Oguibe

Olu Oguibe is the youngest of the three. The Biafran War occurred when he was a very small child and the memories of that impact him deeply even today. This has also dramatically affected the approach to his art, his political views, and his reasons for leaving to live outside of Nigeria.

He went to school at Nsukka, training under Udechukwu, and earning his B.A. in 1986 and his M.A. in 1989. During his time there he learned and used uli concepts but began moving away from them by the time he was in graduate school.

The Present Is a Dangerous Place to Live-1987 Watercolor on Paper

The abbreviated forms huddled together are unified even more by the circle surrounding them.

In 1988 he exhibited his art in a show called "Art on the Street." It was of a political nature and was truly exhibited on the street, the main thoroughfare of the university. It was seen by many of the university students as well as the Nsukka residents. His first solo exhibition was called "...Unbind Me." Once again, he went against convention and displayed his work on the steps of the Didi Museum in Lagos. He felt that this took away from the museum's elitist atmosphere. Once again the art was of a political nature.

He used the well-stocked library at Nsukka to explore and expose himself to the art of the world and he became interested in Courbet, Kollwitz, Goya, 19th Century French artists, the Mexican muralists, and the Black Art and Africobra movements in America.

Tiger or Chameleon?-1989 Gouache on Basket

This painting on a traditional basket is done with bright color and simple shapes and lines. It shows a chameleon like animal surrounded by uli style designs. Like Udechukwu's chameleon it has a more symbolic appearance and refers to the quality of leadership in Nigeria.

He continued this exploration when he left Nigeria for London in 1989 in order to escape imprisonment for political reasons. He lived in London for six years and while there, he was confronted by the racism of the art world. This left him discouraged although he was extremely productive. His explorations during this time took him to Mexico, Asia, Australia, Germany, and other African countries.

The Poet-1990 Watercolor on Paper

This is a portrait of a traditional Igbo poet/minstrel. The minstrel stands with is ubo (thumb piano) and his dress reflects the traditional flamboyance of a minstrel. His red cap is an indication that he is held in great respect and the ichi facial scarification is a sign that he has social rank. The way Oguibe has drawn the figure lifts and draws the eye up, giving a lightness to the form.

The Poet Among His People-1990 Watercolor on Paper

The poet in this painting is the figure second from the left. All four figures have variations on mbari designs on them and the poet's face is done in the style of an Igbo mask. There is a visual rhythm created by the designs and repetitive positioning of the figures.

The Emperor or The Beast in Landscape-1990 Watercolor on Paper

The bull figure has the insignia of an army general on his body. The brown line of earth almost romps in front of the bull with animal and human figures scattered beneath it. The reference to Nigeria is generalized to all military dictatorships, to death and deprivation through politics.

He was awarded his doctorate in art history from the School of Oriental and African Studies at the University of London in 1995. Immediately after, he was given the opportunity to become the editor of "Nka: Journal of Contemporary African Art" and so moved to New York City. By this time he had moved from very Nigerian imagery to a more global postmodernism with concerns for racial aggression regardless of location or culture.

Since 1996 he has taught at various universities in both Great Britain and the United States, and has participated in international exhibitions both as an artist and an international curator and consultant. He has also published several books on contemporary art history.

Starting in 1992, he has begun to do more and more installation work in addition to his other art forms. He uses this medium to express his concern with the suffering of children all over the world, the impact of war as well as abuse and neglect.

The Requiem-1993 Installation: Mixed Media

On the black platform, reminiscent of a coffin, lie four white dolls in a row, feet toward the viewer. The picture of a child is framed in black. The whole effect is a simple severity that gives the impression of an altar or memorial for a dead child.

Oklahoma (detail)-1995 Installation: Mixed Media

This installation is about five meters long with twelve photographs of children who were killed in the Oklahoma City bombing. Under each photograph is a stand with a vase. It is compelling and invites the viewer to mentally add flowers to the vases as a memorial offering. Both this and the Requiem installation could relate to Oguibe's own wartime childhood experiences.

Buggy-1997 Installation: Photography, buggy, and stand

The photograph in this installation is of Oguibe. There is, once again, the feeling of an altar, severe with the black drapery and box, yet softened by the photograph and symbol of childhood inherent in the buggy. We are asked to revere the child and protect its innocence.

Martyr-1993 Acrylic on Canvas

There is the influence of Ghanaian Fante flags in the pattern around the edges. The imagery refers to a poem by Oguibe concerning peace in Jerusalem. A dove flies up and away from the figure as if to carry his prayers for peace to the adinkra symbol of resilience he has used to sign this painting.

Painter-1993 Acrylic on Canvas

The text in this painting is from a poem by Palestinian poet Mahmud Darwish. The Arabic script says, "A painter he was, but pictures...". The rest of the line,"...normally open no doors" is not included. Oguibe sees this painting as a transition from dealing with Nigerian issues in his art to dealing with European issues. The blue section on the left represents mortality. The red writing on the side, "There is a great fire raging in my house..." is associated with the neofasciast attitudes about minorities in Germany and Asians in Britain. The red footprint is about immigration, emigration, and exile. The trousers astride the red and blue sections suggest movement. Red is home and blue is Europe with the pants symbolizing exile. The other text in the blue section says "If tomorrow/This/Heart/Stops Beating," and below it "Europe/WILL KILL ME YET." He sees this work as both modernist and postmodernist.

He is perhaps an example of what the future holds for African artists. From a focus on Nigerian affairs Oguibe has moved to worldwide concerns. From the Nsukka foundation of uli he has evolved his work to encompass a more global and postmodern world with third world interests. He feels free to reference any culture rather than just his own.

"An artist as transitory as myself would not fit into a style. I have referenced uli, nsibidi, adinkra, adire, mbari, Dogon sculpture, ndebele murals, san rock art, Maya and Inca textile art, European abstract expressionism, post-modernism, social realism, and conceptualism in addition to my own forms and ideas."