Navigating intergenerational arts at Big Sculpture Exhibition

For AMG Projects, the organisers of Big Sculpture Exhibition, it is imperative to bring the nation’s sculptural legacy into vivid intergenerational conversation.

An anthology of contemporary Nigerian artworks, Big Sculpture Exhibition showcases the continuity, longevity and transformative impact of the medium, tracing its evolution from the influences of traditional techniques to the boundary pushing experimentation that defines modern practice today.

Curated by Mathew Oyedele and Jide Ogunsanya, the exhibition delves in the diverse philosophies and practices of Nigerian arts institutions; both formal and informal and their impact in development of the sculptural landscape of the country.

Such institutions include, Nsukka Art School, Zaria Art School, Auchi Art School, Yabatech Art School, Ife Art School and enduring legacy of excellent craftsmanship at the universal studios of art. Each of these institutions has produced remarkable sculptors whose works continue to push the boundaries of form, materiality and conceptual depth.

According to Oyedele, “Big sculpture is a tribute to Nigeria’s vast sculptural landscape. Through the works presented, we witness form; space and material come alive together to tell stories of identity, history and collective memory. The show’s intention is to re affirm that sculpture is no static, but rather a living, evolving medium that continues to shape culture and artistic practice in Nigeria.” Oyedele identified the first generation of sculptors as Bruce Onobrakpeya, Olu Amoda, Bunmi Babatunde, Adeola Balogun and Fidelis Odogwu

These giants, he argued, have left indelible marks, not just in their craftsmanship, but also through impactful mentorship that has birthed new generation of artists such as Adeoti Azeez Afeez, Olu Atere, Ugo Ahiakwo and Fiyin Koko.

At the core of the exhibition was a panel discussion, interrogating community of artists and the transmission of material knowledge, whether in metal, wood bronze, or metals.

Other conversations include: How global trends influence African sculptures and role of sustainability in choosing arts materials. Moderated by Ogunsanya, the panelists include, Onobrakpeya, Alimi Adewale, Koko and a Cameroonian sculpture, Djakou Kassi Nathalie.

Onobrakpeya acknowledged the organisers for introducing panel discussion to the exhibition. To the nonagenarian, for exhibition to be complete, there must be panel discussion. He urged other galleries to borrow a leaf from AMG Projects. The don added there is a need to invite market women and traders for exhibition to view how discarded items are converted into beautiful artworks.

Concerning use of materials, he disclosed he enjoyed mixing both old and new materials.Onobrakpeya identified old materials as, wood, clay and metals. New materials, to him, are glass and plastics.

Alimi identified bronze and woods as traditional materials. For many centuries, he observed the Yoruba and Benin engaged in woods and bronze. In recent times, he said artists now use plastics.

Saying it is expedient to connect with regions where craftsmanship is valued, he, however, insisted there is need to change narratives by breaking stereotypes. He observed art is spiritual and calls for caution concerning sharing art works on social media.

To Alimi, other collectors or artists may copy works online and make huge money from it.Nathalie said traditional materials include clay, wood and marble, while modern material include plastics.

She added the environment determines the type of materials that would be adopted. She disclosed, “if I don’t have deadlines, then I have the freedom to go through my work easily. But if I have deadlines, I usually wake up early.”

According to Fiyin, “I went to Bruce Onobrakpeya Foundation and that was where my sculptural journey started.”