Hourglass in Ablade’s The Passage Of Time

Structured Chaos’ is how Dozie Igweze, gallery owner, curator, writer and documetarian described Ablade Glover’s latest body of work, The Passage of Time, a solo show, which just ended at The Hourglass Gallery in Lagos. The show held from December 4 to 19, 2022.

The title is a nod to the artist’s creative odyssey, spanning decades, the details of which have been faithfully preserved in the records of time.

The Ghana-born, 88-year-old painter and art grandmaster presented 45 works across 15 years at the show, baring his mind on issues, expressing himself, engaging the mind and exciting viewers with his works.

Igweze noted that the artist presented a piece of himself with a variety of artworks spanning the last 15 years of his creative journey.

Glover expressed delight being in Nigeria and also refreshing the art scene with works from his creative juice. “Glover is probably one of the most influential African artists of the last century. He has brought energy, light and dynamism to the exploration of Africanness and womanhood,” Igweze said.

Igweze, who, over time, has written and documented the lives and art of artists he works with, said love for Glover spurred the exhibition’s accompanying book, Crowds and Queens: The Art of Ablade Glover.

He said he has worked with the artist for about two decades and the latter’s brilliance, determination and dedication to his art is second to none.

“Every time I speak with him about his work, I am humbled and blown away. He is always painting everyday, even as early as 6.00am and this is someone who has been painting for over seven decades,” he said.

According to him, the picture book is a tribute to Gover, detailing his art and life, right from his childhood, his family, and education and moving to the U.K and back to Ghana. It also talks about his very first show, opened by the wife of W.E.B DuBois.

The gallery owner said he also hopes that documenting Glover would serve as inspiration to someone else on this journey.

It offers useful backdrops to the artist’s attempt to depict the animated beehive activities of African market scenes as well as the restiveness of his environment in rigid, stationary forms, albeit in effervescent colours.

“Glover’s market paintings embraces the vitality of African markets– they are bold, energetic and fiery, but beyond the market women, people and buses, I want people to see the African spirit created on canvas. The crush of people, the stalls, the movement, reveals warmth and togetherness, reflecting key African values and traditions,” he said.

There is a history behind Glover’s seeming preoccupation with markets and market women. His background as a market woman’s son has a lot to do with it since he also grew up in one. Thus, the paintings could be viewed as his autobiographical perspective on the adversities and tenacity of these exceptional amazons, who made a great impression on him as a boy. This also explains his adulation and romanticisation of these women as ‘queens’ in a manner that evokes the philosophy of the Negritude Movement in the 2015 oil on canvas painting he titled, Flamboyance.