Of Gerald Chukwuma: a Critical Analysis

arts

Article Visual Language and ‘Paintaglios’ of Gerald Chukwuma: A Critical Analysis

Trevor Vermont Morgan, Chukwuemeka Nwigwe and Chukwunonso Uzoagba *

Department of Fine and Applied Arts, University of Nigeria, Nsukka (400241), Nigeria; [email protected] (T.V.M.); [email protected] (C.N.); [email protected] (C.U.) * Correspondence: [email protected]; Tel.: +234-806-444-0984

Academic Editor: Annetta Alexandridis Received: 23 September 2016; Accepted: 28 April 2017; Published: 24 May 2017

Abstract: Gerald Chukwuma is a prolific Nigerian artist whose creative adaptation and use of media tend to deviate from common practice. This essay draws on his several avant-garde works on display at the Nnamdi Azikiwe Library and at the administrative building of the University of Nigeria Nsukka. These artworks are referred to as ‘paintaglio’ in this essay owing to the convergence of painting, and engraving (or intaglio) processes. This study therefore identifies, critically interprets and analyzes Chukwuma’s artistic inclinations—style, spirit, forms, materials, and techniques. This is in order to lay bare the formal and conceptual properties that foreground the artist’s recent paintaglio experiments. The study relies on personal interviews, literature, and images of Chukwuma’s works as data. Such experimental works which clearly express influences of ‘natural synthesis’ ideology are here examined against the backdrop of their epistemic themes.

Keywords: paintaglio; experimental art; self-discovery; creative; visual; uli; Nsukka School

1. Introduction Nigerian artist Chike Aniakor’s view of creativity as “the wandering of human spirit from one level of experience to another,” until it has secured a desired venting point lends credence to Dante Rossetti’s understanding that fundamental brainwork makes art unique (Aniakor 1987, p. 21). Without a concentrated intellectual activity, there would be no originality in art practice. This understanding has guided the creative experiments of Gerald Chukwuma, a Nigerian artist who seems to have grappled with the challenges of creativity as he has tried to re-invent painting and sculpture in a different visual language. We have chosen to refer to this avant-garde art as ‘paintaglio’ owing to its combination of colors and textures. Chukwuma’s paintaglio experiments are unique because of their tactility and heightened visual quality. Etymologically, the term “paintaglio” is derived from the words, “painting” and “intaglio” to express the application of color (paint) onto hollowed-out designs (intaglio). It was ﬁrst used by Ola Oloidi, (a professor of art history and criticism, at the Nsukka Art School) in reference to Chijioke Onuora’s style of painting in which substantial part of his pyrographed works were painted over with oil colors (Onuora 2012) . Onuora, according to Nzewi “belongs to a pantheon of Nsukka greats; a select few of adept, experimental, and original draughtsmen” (Nzewi 2014, p. 43). Onuora’s works in this regard developed as a result of his skill in quick drawing. In order to move his skill to new frontiers he “went on to draw on board with the angle grinder” as a way of deﬁning his subjects (Onuzulike 2014, p. 17). This approach to art making is clear in the work The Desire to Fly Again (Figure1a), which represents Onuora’s other works, where pyrography is used to accentuate painted subjects. However, his use of color began in a subtle monochromatic instance (see Hangmen Also Die, Figure1b), as he went on to advance paintaglio as a technique.

Arts 2017, 6, 8; doi:10.3390/arts6020008 www.mdpi.com/journal/arts Arts 2017, 6, 8 2 of 10

ArtsHowever,2017, 6, 8his use of color began in a subtle monochromatic instance (see Hangmen Also Die, Figure2 of 10 1b), as he went on to advance paintaglio as a technique.

(a) (b)

Figure 1. Chijioke Onuora’s Paintaglios (a) The Desire to Fly Again, 2003; (b) Hangmen Also Die, 1995. Figure 1. Chijioke Onuora’s Paintaglios (a) The Desire to Fly Again, 2003; (b) Hangmen Also Die, 1995. Reproduced with permission from Chijioke Onuora. Photo by the Artist. Reproduced with permission from Chijioke Onuora. Photo by the Artist.

Paintaglio stands as one of the several results of exploratory approaches in modern and post-Paintagliomodern visual stands arts as practice, one of which the several Obodo results and Morgan of exploratory described approaches as “a game in of modern search out” and post-modern(Obodo and Morgan visual arts2014, practice, p. 1). In their which work Obodo, David and Cohen Morgan and described Scott Anderson as “a gamesaw such of search method out” of (creativeObodo andinquiry Morgan as an 2014 ability, p. 1). of Inexperimenting their work, David the environment Cohen and Scott with Anderson “keener visual saw such sensibility” method (ofCohen creative and inquiry Anderson as an 2006, ability p. of experimenting10). Although thethere environment are limited with texts “keener around visual the sensibility”works of (Chukwuma,Cohen and Anderson his style of 2006 working, p. 10). becomes Although defined there in are terms limited of use texts of around materials the and works processes. of Chukwuma, Like El Anatsui’shis style of wall working sculptures, becomes they defined draw inmaterials terms of from use ofrecyclable materials discards and processes. (Houghton Like 1998) El Anatsui’s. Chika wallOkeke sculptures,-Agulu’s description they draw materials of El Anatsui’s from recyclable works as discardsa re-invention (Houghton of sculpture 1998)., Chika a style Okeke-Agulu’s characterized bydescription mark making, of El Anatsui’s significantly works applies as a re-invention to Chukwuma’s of sculpture, paintaglio a style exper characterizediments and by those mark of making, other avantsignificantly-garde appliesartists toof Chukwuma’sAfrica whose paintaglio techniques experiments and media and thoseexpress of otherdiverse avant-garde visual languages artists of Africa(Okeke whose-Agulu techniques 2010). Moreover, and media several express Nigerian diverse artists visual have languages become (Okeke-Agulu more sensitive 2010 to). Moreover,the ideas, materialsseveral Nigerian, and processes artists haveof art become making more that sensitivedeal with to the the burgeoning ideas, materials, socio-cultural and processes issues of of the art people,making such that dealas ecological with the crises, burgeoning militancy socio-cultural and insurgency, issues ofeducation, the people, and such politics, as ecological among others. crises, Themilitancy iconographic and insurgency, representation education, in andChukwuma’s politics, among works others. primarily The iconographicderives from representation the indigenous in visualChukwuma’s idiom of works uli, an primarily Igbo traditional derives graphic from the system, indigenous whose visual use has idiom attracted of uli, anwide Igbo investigation traditional fromgraphic scholars system, in Nigeria whose useand has beyond. attracted The wideliterary investigation works of Ikwuemesi from scholars (Ikwuemesi in Nigeria 2016) and, Ottenberg beyond. The(Ottenberg literary 2002 works), and of IkwuemesiChukueggu ( Ikwuemesiand Onwuakpa 2016), (Chukueggu Ottenberg ( Ottenbergand Onwuakpa 2002), and2016) Chukueggu and many othersand Onwuakpa on uli are quite (Chukueggu useful in and this Onwuakpa context. On 2016 subject) and matter, many Chukwuma’s others on uli paintaglioare quite useful experiments in this havecontext. found On subjecta link to matter, those Chukwuma’s of Nkechi Nwosu paintaglio-Igboexperiments who has for have about found a decade a link now to those “consciously of Nkechi madeNwosu-Igbo her work who to hasreflect for abouton the aeducation decade now syste “consciouslym in Nigeria” made (Anya her- workfulu-ugo to reflect 2015, onp. the36). educationYet huge differencessystem in Nigeria” exist on ( Anya-fulu-ugothe use of materials, 2015, p.style, 36). ideas Yet huge, and differences iconographic exist detail on thes. use of materials, style, ideas, and iconographic details.

Arts 2017, 6, 8 3 of 10

Our concern in this essay, therefore, is to discuss Chukwuma’s new visual language of art that manifests paintaglio as a technique. Following their epistemic backdrop, his works in this regard are structured around struggle for self-discovery and survival. This study, then, sets out to answer the following questions: What produced such creative ideology and professional notches in Chukwuma? How has the artist used his work to drive his themes? How can we interpret the visual metaphors embedded in Chukwuma’s paintaglios? Relying on personal interviews, literature review, and visual data, this study underscores the proﬁle and the pedagogical nurture of Chukwuma and inﬂuences that have spurred his exploration. It further carries out a visual discourse of his works.

2. Gerald Chukwuma and His Creative Orientation Chukwuma Gerald (b. 1973) has his roots in Oguta, Nigeria. After his secondary education in 1989, he enrolled in the University of Nigeria Nsukka to study for a degree in Fine and Applied Arts. His study at the Nsukka School (Department of Fine and Applied Arts, University of Nigeria, Nsukka) lasted between 1999 and 2003. While a learner, his works portrayed him as grappling with the challenges of creativity. This is evident in his Footprints, Six Feet Later, a painting that featured series of rectangles, lines, and images of lizards and stylized footprints which he exhibited in 2001 alongside his mates. Although he specialized in painting and was not tutored directly by El Anatsui, who was teaching sculpture at Nsukka School at the time, Chukwuma maintains that the well-known African artist inspired him greatly. He clearly avers that Anatsui “fanned into flames” the fire already lit by his teachers in painting—Krydz Ikwuemesi and Chike Aniakor (G. Chukwuma, personal communication, June 2015). How the fanning exercise by Anatsui took place is not clear, yet it is obvious that extrovert Chukwuma as the representative of his class, had had personal contact with El Anatsui and his works within the four years of his study. Although he mentions Anatsui, Aniakor, and Ikwuemesi as those who made remarkable impacts on his art practice, it is certain that the experimental spirit of ‘natural synthesis’ manifested through Uche Okeke’s uli at Nsukka School remained operative in many post-war graduates of the academy. It is necessary therefore to highlight briefly the connections and influences of ulism and Anatsui, whose subtle but pervasive influence on the artist is evident in Chukwuma’s paintaglio experiments.

2.1. Uli and Exploration at Nsukka Uli primarily was a means of decorating the body among the Igbo, especially among the women. Applying the uli design on the body, with or without uhie (red camwood) was quite appreciable because of the prevalence of nudity at the time. Different types and styles of uli existed and so were occasions that informed its application (Willis 1997). It was also used in mural painting. In the 1960s, and after the Nigerian civil war, the tradition of using uli as body and wall decoration began to decline as the grip of Christianity and modernity on local tradition became tighter, only to begin a new history in formal art at Nsukka. Captivated by the Igbo uli, especially for its varied motifs, “underlying logic ... , brevity of statement, and masterly control of space”, Uche Okeke started to explore uli art in 1962 although his ﬁrst stance towards uli was in the 1940s (Oloidi 2016, p. 4). Moreover, the exploratory approach to art (at Nsukka School) derives its force from a creative reaction of a group of student-artists at the Nigerian College of Arts, Science and Technology, Zaria (later Ahmadu Bello University). Adopting the name Zaria Art Society, the group comprising Uche Okeke, Demas Nwoko, Bruce Onobrakpaeya, Yusuf Grillo, Simon Okeke, and Jimoh Akolo chose to ‘rebel’ against prevailing occidental tradition of art pedagogy of the time because they considered their indigenous tradition equally rich, diverse, and capable of being explored alongside foreign traditions. The group was headed by Uche Okeke between 1958 and 1960, the period Nigerian elites drummed for and experienced the country’s independence. As “the rise of modern art in Africa is closely connected with [the] region’s struggle for independence” (Frank 2006, p. 453), the rationale Arts 2017, 6, 8 4 of 10 behind the ‘rebellion’ was to gain ‘independence’ of some sort, to institute an art practice that would be premised on localization of art curriculum. According to Chukueggu and Onwuakpa:

Arts 2017Uche, 6, Okeke’s 8 contribution to contemporary Nigerian art is his active role in fostering of the culturist4 of 10 tradition particularly in several budding artists while at Nsukka School. Hence the style or trend presently identified with the school is majorly his handwork (Chukueggu and Onwuakpa 2016, behind the ‘rebellion’ was to gain ‘independence’ of some sort, to institute an art practice that would p.267). be premised on localization of art curriculum. According to Chukueggu and Onwuakpa: Of the uli experiment, Ottenberg wrote: “Ulism may be at the core of most Nsukka artists’ work, but Uche Okeke’s contribution to contemporary Nigerian art is his active role in fostering of the their expression is varied” (Ottenberg 2002, p. 19). With uli and other indigenous idioms, art practice culturist tradition particularly in several budding artists while at Nsukka School. Hence in Nsukka School became more robust while boundaries that once separated genres of art became the style or trend presently identiﬁed with the school is majorly his handwork more and more blurred. This ideology has undeniably influenced Chukwuma’s art practice. In his creative experiments, Chukwuma turns wooden(Chukueggu panels and into Onwuakpa platforms for2016 engrav, p.267).ing and organisationOf the uli ofexperiment, elements of Ottenbergdesign. This wrote: results “Ulism in colormayful be compositions at the core of of most two Nsukka-dimensional artists’ design work, andbut theirrelief expression(paintaglio). is For varied” instance, (Ottenberg the Narrow 2002 Way, p. ( 19).Figure With 2) showsuli and the other system indigenous of design idioms, typical artof Chukwuma’spractice in Nsukka several School paintaglio became experiments. more robust whileAppearing boundaries as an thatappliqué, once separated Narrow Way genres reveals of art indigenousbecame more signs, and ideograms more blurred., and This motifs ideology in bright has and undeniably harmonious inﬂuenced tones. Chukwuma’s art practice. First,In his it creative is clear experiments,that Chukwuma Chukwuma is one of turnsthe several wooden Nsukka panels-trained into platforms artists who for engravinghas continued and theorganisation cultural ofexperimentation elements of design. on uli This. More results so in, we colorful see an compositions engagement of two-dimensionaland reinterpretation design of indigenousand relief (paintaglio). idiom in a contemporary For instance, the artNarrow practice Way different(Figure from2) shows its original the system usage of. designHowever, typical this emergingof Chukwuma’s visual language several paintaglio in paintaglios experiments., corroborate Appearing El Anatsui as’s anview appliqu that presentingé, Narrow the Way samereveals old materialsindigenous in signs,new ways ideograms, is what and has motifsensured in continuity bright and in harmonious art practice tones. (Onuora 2001, p. 93).

Figure 2. Narrow Way, 2013Figure. Mixed 2. Narrow media, Way, 38 2013× 65”.. Mixed Reproduced media, 38 × with 65”. permission from Gerald Chukwuma.Reproduced Photo: Trevor with Morgan. permission from Gerald Chukwuma. Photo: Trevor Morgan.

3. GeraldFirst, Chukwuma it is clear that and Chukwuma El Anatsui: is Parallels one of the and several Peculiarities Nsukka-trained artists who has continued the culturalWhile Chukwuma experimentation and onEluli Anatsui. More so,share we seecertain an engagement creative parallels and reinterpretation in their works, of indigenous there are certainidiom inpoints a contemporary of uniqueness art practicefor each differentof the artists. from El its Anatsui original trained usage. and However, practiced this in emerging Ghana before visual helanguage left for in Nigeria paintaglios, to join corroborate the faculty El Anatsui’s of Nsukka view Art that School presenting in 1975. the sameAlthough old materials the change in new of environmentways is what originally has ensured affected continuity his access in art practiceto “ready (Onuora-made wooden2001, p. 93).trays” he used to “burn, paint, engrave and sculpt” in Ghana, this change afforded him the opportunity to work with Uche Okeke 3. Gerald Chukwuma and El Anatsui: Parallels and Peculiarities (Oguibe 2010, p. 25). Such contact and subsequent relationship made Anatsui incorporate signs indigenousWhile to Chukwuma the southeastern and El Nigeria Anatsui such share as uli certain, and nsibidi, creative in parallelshis works. in Previously, their works, Ana theretsui had are appropriatedcertain points adinkra of uniqueness and other for visual each signs of the common artists. to El some Anatsui communities trained and in practicedGhana. In in1995, Ghana for instance,before he he left created for Nigeria a piece to from join an the old faculty mortar of formerly Nsukka used Art School in extracting in 1975. palm Although oil. The the sculptural change pieceof environment he called Adinsibuli originally Stood affected Tall hisfeatures access uli, to circular “ready-made patterns wooden of Adinkra trays” textile he used patterns to “burn, and nsibidipaint, engraveideogram ands together. sculpt” inThese Ghana, indigenous this change signs afforded and symbols him the are opportunity heterogeneous, to work having with come Uche fromOkeke different(Oguibe parts2010, of p. 25).WesternSuch Africa. contact In and the subsequent 1980s or relationshipeven earlier, made Anatsui’s Anatsui wooden incorporate sculptures signs indigenous to the southeastern Nigeria such as uli, and nsibidi, in his works. Previously, Anatsui had appropriated adinkra and other visual signs common to some communities in Ghana. In 1995, for instance, he created a piece from an old mortar formerly used in extracting palm oil. The sculptural piece he called Adinsibuli Stood Tall features uli, circular patterns of Adinkra textile patterns and nsibidi Arts 2017, 6, 8 5 of 10 ideogramsArts 2017, 6, 8 together. These indigenous signs and symbols are heterogeneous, having come from5 of 10 different parts of Western Africa. In the 1980s or even earlier, Anatsui’s wooden sculptures featured thesefeatured symbols these in symbols form of in heavy form charred of heavy intaglio charred lines intaglio or painted lines signs.or painted On the signs. instance On the of use instance of color, of hisuse earlyof color 1990s, his works early 1990s fashioned works with fashioned “different with power “different routers, power drills, routers, and rotarydrills, and saws” rotary were saws also” embellishedwere also embellished with acrylic with and acrylic tempera and (Okeke-Agulu tempera (Okeke 2010-Agulu, p. 41) 2010, as can p. be41) seen as can in his be Earth-Moonseen in his ConnectionsEarth-Moon producedConnection ins produced 1993 (Figure in 31993). (Figure 3).

Figure 3. El Anatsui. Earth-MoonFigure 3. ConnexionsEl Anatsui., Earth 1993.-Moon Reproduced Connexion withs, 1993 permission. from El Anatsui. Photo: Franko Khoury.Reproduced with permission from El Anatsui. Photo: Franko Khoury.

Owing to the creative success recorded by Anatsui, his influence spread across a good number Owing to the creative success recorded by Anatsui, his inﬂuence spread across a good number of artists within and outside Nsukka School. Yet, Chukwuma does not readily come to mind when of artists within and outside Nsukka School. Yet, Chukwuma does not readily come to mind when considering Anatsui’s disciples. This informed why Chijioke Onuora did not capture him in the considering Anatsui’s disciples. This informed why Chijioke Onuora did not capture him in the series of progenies of Anatsui’s creative styles (Onuora 2001). However, it is interesting to note how series of progenies of Anatsui’s creative styles (Onuora 2001). However, it is interesting to note how Chukwuma had followed Anatsui as an exemplar in pyrography, perhaps from a distance. Chukwuma had followed Anatsui as an exemplar in pyrography, perhaps from a distance. Chukwuma, Chukwuma, moreover, noted that over time he has created a rather different way of expression. He moreover, noted that over time he has created a rather different way of expression. He wrote: wrote:

PeoplePeople often often see see a striking a striking resemblance resemblance between between the work the of Africa work’s of most Africa’s famous most contemporary famous artistcontemporary Professor El artist Anatsui Professor’s wooden El Anatsui’sslats and that wooden of mine. slats While and thatI never of mine.studied While directly I never under Anatsuistudied (He directly taught under sculpture Anatsui and (HeI graduated taught sculpturewith a degree and Iin graduated painting), withI was a nevertheless degree in influencedpainting), by I was his works nevertheless and give inﬂuenced credit to the by great his works teacher’s and impact give credit in myto seminal the great wood teacher’s pieces… Fromimpact this in vantage my seminal point, woodit is exciting pieces to... seeFrom how my this color vantage and technique, point, it is coupled exciting with to seethis howbold mystyle hascolor matured and technique, into a distinct coupled expression with this of bold its styleown has(G. maturedChukwuma, into apersonal distinct c expressionommunication of , Decemberits own 28, 2016).

A close look at Anatsui’s Earth-Moon(G. Chukwuma, Connexions ( personalFigure 3) communication,, Chukwuma’s The December Narrow 28,Way 2016). (Figure 2) and Everyone (Figure 4) reveals certain similarities. As a point of difference, it is evident that Anatsui A close look at Anatsui’s Earth-Moon Connexions (Figure3), Chukwuma’s The Narrow Way has applied color more scarcely in his style of works done on wood with power tools. Anatsui’s (Figure2) and Everyone (Figure4) reveals certain similarities. As a point of difference, it is evident motifs in planar wood reliefs or metallic wall hangings are both less varied and more repetitive that Anatsui has applied color more scarcely in his style of works done on wood with power tools. (Kwame 2010, p. 72). On the use of material, Chukwuma fastens pieces of aluminium with striking Anatsui’s motifs in planar wood reliefs or metallic wall hangings are both less varied and more colors to enclose and embellish surfaces more unlike Anatsui who rather creates all-over repeat repetitive (Kwame 2010, p. 72). On the use of material, Chukwuma fastens pieces of aluminium with composition in his wall sculptures. In general, we see Chukwuma has pursued a more pronounced striking colors to enclose and embellish surfaces more unlike Anatsui who rather creates all-over repeat color finish than a diminutive found in Anatsui’s wooden works. On the other hand, while we cannot effectively group Chukwuma’s works with Onuora’s, which are more pronouncedly

Arts 2017, 6, 8 6 of 10 composition in his wall sculptures. In general, we see Chukwuma has pursued a more pronounced color ﬁnish than a diminutive found in Anatsui’s wooden works. On the other hand, while we Artscannot 2017 effectively, 6, 8 group Chukwuma’s works with Onuora’s, which are more pronouncedly paintings,6 of 10 the three artists share similarities in technique and materials. However, Chukwuma’s paintaglio paintings,experiments the are three more artis stratiﬁed.ts share similarities in technique and materials. However, Chukwuma’s paintaglio experiments are more stratified.

Figure 4. Everyone, 2013. Mixed media, 85 × 162”. Figure 4. Everyone,Reproduced2013 with. Mixedpermission media, from 85 Gerald× 162”. Chukwuma. Reproduced Photo: with Trevor permission Morgan from. Gerald Chukwuma. Photo: Trevor Morgan. 4. A Visual Discourse of Chukwuma’s Paintaglio Experiments 4. A Visual Discourse of Chukwuma’s Paintaglio Experiments Motifs and symbols in Chukwuma’s works similarly functional as ideograms and motifs used in Anatsui’sMotifs and hangings symbols inresonate Chukwuma’s with African works similarly identity functional and heritage. as ideograms Chukwuma and motifs says,used he inis “Anatsui’sfascinated hangings by motifs resonate and symbol withs African” for the identity “purpose and they heritage. served Chukwuma in their times says, and he their is “fascinated historical significanceby motifs and” ( symbols”G. Chukwuma, for the personal “purpose communication, they served in December their times 28, and 2016 their). This historical informs significance” why he profusely(G. Chukwuma, applies personal them to communication, his works. Engraving December indigenous 28, 2016). signs This and informs symbols why in he wood profusely panels applies with carethem derives to his works.from his Engraving skill to handle indigenous mechanical signs and and manual symbols sculpture in wood panelstools such with as care the router, derives angle from grinder,his skill togouges handle, and mechanical others. andThis manualhelps him sculpture unveil tools imageries such as latent the router, in woods angle— grinder,by subtracting gouges, nonand- others.essentials This to helpscreate him desired unveil shapes, imageries forms latent, and inpatterns. woods—by subtracting non-essentials to create desiredMarking shapes, the forms, visual and symbolism patterns. inherent in his style, Chukwuma’s works are finished with elaborateMarking dots, the ‘pixels visual’, lines, symbolism space, inherentand forms, in hiswhich style, are Chukwuma’s either pierced, works incised, are appended finished with, or painted.elaborate We dots, see ‘pixels’, in his lines,works space, imageries and forms, that are which not arein eitherany way pierced, divorce incised,d from appended, the linearities or painted. and intricateWe see in ornamentations his works imageries that characterize that are not the in uli any system way divorcedof design. from He moves the linearities his shapes and and intricate forms aroundornamentations in rhythmic that characterizeflows for creative the uli systemeffects. ofAlthough design. Hesome moves critics his may shapes think and him forms eccentric around, examiningin rhythmic the flows creative for creative superimpositions effects. Although that ha someve defined critics the may experiments, think him eccentric, it is clear examining his ideas and the visualcreative forms superimpositions drive a significant that have theme defined for Nigeria, the experiments, today. In ita ispersonal clear his communication, ideas and visual Gerald forms stated:drive a significant theme for Nigeria, today. In a personal communication, Gerald stated:

WhenWhen I Iwas was commissioned commissioned to to do do the the pieces pieces at the Un Universityiversity of Nigeria Nsukka,Nsukka, whichwhich byby thethe way way took took two two years years to to accomplish, accomplish, I I had to work around aa theme.theme. TheThe narrativenarrative hadhad toto gogo around around the the concept concept of of knowledge, knowledge, education, education, university university,, and their impact onon people.people. ThereforeTherefore,, all all the titlestitles andand messages messages had had to reﬂectto reflect the the theme theme (G. Chukwuma, personal communication, December 28, 2016(G. Chukwuma,). personal communication, December 28, 2016). His theme of knowledge is premised on the principle of self-discovery and struggle towards His theme of knowledge is premised on the principle of self-discovery and struggle towards self-realisation. This time, the struggle is not all of political and economic powers, nor between the self-realisation. This time, the struggle is not all of political and economic powers, nor between the ruling class and the working class, rather scholars are poised in the struggle for academic power in ruling class and the working class, rather scholars are poised in the struggle for academic power in order to enjoy a better social and economic life. The common ideology and notion of Africans as constantly in competition and struggle for survival as underscored in Chinua Achebe’s Things Fall Apart tends to find expression in Chukwuma’s works (Chinua 1958). In I Know Where the Sun Lives, (Figure 5) the artist expresses the concept of self-discovery of individual ability for an adorned future. The Socratic principle “man know thyself” is underscored here to provoke an intensive search into the personality and potentialities of the individual. In a corroborative standpoint,

Arts 2017, 6, 8 7 of 10 order to enjoy a better social and economic life. The common ideology and notion of Africans as constantly in competition and struggle for survival as underscored in Chinua Achebe’s Things Fall Apart tends to find expression in Chukwuma’s works (Chinua 1958). In I Know Where the Sun Lives, (FigureArts 20175, )6, the 8 artist expresses the concept of self-discovery of individual ability for an adorned future.7 of 10 The Socratic principle “man know thyself” is underscored here to provoke an intensive search into the personalityBorgdorff argued and potentialities that “art’s epistemic of the individual. character In resides a corroborative in its ability standpoint, to offer Borgdorffthe very reflection argued that on “art’swho we epistemic are, on characterwhere we resides stand” in (Borgdorff its ability 2012, to offer p. the154). very The reflection reality of on identification who we are, of on knowledge where we stand”agrees with (Borgdorff Chukwuma’s 2012, p. 154).views. The In realityI Know ofWhere identification the Sun Lives of knowledge, we find representations agrees with Chukwuma’s of the sun, views.human Infigures,I Know stylized Where thetree, Sun regular Lives ,horizontal we find representations and vertical lines, of the uli sun,and humannsibidi motifs figures, and stylized other tree,symbols. regular This horizontal is a visual and metaphor vertical lines, expressinguli and thensibidi openmotifs and anddiverse other routes symbols. to self This-realization, is a visual metaphorhowbeit, to expressing be actuali thezed open within and the diverse framework routes of to discipline self-realization, and industry. howbeit, Chukwuma to be actualized represents within, theas central framework in his of work discipline, the andimagery industry. of the Chukwuma sun—a figurative represents, expression as central for in histhe work, highest the point imagery of ofpossibility the sun—a—and figurative as the nucleus expression of life, for the highestsun here point is personified of possibility—and and perceived as the as nucleus the source of life, of thepower, sun light, here isvision personified, and that and which perceived pushes as darkness the source of of ignorance power, light, away. vision, and that which pushes darkness of ignorance away.

Figure 5. I Know WhereFigure the 5. SunI Know lives, W 2013here .the Mixed Sun lives, media, 2013 71.× Mixed167”. media, Reproduced 71 × 167 with”. permission from Gerald Chukwuma.Reproduced Photo: with Trevor permission Morgan. from Gerald Chukwuma. Photo: Trevor Morgan.

On the broad horizontal channel in this work, we see human figures traversing the stellar space On the broad horizontal channel in this work, we see human figures traversing the stellar space in various postures, some expressing as it were, relief, happiness, tension, challenge, or heat caused in various postures, some expressing as it were, relief, happiness, tension, challenge, or heat caused by the sun, perhaps. Chukwuma, conceivably, wants to redirect his audience who undertake the by the sun, perhaps. Chukwuma, conceivably, wants to redirect his audience who undertake the journey of life to the true ‘source‘. While pushing his materials and ideas around, he lays bands of journey of life to the true ‘source‘. While pushing his materials and ideas around, he lays bands of metal in a curvilinear patterning to create irregular spaces, perhaps to reveal how chequered life can metal in a curvilinear patterning to create irregular spaces, perhaps to reveal how chequered life can be. The work is enlivened by punctuated spaces and intricacies of line and dots with an application be. The work is enlivened by punctuated spaces and intricacies of line and dots with an application of subdued tones in shades of blue, gray, yellow, and red. In a formal analysis of his message of of subdued tones in shades of blue, gray, yellow, and red. In a formal analysis of his message of knowledge and self-discovery, the choice to experience the sun lies open to anyone and everyone—to knowledge and self-discovery, the choice to experience the sun lies open to anyone and create, to invent, to make discoveries and breakthroughs if we dare to exploit the resources and everyone—to create, to invent, to make discoveries and breakthroughs if we dare to exploit the materials provided by nature or man. resources and materials provided by nature or man. Furthermore, it is noteworthy that Chukwuma’s titles have expressed certain ‘spirito-centric’ Furthermore, it is noteworthy that Chukwuma’s titles have expressed certain ‘spirito-centric’ persuasions that draw ideas from biblical narratives to support his epistemic themes. In using light persuasions that draw ideas from biblical narratives to support his epistemic themes. In using light as a metaphor, he marks out areas of bright colors in Light out of Darkness (Figure6) similar to I Know as a metaphor, he marks out areas of bright colors in Light out of Darkness (Figure 6) similar to I Know Where the Sun Lives. Thus, calling to mind the historic statement, “Let there be light,” made by God to Where the Sun Lives. Thus, calling to mind the historic statement, “Let there be light,” made by God to bring illumination on the dark formless entity of the universe in the biblical account of creation. By bring illumination on the dark formless entity of the universe in the biblical account of creation. By using bright and warm hues of white, yellow, red, orange of shapes and dots Chukwuma in Light out using bright and warm hues of white, yellow, red, orange of shapes and dots Chukwuma in Light out of Darkness activates two points of entry from which the “light” begins to emerge. This chimes with of Darkness activates two points of entry from which the “light” begins to emerge. This chimes with the Socratic viewpoint that education is the kindling of a flame, and not the filling of a vessel. In its the Socratic viewpoint that education is the kindling of a flame, and not the filling of a vessel. In its organization, the work shows a highly-pixilated body, saturated with intense visual textures, designed on its border with broken pieces of ropes, round metals, dolls, combs, padlock, and toys or assorted representations of animals and objects.

Arts 2017, 6, 8 8 of 10 organization, the work shows a highly-pixilated body, saturated with intense visual textures, designed on its border with broken pieces of ropes, round metals, dolls, combs, padlock, and toys or assorted representationsArts 2017, 6, 8 of animals and objects. 8 of 10

Figure 6. Light out ofFigure Darkness 6. ,Light 2013. out Mixed of Darkness media,, 2013 48 .× Mixed96 × media3”. Reproduced, 48 × 96 × 3” with. permission from Gerald Chukwuma.Reproduced Photo: with Trevor permission Morgan. from Gerald Chukwuma. Photo: Trevor Morgan.

Following the religious undertone of his theme, the deep tones of the work symbolize darkness Following the religious undertone of his theme, the deep tones of the work symbolize darkness of ignorance and negatives that becloud dreams and purposes, which education and enlightenment of ignorance and negatives that becloud dreams and purposes, which education and enlightenment should eliminate. The same message of responsibility in self-discovery is also locked up in Everyone should eliminate. The same message of responsibility in self-discovery is also locked up in Everyone (Figure 4) the piece with which Gerald, argues that “anyone and everyone is able to tap knowledge (Figurewhen4 )he the chooses piece withto open which a book Gerald,” (G. argues Chukwuma, that “anyone personal andcommunication, everyone isDecember able to tap28, 2016 knowledge). The whenwhole he essay chooses is condensed to open a book”to a relief (G. Chukwuma,of graphic design. personal Stylized communication, rendering of Decembermatchstick 28,human 2016). Thefigures whole of essay both is genders condensed are torepresent a reliefed of graphicin varied design. postures Stylized of leisure, rendering work, of labor, matchstick study,human and figuresfreedom of both with genders which academic are represented settings inare varied known postures. Composed of leisure, of 30 pieces work, of labor, wood study, slats, the and work freedom is withmounted which academicat the right settings flank of are the known. entrance Composed to the largest of 30 library pieces in of West wood Africa, slats, the the Azikiwe work is Library mounted at thefor its right didactic flank role. of the Here entrance we see toa humanistic the largest sensitivi libraryty in that West mirrors Africa, self. the Chukwuma Azikiwe Library believes for in its didacticindividual role. capability Here we see to ‘locate’ a humanistic where sensitivityhis sun lives that and mirrors to tap self.from Chukwuma its enlivening believes energy. in In individual a more capabilityapplied sense, to ‘locate’ his themes where go his on sun to livesrefer andus to to the tap questions from its of enlivening materialism, energy. which Inraises a more profound applied sense,challenges his themes for scholarship go on to refer in Nigeria. us to the Although questions hisof themes materialism, make a point which for raises the emancipation profound challenges of the forindividual scholarship through in Nigeria. education, Although the view his on themes materialism make a foregrounds point for the the emancipation situation or context of the in individual which throughpeople education, tend to seek the viewfor knowledge on materialism in Nigeria foregrounds today the in situationpursuit orof contexthigher inand which revered people class. tend to seekCertificates for knowledge are seen as in mere Nigeria meal today ticket, in perhaps, pursuit ofowing higher to harsh and revered economic class. realities Certificates that becloud are seen the as merenation. meal Hence, ticket, students, perhaps, graduates owing to, harsh and employees economic are realities willing that to becloudengage in the even nation. severe Hence, malpractices students, graduates,to secure andrankings, employees jobs, and are promotion willing tos engage (Falola in2017) even. severe malpractices to secure rankings, jobs, He speaks of his ideas, concepts, and their underpinnings as projecting hopefulness for those and promotions (Falola 2017). who dare, of optimism placed under the reality of choice. For instance, of the Tree of Life (Figure 7) He speaks of his ideas, concepts, and their underpinnings as projecting hopefulness for those Chukwuma explains: who dare, of optimism placed under the reality of choice. For instance, of the Tree of Life (Figure7) ChukwumaThis piece explains: talks about the benefits of wisdom and understanding. (Proverbs 3:13–18, KJV): Happy is the man that findeth wisdom, and the man that getteth understanding. For the This piece talks about the benefits of wisdom and understanding. (Proverbs 3:13–18, KJV): merchandise of it is better than the merchandise of silver, and the gain thereof than fine Happy is the man that findeth wisdom, and the man that getteth understanding. For the gold. She is more precious than rubies: and all the things thou canst desire are not to be merchandisecompared unto of ither is. better Length than of days the merchandise is in her right of hand; silver, and and in the her gain left hand thereof riches than and fine gold.honor She. Her is moreways preciousare ways thanof pleasantness, rubies: and and all all the her things paths thou are peace canst. desireShe is a are tree not of tolife be comparedto them that unto lay her. hold Length upon her: of days and ishappy in her is rightevery hand; one that and retaineth in her left her hand (G. Chukwuma, riches and honor.personal Her communication, ways are ways December of pleasantness, 28, 2016). and all her paths are peace. She is a tree of life to them that lay hold upon her: and happy is every one that retaineth her The Tree of Life is not a triptych as it seems, rather it is a band of three distinct works with identical layout. Each work, consisting of(G. 10 Chukwuma, panels, features personal a towering communication, tree at the Decembercenter, that 28, dwarfs 2016). and overshadows engraved miniature figures in silhouettes. Appearing in rows are these figures in varying positions, framed vertically and horizontally. Some stand, others wobble or fall, perhaps in

Arts 2017, 6, 8 9 of 10

The Tree of Life is not a triptych as it seems, rather it is a band of three distinct works with identical layout. Each work, consisting of 10 panels, features a towering tree at the center, that dwarfs and overshadows engraved miniature figures in silhouettes. Appearing in rows are these figures in varying positions,Arts 2017, 6, 8 framed vertically and horizontally. Some stand, others wobble or fall, perhaps in pursuit9 of 10 of wisdom or knowledge from Tree of Life. The varying color of these figures from black to white, yellow,pursuit red,of wisdom and green or knowledge seems to capture from Tree the of cultural Life. The diversity varying that color defines of these the figures identity from of the black entire to learners’white, yellow, population. red, and green seems to capture the cultural diversity that defines the identity of the entire learners’ population.

Figure 7. Tree of LifeFigureseries ,7. 2013 Tree. of Mixed Life series media,, 2013 54. ×Mixed60” each. media, Reproduced 54 × 60” each with. permission from Gerald Chukwuma.Reproduced Photo: with Trevor permission Morgan. from Gerald Chukwuma. Photo: Trevor Morgan.

5. Conclusion Conclusionss In Chukwuma’s works works,, we have found a unique union of paintingpainting andand intaglio,intaglio, otherwiseotherwise referred to as paintaglio.paintaglio. Although the formal properties of the works are premised on the ideology of “natural“natural synthesis”,synthesis”, one sees in them an innovation in techniques and materials that alignsaligns with Anatsui’s,Anatsui’s, of which Robert Storr concludes that if such works open “a new chapter in the history, it is the most pictorialpictorial sculpturesculpture imaginable”imaginable” (Storr 2010).). Chukwuma drives a continuum of the same indigenous African creative paradigm with his sculpturesquesculpturesque paintings. Following that artworks are iconographic archetypes charged with meanings, Chukwuma’s experimental works could be read or interpreted fromfrom diverse diverse perspectives perspectives by generalby general audience audience and connoisseurs.and connoisseur Beyonds. Beyond structure, structure, texture, andtexture visual, and effects visual of effects these of paintaglio these paintaglio experiments, experiments, their underlying their underlying theme of theme knowledge of knowledge framed aroundframed self-discoveryaround self-discovery and struggle and forstruggle survival for is survival worthy ofis noteworthy considering of note considering the status of the educational status of developmenteducational development in Nigeria. Moreover, in Nigeria. our Moreover, reading here our isreading pertinent, here for is Africapertinent, and herfor Diasporas,Africa andnow her thatDiasporas the politics, now of that education the politics in Nigeria of education has a tremendously in Nigeria materialistic has a tremendously focus. Furthermore, materialistic the focus. study hasFurthermore, underscored the thestudy ubiquitous has underscored demand the for ubiquitous self-discovery demand as a for precursor self-discovery to global as discoverya precursor and to advancement.global discovery More and innovative advancement. inquiry More in artinnovative practice inquiry in which in materials, art practice ideas, in andwhich processes materials, of workingideas, and interlace processes is required, of working especially interlace with is foci required, on developing especially issues with around foci on the developing African people. issues around the African people. Acknowledgments: No funding was received for this research work. We appreciate Gerald Chukwuma for the interviews granted us during this research. Our special gratitude goes to the reviewers of this work for their Acknowledgments: No funding was received for this research work. We appreciate Gerald Chukwuma for the untiring spirit. We are highly encouraged by their dedication to making this work come out strong and mature. interviews granted us during this research. Our special gratitude goes to the reviewers of this work for their Authoruntiring Contributions: spirit. We are highlyThis work encouraged was conceived by their anddedication designed to bymaking Trevor this Morgan work come and Chukwumeka out strong and Nwigwe. mature. Uzoagba Chukwnonso contributed in gathering visual materials while Chukwuemeka Nwigwe conducted communicationsAuthor Contributions: with Gerald This work Chukwuma. was conceived Trevor Morganand designed was intensively by Trevor involvedMorgan and in writing Chukwumeka and editing Nwigwe. of the workUzoagba with Chukwnonso support from contributed Chukwuemaka in gathering Nwigwe andvisual Chukwunonso materials while Uzoagba. Chukwuemeka Nwigwe conducted Conﬂictscommunications of Interest: withThe Gerald authors Chukwuma. declare no Trevor conﬂict Morgan of interest. was intensively involved in writing and editing of the work with support from Chukwuemaka Nwigwe and Chukwunonso Uzoagba.

Conflicts of Interest: The authors declare no conflict of interest.

References

(Aniakor 1987) Aniakor, Chike C. 1987. AKA Circle of Exhibiting Artists (Hotel Presidential, Enugu, 23 April-May 25, 1987; National Gallery of Crafts and Design, Lagos, 2 July–16 July 1987). (Anya-fulu-ugo 2015) Exhibition in honour of El Anatsui and Obiora Udechukwu (Nnamdi Azikiwe Library, University of Nigeria, Nsukka, June 4-July 8, 2015). Nsukka: Faculty of Arts, UNN

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