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Nigeria: An Artist and His Unsung Legacy

todayOctober 30, 2024 1

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The Aka Circle exhibition and book, by a curious neatness of fate, highlight the pioneering art and scholarship of Chike Aniakor. Okechukwu Uwaezuoke writes

Isn’t it interesting that recent conversations around the octogenarian artist, Chike Aniakor, often tend to highlight his illustrious career as an art historian while seemingly–albeit, unintentionally–glossing over his studio life? Hence, a forthcoming group exhibition at Kó in Ikoyi, Lagos, opening on Thursday, October 31, offers a timely opportunity to rebalance this narrative.

Curated by Iheanyi Onwuegbucha, the exhibition reunites members of the esteemed Aka art collective, which includes Professor Aniakor, after a nearly two-decade hiatus.”It celebrates the diverse creative directions of the group’s fifteen members, who have continuously expanded the boundaries of contemporary Nigerian art over four decades of artistic exploration,” a statement from the gallery affirms.

Kindred Spirits: A Gathering of the Aka Circle of Artists, as this exhibition running from October 31 to December 21 is titled, commemorates three significant occasions: El Anatsui’s 80th birthday, celebrated earlier this year; the upcoming 50th anniversary of his arrival in Nigeria in 2025; and a tribute to the deceased members of the group. Additionally, it provides an opportunity to reflect on the Aka Circle’s enduring legacy.

Indeed, it is high time–long overdue, actually–that Aniakor’s immense impact on contemporary Nigerian art be acknowledged. That his legacy is worthy of recognition as a diverse studio artist and art historian is incontrovertible. Take his artistic endeavours, for instance. They have been nicely complimented by his illustrious academic career, which includes lecturing positions at Cross River State University of Technology and the University of Nigeria, Nsukka. Audiences have been enthralled by his unique, vivid colour scheme and subtle examinations of Igbo visual history. The art instructor’s inspirational mentoring is attested to by former pupil Anthony Nsofor, who writes: “Aniakor’s enthusiasm and lyricism were highly infectious, and we enjoyed his studio critiques.”

Already during his time at Indiana University, Chike Aniakor’s artistic inclinations diverged from traditional European forms, drawing him to the ancient Igbo painting style, ‘uli’. Originally used to adorn house and shrine walls, as well as human skin, uli featured geometric shapes, patterns, and occasional celestial and mystical motifs. Aniakor seamlessly integrated these characteristic elements into his work, blending them with his unique imagery. His affinity for uli has endured, yielding a distinct linear quality in many pieces, particularly those executed in watercolour and ink. His style is further distinguished by elongated human forms and thoughtful employment of negative space.

Undoubtedly, the artist’s artistic credo may have to some extent been influenced by his period from 1960 to 1964 at the Nigerian College of Arts, Science, and Technology, Zaria (from whose ashes Ahmadu Bello University, Zaria was born), where he earned a bachelor’s degree in painting.

Aniakor sought to reinvent the ancient Uli art style, rejecting traditional European forms. Uli traditionally featured geometric shapes, symbols, and patterns derived from natural materials, used for ceremonial wall and body decorations. Aniakor aimed to understand Uli’s connection to traditional African expression, creating new artistic idioms that emphasised linearity and spatial design. In Igbo culture, spatial design symbolised achievements and sociocultural values, even in constrained spaces. Aniakor’s artwork leveraged this symbolism to convey vitality, triumph, and life experiences. Driven by historical reconstruction, Aniakor highlighted Uli motifs’ elements and dialogue with negative space, integrated ethnographic teaching with visual arts, transformed Uli into a fusion of social landscape, spirituality, and cosmology, and combined celestial images with personal imagery, exploring Igbo society’s reciprocity between humans and nature. His innovative approach recontextualised Uli beyond ritualism, infusing Nigerian cultural history into conceptual considerations.

The Rockefeller Award laureate uses congregated figures to convey the community’s collective struggles. His experiences during the Biafran War inform his narrative, highlighting the displacement, despair, and social unrest faced by the Igbo people. His work responds to the trauma inflicted by military control, endemic corruption, and political hegemony. Key themes include civil strife and community displacement, fear and movement, depicted through bold lines, optical illusions, and negative space, and rhythm, symbolising the intersection of war and movement. One notable piece features a falcon (representing Biafra) swooping down on Nigeria, metaphorically conveying the disharmony imposed upon citizens. Crowded figures evoke the despair under military authority, communicating the artist’s personal and political statements. His artwork serves as testimony to Igbo resilience, critique of Nigeria’s military junta, and exploration of war’s impact on community and individual.

Recall also that the academic credentials of the artist, who also won several other awards, include an MFA (1974) and PhD in Art History (1978) from Indiana University, Bloomington. Beyond his artistic prowess, the Abatete, Anambra State-born artist has made profound scholarly contributions, which have seen him author over 75 books and articles. Notably, he co-authored the seminal “Igbo Arts: Community and Cosmos” (1984) with Herbert M. Cole, a foundational text in African art history. His distinguished career has been bolstered by fellowships at esteemed institutions such as the Metropolitan Museum of Art, New York, and Howard University, Washington, D.C., while his works have been featured in solo and group exhibitions globally, with pieces held in prestigious institutional collections, including the Smithsonian National Museum of African Art, Washington, D.C.; Iwalewahaus; Bayreuth; and Weltkulturen Museum, Frankfurt, Germany.