Didi Museum Hosts ‘IJE ENU’, —The Journey Of This World Exhibition

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The Didi Museum Lagos will on  May, 22, 2021, unveils  ‘IJE ENU’, an exhibition of remarkable modern and contemporary paintings  by Emmanuel Isiuwe and Azuka Nnabuogor.

Both are of Golan Height, a collective consisting of artists who share the Federal Polytechnic Auchi, Edo State as their Alma Mater.

While Emmanuel Isiuwe may be fairly described as a realist, as opposed to Nnabuogor’s experimental mode, both artists often trot the paths of impressionism and expressionism, as they explore human subjects and their environment. Yet more than anything, it is their shared philosophy of ‘Life as a struggle marked by inevitable vicissitudes’ that inspired their joint presentation.

IJE ENU, as the title of the exhibition, is a compressed form of the Igbo expression IJE ENU’WA meaning ‘the journey of this world’, or ‘ more accurately, Life’s Journey’ ; and by all intent, it attempts to recount the ups and downs of life aptly echoed in the song of iconic highlife singer, Chief Celestine Ukwu by the same title.

The lyrics of the song underscores the fact that some people are crying just as others a rejoicing, and paradoxically, describes the world as being in a cyclic motion.

The song, done in the late 60s perhaps alludes to the civil war that raged between the secessionist Biafra of the Eastern Nigeria, including the present day Delta (where both artists hail) and the aggressor, Nigeria.

Whereas, other regions were relatively safe zones, the Eastern Nigeria represented a war torn zone, and in 3 years was overran by the Nigerian military aided by foreign allies including the British, German and French.

Biafrans were known to have abandoned their properties in other regions, while monies belonging to them were also seized, but for just £20 irrespective of how much more they had in their bank accounts.

Over 3million easterners especially children and women died from military assaults and starvation as there had been a food blockade to the area employed by the Nigerian troops and enforced by their foreign collaborators, as a war-winning strategy even as it was totally against the rules of engagement.

According to Emmanuel Isiwe, “it was ground zero for the Biafrans who had to start life afresh with basically nothing. Their houses were destroyed and they had no food or real means of livelihood…”.

Emmanuel Isiuwe “Our Daily Bread”…acrylic on canvas

A video documentary showing a renowned writer, Cyprain Ekwensi just after the war in the ruins of the Biafra land best captures the economic, infrastructural and social setbacks against which there seemed to have emerged a renewed spirit of industry and sheer determination by the ordinary impoverished Biafrans, to pick up the pieces of their broken lives and start mending them.

It is not surprising therefore, that Nnabuogor and Isiuwe will be located in this dogged mentality, having been born during the war, a very harsh period. ” “Everything we do” according to Nnabuogor, ” must be purpose driven.”

Fast forward to 2021, a lot has changed with the people of the Eastern region across the country taking the lead in economic activities and proving more industrious. They have also re-established their lead in other aspects of life including education.

In the past decade, it appears Isiuwe’s works have continually engaged everyday people with reference to their pursuits of livelihood. His exhibition 5 years ago titled MAN examined and appreciated the noble roles of man as a father and a leader in the society.

It would seem natural that Ije Enu has drawn an extension from that, given the fact that Isiuwe’s images and works for the forthcoming show largely present people striving to improve their lives.

Amongst the 10 works from him is Projects and Projections depicting men at work constructing a house. Beyond the surface impression, that act of building according to Isiuwe, is a metaphor for an aspiration to greater heights of life’s achievements.

“It speaks about the things we want to do specifically, ‘Projects’ and the idea behind it and our aspirations, ‘Projections’ .

At Work also shares the same concept as Projects and Projections where men toiled collectively to elevate their living conditions .”

In The way we are, we see two women, one with basket on her head, and they are presumably tied to a commercial activity. The image is no less significant as it underscores a sense of purpose towards an end, while Togetherness depicting two hens picking grains simultaneously forces the allegory alluding to humans working together.

There are a few landscapes in the collection, often drawn from the artist’s experience during outings in the city, which records changes in the society over time.

 

Azuka Nnabuogor, a bit more personal, depicts solitary images, sometimes reclining or at rest. He provides insight into the works by their titles.

Azuka Nnabuogor “Crossroad” ..acrylic on canvas

Amongst his 10 works for the exhibition is Midnight Call, which illustrates a girl in a long distance relationship mostly bound by phone calls.

Nnabuogor presents us with her dilemma of longing for her loved one and her resolve to remain faithful from a distance.

Midnights generate the most challenge to lonely distanced lovers to revaluate their commitments.

In Isi Azu ( Fish Head), a grotesque face is used to represent a beautiful lady who is unintelligent and dull. The analogy of the head of a fish conveying her lack of intelligence is derived from Igbo assessment of that part of a fish as lacking flesh and offers very little to eat, and so is considered empty.

In all, the artist seems to be concerned to stir humour even when communicating pertinent subjects. In conclusion, Ijenu is reputed to stimulate conscious striving by man to attempt to direct his pursuits continually to a more favourable outcome even in a most precarious world.

About the Artists:

Emmanuel Isiuwe

He is a Nigerian Artist based in Lagos. He graduated in1992 from Auchi polytechnic.

He has taken part in several joint exhibitions both locally and abroad , like the Hellenic Images ,54 Nigerian masters 2007 at the Greek embassy Lagos , the Millennium exhibition at the quintessence Gallery 2000,

The exposition de’art at the Republic of Benin , French Cultural centre 2004, Nimbus art Gallery 2005, Most recent exhibition at Didi museum with his wife 2013 “Our World, Human and Equestrian Life”.

In 2017 Man, exhibition @ DIDI museum, and GHR,salon, group  exhibition in 2020 at chanrai kewalrai show room Lagos and several online and group show locally and internationally.

He also works in private and public collections in Nigeria and abroad.

 

Azuka Nnabuogor

He was born in Enugu, Nigeria and graduated from Auchi polythecnic Auchi with an HND in painting and general art in 1996

After graduation he joined Nostalgia Designs Ltd as a trainee welder and illustrator with specialization in Ornamental wrought metal hand railings, burglary proofs and metal doors (2003-2007)

Became a steel contractor to CSA, a skylight roofing company in Apapa (2005)

Returned to Nostalgia Ltd, now into building construction and renovations as project director and steel structure consultant between 2006  and 2009 and called it quit and returned to fulltime studio practice in 2010.

A member Golan Height Renaissance and International Contemporary Artist Movement, London and Nigeria

He had participated in several national and international exhibitions which includes Independence day art fair (Shell)-1997,

Splash (Terra Culture)-2008. GHR Lagos 2018, Lagos 2nd Miniature fair 2019, Impact Art fair 2019 Lagos GHR saloon  at chanrai kewalrai show room 2020. HOPE.(karkhana artspace INDIA)2021

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