Pan-Africanist Tess Parker met acclaimed Nigerian artist, curator, commentator and entrepreneur Oliver Enwonwu. Despite his illustrious artistic lineage – Oliver’s father, Ben Enwonwu, is hailed as Africa’s pioneering modernist – Oliver has forged his own creative path. As a leading cultural figure and pan-African commentator, he celebrates the cultural, political and socio-economic achievements of Africans throughout the diaspora. He is passionate about increasing domestic and global awareness of the rich spectrum of black culture. As founder and director of the Ben Enwonwu Foundation and immediate past President of the Society of Nigerian Artists (SNA) he is a champion and custodian of excellence in African visual arts. As Director of Omenka Gallery and Magazine he is a passionate champion of African talent and black voices from all areas of arts, business and lifestyle.
What was it like growing up in the Enwonwu household in a post-civil Nigeria?
Growing up, I watched my father paint and sculpt. I vividly remember his work ethic, discipline, and moments of deep silence, which were required to inspire his most important work. Even as children, we were expected to be busy or, as she put it, “doing something useful,” like gardening or reading. He was an eloquent man with a great sense of style and that made a big impression on me growing up. Interestingly, it was my father who would spot my artistic gifts in an early, chance meeting. One day, suspecting me of trespassing, he ordered me to redo a drawing in his presence. Later, he said to my mother, “Oliver paints with mathematical precision.” This moment sparked a lifelong love of art.
What were your passions as a child? How far have your creative pursuits taken you?
I was always a scholarly child, even winning awards for academic excellence at school. However, my artistic gifts were also clear – I made friends and fans by drawing their portraits. At King’s College Lagos, where I did my secondary education, my talent was also noticed. Excellent in art classes which caught my father’s attention. Art would continue to influence me as I grew older. I spent time in my father’s studio as an informal apprentice learning the basics of the subject. Soon, I was helping him paint straight lines that formed the background for important portraits of figures such as Sir Adetokunboh Ademola, Nigeria’s first indigenous Chief Justice.
Coming from a rich artistic background, how did you begin to chart your own unique path?
I come from a long line of Nigerian artists. My grandfather was a traditional sculptor and my late father, Ben, is renowned as Africa’s pioneering modernist. While both men have certainly inspired me as an artist, I have always wanted to develop a distinct style of my own. In my work, I highlight Black culture in order to challenge racism and injustice. I live to shed light on the cultural, political and socio-economic achievements of Africans. I achieve this through an examination of spirituality, black identity, contemporary politics, Pan-Africanism, and the global African empowerment movement.
Like my father, I have adopted the woman, the Onitsha masquerade pantheon and the dancers into my artistic ensemble. However, there are points of difference between my father’s style and my own. To capture movement, my figures are drawn in a calm, realistic manner, which is different from my father’s semi-abstract approach. I also show physical rhythm without exaggerating limbs and trunks. Unlike my father, my painting technique avoids whimsical lines, fractals and other repetitive forms.
Over the years I have developed subtle brushwork that incorporates texture and thick impasto highlights. I prefer translucent layers of oils painted on top of each other to bring luminosity to my work. This is different from my father’s use of thinly applied oil paints such as gouache or watercolors.
Besides painting, I write, publish and run galleries and curate. My broad professional portfolio is a departure from my father, who was primarily focused on the practice and advocacy of the visual arts. I am truly passionate about promoting and nurturing Nigerian and African creative talent in as many ways as I can.
Sadly, you lost your father Ben in early adulthood. How did his death affect you as a young person starting out in his life and career?
After an initial period of deep mourning, I was inspired to preserve my father’s legacy and build on his contribution to the arts and humanity. Then, in 2003, I established The Ben Enwonwu Foundation as a platform to promote these goals. Being part of the Foundation not only inspires me but pushes me to strive for excellence in everything I do. After his death, I didn’t just try to become a better painter. I also became active in finding new ways to promote my fellow creatives and emerging Nigerian contemporary artists. Through my role as Director of Omenka Gallery and Editor-in-Chief of Omenka Magazine, I showcase Nigerian and African arts and culture among others.
In the beginning, higher education led you down a scientific path. What drew you back to the visual arts?
I studied biochemistry as a first degree and later geophysics, but my passion for art never left me. In fact, I was awarded an MA in visual arts and am currently working on a PhD in African art history. As mentioned above, as the son of a famous artist I couldn’t help but develop an appreciation for art. I finished my secondary education with honors in science and fine arts.
My love for art grew while I was at the University of Lagos. In fact, during that time, I began to present my work in some notable galleries, including my first group exhibition in 1997. In the decades that followed, I was fortunate to have the opportunity to participate in group and solo exhibitions at home and abroad. My work is in Nigeria at the National Art Gallery, Bank of Industry and Delta State Government.
Femininity and the female form are central to your paintings. Which woman has been the most influential in your life to date?
It has to be my mother for her immense sacrifice and selflessness towards my siblings and me. Throughout, she has been my biggest cheerleader and support system.
You have gained international recognition for your work as an artist, gallerist, curator and cultural commentator. What aspect of your job excites you the most?
I consider myself first and foremost an artist. I am happiest when I paint as it is a process of deep reflection for me. My solo exhibition ‘Politics of Representation’, presented by the leading gallery SMO Contemporary, recently opened in Lagos to great success. The exhibition focuses on highlighting black culture and includes works that depict multiple points of view. It places great emphasis on the African female perspective as women emerge from post-colonialism to redefine their paths and challenge cultural stereotypes.
Traditionally, I believe, the Western media misrepresents or underrepresents African people and cultures. It is therefore important to build understanding of the roles of identity and culture in shaping citizenship and political representation in Nigeria and Africa.
Through your roles at Omenka Gallery and Magazine you promote the ideas and achievements of established and emerging African talent. Who are the upcoming African artists you are most excited about today?
Africa has a wealth of artistic talent, so this is a tough choice. However, among upcoming artistes, I will give my nod to Ken Nwadiogbu and Arinze Stanley, both from Nigeria. the Ivorian Carine Mansan; and Krubel Abebe and Tizta Berhanu, who are both from Ethiopia.
In your opinion, how important is art and culture as a tool for political and socio-economic change in a 21st century Africa?
I believe that art is vital to promoting political and socio-economic change and development in 21st century Africa. Art is a powerful vehicle of communication as well as enlightenment and can influence the course of history.
Throughout the centuries, art, politics and social issues have inspired artists. Through art, many countries have exercised soft power, renamed or improved their image, and repositioned themselves. Such examples abound in Pablo Picasso of Spain and JMW Turner of England.
Through international residencies, museum visits and collaborative projects, art and artists can create cross-cultural connections. Businesses such as galleries, auction houses, professional charterers and framers can contribute to a nation’s economy and tourism appeal. Art is also an attractive asset that wealth managers can incorporate into their offerings.
In these volatile, global times, where do you think Africa can be most influential in shaping a better world?
It is important for Africans to tell their own story and in doing so change the world for the better. Africa has a vibrant young population that is influenced by international media and brands. However, it is important to educate our youth about their African roots and culture, empowering them to succeed and fight for a more just world.
By celebrating fellow Africans, their achievements and contributions to humanity, we challenge the negative stereotypes of corruption, poverty and terrorism. In light of the global challenges of systemic racism and police brutality, we must seize opportunities to celebrate Black excellence and culture.
As we carve out our post-colonial identities, emerging African nations must work together to break down racial stereotypes and limitations. we deserve to be judged on our merits, not the color of our skin or the texture of our hair.
In your busy life, how do you find time to cultivate your well-being, knowledge and spiritual self?
I like to take long walks, read, listen to music and learn about different cultures. I practice karate, where I am first dance.
What would be your advice to a young African who wants to make his way in this ever-changing world?
Information is power, so seek knowledge whenever and wherever you can. Be a voracious reader. consume everything from inspirational stories to world affairs and literature. Expand your mind and your thinking. Find time to create things of timeless beauty.
From www.pan-african.net