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Akin Onipede: One artist, too many visual energies
(Vanguard)

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AKIN ONIPEDE , one of the emerging Nigerian artists is reputed for his quest for identity and exploration. When he stepped out last year with his short stories series exhibition as a vehicle to chronicle his long period of momentous disappearance from the nation’s art scene, not many of his contemporaries had the slightest notion that the forward looking artist would return to the scene, soon enough with another round of intellectual, yet revealing visual inquest into the significance of one of the organs of human body- the Eye, both as a physical feature and an abstract phenomenon. Writes Benjamin Njoku

Onipede’s latest experiment, wrapped under the theme, Oju Loro Wa( The Message is in the Eyes) to any observer of his art extend his curiosity and passion of using artform to probe into the unknown. Unlike most artists of his generation, Onipede’s growing instinct to appropriate his art outside the usual and most terrible way of exploring the everyday-life on canvass remains something of fascination adventure and lasting ambition . His art quite expressive and revealing revels in mystical idiom.

For instance, like in his Short Stories series, Oju Loro Wa is the artist’s attempt to give visual imageries to his exploration of the eye both as a physical feature as well as an abstract phenomenon. He uses the eye as a mystic medium to make an artistic statement. For the artist, the eye represents the mind of man and the lamp through which the activities of the universe are sustained and propagated. He explains, "For some time now, I have unconsciously but consistently drawn the eyes at the slightest prompting to the extent that my in-house critics tease about the predictability of my works . And since I did not want to stand in the way of divine inspiration, I allowed myself to flow with the tide and vibes knowing fully well that it was a transient but important phase"

Akin though, an experimentist of the new movement in art believes in the art of memory and dialogue with the infinity. His message is derivable from the eyes and remains the products of the eyes in isolation. He would posit," the primacy of the eyes amongst other organs and anatomical features remains indisputable. To the Yoruba of South West of which I am a proud descendant, Oju means eyes, although in another breadth it may also mean the face, the focus or the solution."

Akin asserts that the theme of his latest effort expands beyond the mere power of vision or physiognomy into other philosophical realms. To this , he sounds philosophical saying " to have one’s eyes open means to be vigilant., the biblical inference -And their eyes were opened ,Genesis 3:7 connotes waywardness and by extension that fall of man"

Within the creative realm, Akin said, Oju Inu and Oju Ona are phrases, meaning insight and creative or discerning eyes, respectively. "To the optometrist, Oju to Pon that is bloodshot eyes and a blurred vision are enough causes for concern. Shyness, Oju titi to the cultured among the Yoruba is a virtue. The lack of it, ainitiju is abusive".Akin highlighted.

Continuing , he reminisced," Oju orun, the Sky is believed to be the dwelling place of God; from where nothing is hidden from His all-seeing eyes. It is also a place big enough for all birds to fly without collision. In all of these and in most of the works in the project, Oju ( the eye) is a commn denominator in the titles and body of the works in view."

"It is also not uncommon for friends or relations to want to meet eye to eye or face to face bfore a task can be consummated or a matter discussed or agreed upon, because as it is assumed, there is power or volumes in eye contact than can be said on the phone or in a letter for example because of Oju loro wa . The eye can convey or give away emotions in so many ways than words can express."

" There are many more examples of the uses to which Oju lends itself in various ambiguous depths and patterns; some of these have been explored and interpreted visually to the extent that the exhibition can boast that the messages are truly in the eyes; Oju loro wa" said Akin.

Apparently, dialoguing with his paintings, Akin endeavours to give visual imageries to his exploration of the eye both as a physical element and as an abstract phenomenon. According to him, " the more my exploration , the more my realization of the inexhaustive nature of theme, my paintings are no attempt at rendering graphical illustrations of the subject matters, but my effort at creative interpretation along cultural and artistic perspective, my perception of a delicate but vital universally valued organ."

Explaining further, Akin said," I have always believed that there is a meeting point for all creative arts at a stage in any creative endeavour. This is the point where all thoughts, postulations and principles seem to agree and find a common truth and harmony; where a single line of beauty runs through all the arts ;where the sensation of colours is felt in music and even on the palate, where poetry and drama are seen in colours and compositions.... This is the take off point for this exhibition in which I tried to appropriate and unify verbal and visual aesthetic in an interdisciplinary manner that seeks to promote cultural facts and values."

Akin’s style of painting by and large appears to be in conformity with the art of his ancestors as he noted " I have in a way followed in the steps of my forebears, the Yoruba artists of old, who , realizing the importance of the eyes, exaggerated them in their carvings". His painting, a little more on the abstract side is an improvement on what he did in his previous show. This may be partly as a result of the intangible nature of the theme and at the same time his description of his art as something that is on the run; going through series of experimentation and re-invention.

A graduate of the University of Benin, Onipede was in school at a time the likes of Nelson Cole and Irein Wangboje, both of blessed memories, were at the forefront of grooming young creative minds and hands. These two were among those artist- scholars who saw art as a medium for personalized expressions. The training offered by these great artists and teachers at Benin was such that did not encourage their students’ aligning with a tradition of rigid adherence to a particular style. This perhaps explains why Benin art graduate could not be linked with a general or common ideology or style, agenda of preparing students to be individualistic.

It was also this time that the department played host to a group of upcoming graduate creative artists from Ife, Nsukka, and Zaria who converged at Benin for their post graduate studies in various aspects of visual Art. These crop of artists were products of institutions where stylistic traditions are being nurtured and encouraged. While some tilted towards modern artistic tendencies, a majority of them were evangelist of synthesis, determined to spread the back to the rot gospel. All these helped in shaping and also widening Onipede’s scope. Importantly, Onipede’s fraternity with the pool of great creative minds around him before and after his graduation and his quest for academics and research in cultural matters which informed his taking up of a teaching job at Ondo and Ikere Ekiti respectively served as major factors in Onipede’s creative upbringing and they are influential to whatever may be seen today as distinctive Onipede’s style. Onipede’s mobility that earned him exposure to various aspects of social , economic, religious and political life of the people is an added advantage.

This has become for him one strong source of inspiration. When Onipede became bored with teaching in the third year of his stay in the classroom, he left for private practice. However , to mark his departure from the classroom and also announce his arrival in Lagos, Onipede staged his first solo exhibition at the National Museum, Lagos. He later went into journalism and was soon to join forces with pro-democracy groups in their struggle to end the military rule in Nigeria, using his provocative cartoons as a weapon.

Unfulfilled however, in 2003, when it became obvious that his adventure into journalism could cripple his creative effort, Onipede decided to resign from Punch Nigeria Limited to face full time studio practice. His latest works showing at French Cultural Centre, Ikoyi remains a testimony of his creative voyage as the works on display task the creative and interpretative ability of any viewer who is encouraged to fill in or add his own understanding of the paintings to form part of the total meaning thereby participating in the entire creative process of his art.

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