian artists, Ibe Ananaba – a painter, and Kelechi Amadi Obi – a photographer, the paper sheds light on the current state of Nigeria as regards culture, lifestyle and mindset.

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Page 1: Neo-colonialism in Nigeria

NAME:OLA OLOWU

|

PROGRAM:MA DIGITAL ARTS

|

TITLE OF PAPER:

Exploring the cultural and psychological effects of Neo-

colonialism in Nigeria through the works of two indigenous artists.

|

DATE:27 November 2012

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1. ABSTRACT

Colonization ended in Nigeria in 1960 when the British Empire handed over the reins of power

to the people. Decades later, the after-taste of colonialism still lingers as a bittersweet savor in

the lives of Nigerians. Whilst happy to be an independent nation, free of any form of Western

governance, the ripples of colonialism still resonates deeply in the psyche of the people. Traces

of it can be found in their politics, economy, religion, and especially in their culture – or evolving

culture as the case may be. A new form of colonialism exists where the people are still bound by

the foreigners’ ways and try emulating it to the detriment of theirs’.

This paper analyzes the extent to which this new form of colonialism – Neo-colonialism, affects

Nigeria today. Through the review of the works of two Nigerian artists, Ibe Ananaba – a painter,

and Kelechi Amadi Obi – a photographer, the paper sheds light on the current state of Nigeria as

regards culture, lifestyle and mindset.

Kelechi Amadi Obi’s fashion photography strongly reflects the degree at which Western culture

has influenced the dress sense and moral values of Nigerian youths. Through Kelechi’s

photography, the paper will be evaluating the extrinsic impact on the nation while Ibe’s paintings

portray an intrinsic expose on the psychological impact to the soul of the society.

This research questions just how deeply colonialism is ingrained in the minds of Nigerians today.

As well as point out the roles the media and other forms of western influences have played in

bringing about a change in the values and perceptions of Nigerian youths.

The paper reveals the gulf that exists between what the Nigerian culture and lifestyle was before

colonization and what it is now. The paper also highlights the need for a conscious effort at

preserving, protecting and promoting the nation’s culture.

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2. KEYWORDS

Neo-colonialism. Lifestyle. Culture. Painting. Photography.

3. INTRODUCTION

Art plays a critically important role in the society. It’s functional, utilitarian and aesthetic

purposes are a core part of every society’s existence. From time immemorial and even till now,

art has served to tell the story of societies in ways even the people themselves were not aware of.

Archeologists have figured out the stories and lifestyles of long extinct civilizations through the

art they left behind on walls, vases and other artifacts.

The artist is an orator who sees and re-creates the society in an art form. Hence, who is better

suited to tell the Nigerian story as it is now than two homegrown artists – Ibe Ananaba and

Kelechi Amadi Obi.

The Nigerian story bears a lot of similarity to that of a lot of other once-colonized nations.

History records that whilst under the colonial rule, the colonized tend to associate the lifestyle,

culture and norms of their colonial masters with power and success. This makes them look up to

the ways of the foreigners and try emulating them. Leading to a colonial mentality where

everything foreign is seen as superior to the already existing indigenous counterpart.

Some of our youth are growing with some wrong values and to them those values are ideal. It would require dedication, hard work and time with great belief that it is possible to steer this nation to the right path. (Ananaba to Olowu, 2012)

The people gradually adjust their native culture, language, skin color, and every other aspect of

their lives, to look like that of the foreigners. This way of thinking could become so deeply

ingrained in the mindset of the people such that long after gaining freedom from colonialism, the

people are still subconsciously bound to colonialism. This new form of colonialism is now

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referred to as Neo-colonialism, a term coined by Kwame Nkrumah, a Ghanaian politician and

author. Camareb (2012). [Internet]. defines Neocolonialism as a situation in which such tools as

cultural imperialism are used to control a country, in lieu of either direct military control or

indirect political control. Neocolonialism is further described as socio-economic or cultural

control, ‘…whereby promotion of the culture of the neo-colonist country, facilitates the cultural

assimilation of the colonized people.’ (Camareb, 2012) [Internet]

Kwame Nkrumah, encapsulates the entirety of what neocolonialism is about in his book, Neo-

colonialism – the last stage of imperialism.

The essence of neo-colonialism is that the State which is subject to it is, in theory, independent and has all the outward trappings of international sovereignty. In reality its economic [and cultural] system and thus its political policy, [values and lifestyle] is [are] directed from outside. The methods and form of this direction can take various shapes. (Nkrumah, 1965, p.3)

The use of art to illustrate colonialism, neo-colonialism and other related issues, has long been in

existence. The painting by William-Adolphe Bouguereau in the seventeenth century titled

Motherland further buttresses this point.

(Bouguereau, 1883)

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Motherland depicts Great Britain as a mother of numerous suckling children. Though old enough

to eat staple food, the children are still scrambling for her breast milk which she willing bares for

them with a stoic expression on her face. It goes without being told that the children represent the

different colonized nations which Great Britain has under her colony. The nations appear to be

disorderly, squabbling, infants who depend on the mother for survival.

That is one artist’s depiction of the colonial situation about two centuries ago. Till date, there

have been several other interpretations by different artists, two of which this paper will be

reviewing.

Silliman (2005, p.59) posits that evidence abounds indicating that shifts from colonial to

postcolonial periods can bring about changes in indigenous experiences, opportunities, and

cultures. Igboin (2011, p.6) seems to share a similar view as he states that colonialism stimulated

positive and negative changes in Africa. He was also emphatic in his opinion that colonial rule

was an imposition that unleashed deadly blow on African culture.

Kelechi Amadi Obi’s photography and Ibe Ananaba’s paintings will be giving us insight into the

cultural and psychological effects of colonialism inherent in Nigeria today. Egonwa (1995, cited

in Irivwieri, 2010, p.1) states that there is a relationship between the creative expression of the

various artists and people of Nigeria, in terms of form, subject matter and meaning. Traces of this

connection will be found between Ibe’s paintings and Kelechi’s photography.

4. IDENTITY CHECK, BY IBE ANANABA

No sane society chooses to build its future on foreign cultures, values and systems. Every society is obliged to search deep in its own history, culture, religion and morality in order to discover the values upon which its development and liberation, its civilization and its identity should be based. To do otherwise is nothing less than communal suicide (Magesa 1997, in Igboin 2011, p.7).

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The above quote most probably reflects Ibe Ananaba’s mindset before he started working on his

series – Identity Check, which is what this paper will be reviewing. In Identity Check, Ibe

captures the Nigerian spirit as it is today. He takes us deep into the minds of Nigerians and we

see the conflict and struggle they battle within themselves. The series reveals the inner turmoil in

their hearts about their current lifestyle and the state of the nation. It questions the state of

Nigeria and her worn out value systems.

Identity Check is an artistic potpourri of emotions ranging from pain to laughter; optimism to

skepticism; and an assortment of other expressions that allow the viewer a peek through the

window of the Nigerian soul. Splash of colors melt and dissolve into one another representing

the merge of various cultures and ethnicity that is Lagos, a microcosm of Nigeria.

Lagos is the largest city in Nigeria and a veritable representation of the nation. It’s the starting

point for a lot of trends and change in lifestyle all over the country. This makes it a suitable

sample population to analyze Nigeria, which Ibe has done in Identity Check.

I like to look at Lagos beyond a geographical location – as an ‘ideology’. There’s something here that pulls people together. The communal living is still somewhat visible, and Lagos is dense and vibrant. A lot of hopeful people surround and inspire you, and the entertainment industry also adds vitality. The slang fusions and use of languages open doors to varieties of imaginations. The entire city is like a theatre that grips one’s attention. (Ananaba to Miari, 2012, p.118)

Identity Check is a series of paintings in water color and this paper will be reviewing some of the

works in the series.

The first work under review is a portrait titled The Optimist.

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Fig. 3.1. The Optimist

This is a portrait of a lady looking up for something better. She has two black strips across her

face which has a double entendre: it represents visual footprints which are trademarks of Lagos

public transport system; it also represents tribal marks found on the faces of a number of

Nigerians.

The lady personifies the hopeful side of Nigerians against all odds. Popularly referred to as ‘the

happiest people on earth’, Nigerians are known to be perpetually anticipating a brighter future

for themselves. This is often expressed in vernacular as “E go better”, meaning things will

improve.

This painting is a good introduction to the whole Identity Check series because it states clearly

that regardless of their current identity issues, there’s still a collective hope for the best.

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Fig. 3.2. Shine Ya Eye

The second piece under review is titled ‘Shine your eye’. It depicts the average Nigerian

glancing back with alert eyes and the sides of his lips almost lifting up in a grimace. Across his

face are the same black strips. He has a longing expression on his face as he looks back at the

past - the colonial era. His eyes seem to desire what was left behind. Looking back at the days

when 1NGN was equal to 1pound, as against the 250NGN it is today. The days when the

economy was more stable, as against the constant inflations and fuel price hikes of today. The

days of stable power supply as against the regular power outages of today. The days when the

British colony was still in charge as against the corrupt Nigerian government officials of today.

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This psychological longing for the era of the foreigners and discontent with our own often leads

to cultural cringe.

Cultural cringe, in cultural studies and social anthropology, is an internalized inferiority complex which causes people in a country to dismiss their own culture as inferior to the cultures of other countries. (Miller, Vandome & McBrewster, 2009, book flap)

Fig. 3.3. Wetin?

Wetin is Nigerian vernacular for ‘What?’ Just like the question, that single word ‘wetin’ could be

asked in a myriad of ways. The face in the portrait however is asking with a quarrelsome,

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suspicious, askance look. It is no coincidence that the facial frontal direction is a direct contrast

to the previous painting. This implies that even when Nigerians turn forward from the past to

face the present, it is with suspicion and distrust. There’s no faith in current government or its

systems. The people are mostly skeptical of political issues and legal bills. It is quite common to

hear a Nigerian making derogatory comparisons between Nigeria and other more advanced

countries like England and America. This would support the claim that the lifestyle of a lot of

Nigerians can be said to be under the spell of Americanization - a term for the influence

the United States has on the culture of other countries.

Fig. 3.4 Who Are You?Years after independence, the search for identity continues. ‘Who are you’ represents the

collective search for meaning in the midst of all the influx of values and norms. Cultural

imperialism - the voluntary embracing of a foreign culture by individuals who do so of their own

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free will; has caused a loss of sense of self. The expression on the man’s face is that of deep inner

retrospection. With the voluntary acceptance and preference for western lifestyle in terms of

dressing, music, pop-culture, food, amongst others, the introspective Nigerian has cause to pause

and ask, ‘Who am I really?’

Fig. 3.5 Breaking NewsChin cupped, eyes glued, flickering images, rapt attention, all set the stage for yet another news

broadcast, movie or telenovela. The power the media wields over the minds of its avid viewers is

very phenomenal. Its effect has at best been referred to as cultural-influence and at worst

Electronic imperialism.

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It is an evolving global "Empire of the Mind." The global media are collectively influencing the minds, attitudes, values, and languages of individuals around the globe. It is an electronic mass media driven phenomena which over time will not only expand the frontiers of the multi-national communication firms but will far exceed even the vast reach of the declining, once-great British Empire. (McPhail, 2008, p.45)

The Nigerian scene is rife with evidences of cultural and lifestyle change due to things picked up from the media, the internet, cable television, etc.

Fig. 3.6 CrossroadsThis painting shows the psychological dilemma the Nigerian faces inside. An ongoing conflict

exists between the attraction to foreign ways and the innate affinity with indigenous norms.

Irivwieri (2010, p.2) postulates that an important index of contemporary Nigerian art is the

artists’ ability to maintain the Nigerian identity despite one’s global exposure. This Ibe has done

very well in Identity Check. The works in the series encapsulates the personality and

psychological state of the Nigerian mind in general.

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5. KELECHI AMADI OBI’S FASHION PHOTOGRAPHY

The role of photography as an artistic form and documentary media is widely known.

Photography can be seen as a pictorial documentary on the lifestyles and extrinsic values of a

people (Jestratijević, 2009, p.2). Fashion photography especially tells a lot about the dressing,

norms and culture of the times. People express themselves in many ways including through

something that’s as simple as clothes, (Rankin to Bache, 2009). Fashion photography is used as

a vehicle for expression and communication of concepts, ideologies and opinions by

photographers all over the world. ‘The rhetorical power of photography in terms of its material/

denoting ability to determine a meaning and transmit it in a form of a message’ (Jestratijević,

2009, p.2)

Kelechi Amadi Obi is a Nigerian artist and photographer who has mastered the art of

photography on many different levels. The dichotomy between African and Western aesthetics is

vividly apparent in his photography. This paper analyzes the visible signs of neo-colonialism

found in a couple of his works.

Sontag (in Wilson, 2012, p.9) says that ‘photography’s programmer of realism actually implies

the belief that reality is hidden … something to be unveiled.’ Hence though at first glance, the

photographs under review appear to be just fashion photography, this paper will be unveiling the

hidden meaning within the pictures.

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Fig. 5.1

Change the African print dresses to Elizabethan ball gowns and the ladies’ skin from black to

white and this would be a typical picture of some Western ladies out for tea during the classical

era. The parasols are particular a part of Western culture as they are usually used to cover the

sensitive white skin especially when the colonial masters came to Nigeria and could not stand the

harsh African sun. The slaves carrying the parasol are also reminiscent of the colonial era and the

only thing missing to complete the picture is tea cups in the hands of the ladies. This picture

speaks volumes of the lifestyle of Nigerians today. It clearly shows an attempt to imitate the

ways and mannerism of the colonial masters.

Another evidence of the influence of neo-colonialism on the Nigerian mindset is the use of

skinny models which is typically western. The typical African definition of beauty usually

involves fleshier women.

The African reveres the fuller body. Here, people are generally not attracted to the very skinny body type. It's viewed as unattractive and a symbol of poverty (Bediako to Miari, 2012, p.119)

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Fig. 5.2

A clear merger of African and western fashion can be seen in this picture. Before colonization

and contact with the Western world, the attire of most Nigerian tribes consisted of an open chest

with a loin-cloth for the men and a similar waist covering for the women. This dressing was

suitable to the hot climate and so served the people well. With introduction to western culture,

they started wearing tops and blouses as they saw their colonial masters do.

This picture however shows a gradual return to our heritage as though she is wearing a blouse, it

is see through and the skirt is similar to the short wrapper tied around the waist by females in the

pre-colonial times.

Though she is carrying a western fashioned bag, her afro hair style is fully African. This

combination of African and western influence is very strong not only in the dressing but also in

the lifestyle of Nigerians today.

Even though it is not practically possible to have a total return to the past, there are certain cultural values that consistently define the African personality, history and belief

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that cannot be jettisoned… these values are critical to African identity in a postcolonial, global community, (Igboin, 2011, p.1)

Fig. 5.3

Home is where the heart is, but this doesn’t seem to be the case in this photograph. All dressed

up and looking into the distance, the model is looking out in search of hope and her home is

blurred into the background – literarily and figuratively. The look on her faces says she’s

obviously unhappy with ‘home’ and is looking outside for something better. The models costume

represents the national colors of green and white. She stands for the vast majority of Nigerians

who are always looking out at foreign countries with the mindset of it being greener at the other

side of the fence.

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Fig. 5.4

With shoulders squared, chin tilted up, long strides and no looking back, a lot of Nigerians are

leaving the shores of the country in search of greener pastures in the western world. Nigeria is

currently witnessing mass migration of people from the rural areas to the urban areas and from

the urban areas to the United Kingdom and America. This picture aptly illustrates that

movement. The fact that the top part of the model’s attire is strictly Nigeria while the bottom part

is western shows that western influence has a strong grip on Nigerians and this has led to an even

stronger pull towards western shores.

6. CONCLUSION

The western cultural influence can clearly be seen to be strong in Nigeria. The pertinent question

here is whether this influence should be perceived as a threat to or an enrichment of the

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nation’s cultural identity. Through their works, Ibe Ananaba and Kelechi Amadi Obi especially,

through his photography, show the changes that have occurred in the Nigerian dressing and

lifestyle. The question remains however if these changes are negative or positive.

Could it be, then, that the changes that take place in fashion with its continual and recurring incitement to find beauty in the new, represent a beneficial impulse? Far from signifying a trivial and superficial attitude to life and to the world, could it be that fashion’s cycle testifies to resilience and optimism? (Wilson, 2012, p.11)

Though the artistic style of both artists bears traces of western influence, they have both

remained true to Nigerian art.

One can decipher a work that is truly Nigerian in terms of form, meaning, subject matter and material. The uniqueness in style sets it apart from the arts in other parts of the world and thus carving an inroad into the world of post-modern art. (Irivwier, 2005, p.2)

Using watercolor, Ibe has accurately captured the mindset of Nigerians as it is today. While Kelechi used his photography to tell the Nigerian story in a colorful and realistic way.

A study of the visual art practice in Nigeria indicates that naturalism appears to be the highly acknowledged form of artistic expression spanning through the early decades from the time of Aina Onabolu to the present with slightly varying technique and usage (functionality). But in spite of these variations there appears to be points of commonality in the various works reflecting naturalism. (Irivwier, 2005, p.4-5)

Conclusively, the impact of neo-colonialism in Nigeria has to be watched and curtailed in order

to avoid a complete submerging of the nation’s own culture and lifestyle.

In order to halt foreign interference in the affairs of developing countries it is necessary to study, understand, expose and actively combat neo-colonialism in whatever guise it may appear. For the methods of neo-colonialists are subtle and varied. They operate not only in the economic field, but also in the political, religious, ideological and cultural spheres. (Nkrumah, 1965, p.12)

There has to be a conscious attempt to preserve and sustain the country’s own indigenous culture, especially for the future generation. It is important to accept the changes that come with globalization, but to also hold on to the uniqueness of one’s own identity.

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7. BIBLIOGRAPHY

Ananaba, I. (2012). Interview with Olowu, O. Lagos, 20, November.

Bache, P. (2009). Beyond Fashion Photography. Aesthetica. [Internet]. Available from <  http://

www.aestheticamagazine.com/beyond-fashion-photography >. [Accessed 27 November 2012]

Bouguereau, W. (1883). Motherland. [Online Image] Available at: <http://en.wikipedia.org/wiki/

File:William-Adolphe_Bouguereau_(1825-1905)_-_The_Motherland_(1883).jpg >. [Accessed

27 November 2012].

Campaign for African Rebirth, (2012). Neo Colonialism. [Internet]. Available from: <http://

camareb.org/neo.html>. [Accessed 26 November 2012]

Igboin, B. (2011). Colonialism and African cultural values. African Journal of History and

Culture. [Internet]. Vol. 3(6), pp. 96-103. Available from: <http://www.academicjournals.org/

ajhc>. [Accessed 26 November 2012].

Irivwieri, G. (2010). An Appreciation of the State Of Visual Arts in Nigeria (1900-1970).

Anthropologist. [Internet]. Vol. 12(2), pp. 113-117. Available from: < http://

www.krepublishers.com/02-Journals/T-Anth/Anth-12-0-000-10-Web/Anth-12-2-000-10-Abst-

PDF/Anth-12-2-113-10-571-Irivwieri-G-O/Anth-12-2-113-10-571-Irivwieri-G-O-Tt.pdf >.

[Accessed 26 November 2012].

Jestratijević, I. (2009). Visual seduction: eroticism in fashion photography. Culture. [Internet].

Issue. 225/2009. pp.121-130. Available at: <  http://www.inter-disciplinary.net/ci/erotic/er4/

milivojevic%20paper.pdf>. [Accessed 27 November 2012]

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Book Company.

McPhail, T. (2006) Global Communication: Theories, Stakeholders, and Trends. (2nd ed.)

London: Blackwell.

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McPhail, T. (2008). eColonialism Theory: Hegemony and the Role of American Media. The

Global Studies Journal, Vol. 1(2), pp.45-53

Miari, I. (2012). Calling Africa. Dash Magazine. Vol. 1. (02). pp.118-119.

Miller, F., Vandome, A. & McBrewster, J. (2009) Cultural Cringe. Australia: VDM Publishing

House.

Neil, C., Davies, J. & McKay, G. eds. (2004) Issues in Americanization and Culture . Edinburgh:

Edinburgh University Press,

Nkrumah, K. (1965) Neo-colonialism – the last stage of imperialism. London: Thomas Nelson &

Sons Ltd.

Obi, K. (2011). [Online images] Available at <kelechiamadiobi.com>. [Accessed 27 November

2012]

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An Assessment of Progress and Challenges Ahead. New York: United Nations ICT Task Force

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1869-1922, Chicago: University of Chicago Press.

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America: South End Press

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Wilson, J. (2004). The Information Revolution in Developing Countries. Cambridge: MIT Press.

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Global Electronic Village. Africa Development, Vol.30(1&2), 98-124.

8. APPENDIX. (Interview with Ibe Ananaba by the researcher, Ola Olowu)

Q. When and why did you decide you wanted to be a painter?

A. 1st of all, I was introduced to the arts at my childhood era by my elder brother who always

drew comic characters. At that point it caught my interest and I found the interest always

increasing as time went by till date. I decided to be a painter unknowingly. While growing up

sketching, I was always inspired by comic books and other works of arts (especially paintings) I

saw.

I was and I'm still thrilled at how one can create a 3dimensional illusion on a 2D surface. Over

time, I never had any distractions on the line I wanted to tow so it was natural or easy for me to

say painting is the way to go. I'd like to point out that other forms of arts like graphics interests

me just like painting does. Same applies to sculpture... it's just that playing with lines and colours

made it 'sexier'.

Q. Aside from your innate flair for art, which external factors influences your work?

A. I'll say everything. I see myself like a big sponge. I soak in varieties of things around me and

let them ferment. My immediate environ, people, music and whole lot of other factors play huge

role in influencing me.

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Q. How would you describe your style of painting?

A. I'll say SOULFUL yet EXPRESSIVE because I love freedom. I guess it has to do with my

person. I'll also say it's skewed more towards impressionism than realism. I love to capture

moods and essence when painting. I love spontaneity especially in watercolor. My style of

painting is a two-way kind of visual communication. By this I mean I also leave room for the

viewer to participate in the painting. Once I feel I've captured the essence, I leave it at that and

let some space that invites an on-looker to complete the story.

Q. Tell us about ‘Identity Check’.

A. IDENTITY CHECK is show that was inspired by rumblings on my mind.We live in times

when value systems are rapidly eroding and abnormality has become the new ideal, our mind

state is constantly fed by today’s sour imagery and our future seems in doubt.

With all these on my mind, I pause and ponder on what role to play as an artist in the midst of

this seemingly organized chaos and how to contribute towards a sustainable change.

Pushed by this disturbing train of thoughts, ‘IDENTITY CHECK' was born. 'Identity Check'

goes beyond just an array of art pieces, it aims for our hearts (as individuals or as a group of

people), poking our consciousness to look inwards and re-evaluate the values that drive us; the

factors that influence and shape who we are, as well as define our identity.

Q. How relevant is Identity Check to Nigeria today?

A. Nigeria occupies a large space in the media and minds of people as a notable country where

corruption thrives. I am sure the is not the type Nigeria we as a people would like to call our

beloved country. With lots of looting, bad governance, insecurity and other menace we face,

IDENTITY CHECK remains relevant as my little effort to sensitize all of us to pause, re-evaluate

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who we are and what we are becoming. Also, to think and work towards building and

maintaining a country of great integrity and repute built on great values.

Q. What impact are you expecting your work to have on the Nigerian public who get

exposed to it?

A. I expect that my body of works exhibited will speak to the heart of the Nigerian public in a

piercing manner.I also expect it to be soul-stirring and challenge views and spark up discussions

that with gradually cause a paradigm shift. Some of our youth are growing with some wrong

values and to them those values are ideal. It would require dedication, hard work and time with

great belief that it is possible to steer this nation to the right path. With my body of works, I

expect the 1st step to start by every individual sincerely looking inwards and making positive

move.

Q. What is the long term result you are hoping your art will bring about on the Nigerian

society?

A. Self belief and assurance. Reform. Change. Paradigm shift. We all have our individual gifts

God has blessed us with. If we all believe in it (individually) and work towards inspiring and

affecting ourselves with each of them.

Q. Any last words?

A. Be sincere and do THAT THING that you love doing...so far it's for a good cause.