For the founder/Chair, Zero Privé Art Gallery and Convener of Museum of Modern and Contemporary African Art London, Olusegun Paul Andrew, the imperative of deconstructing the evolution of artistic expression in Post War cannot be over emphasised.
Speaking at an exhibition on Modern and Contemporary African Art held at Alliance Francaise, Ikoyi, Lagos recently, Andrew noted that the post war collection of Modern Nigerian Art reflects a vibrant cultural narrative, showcasing the resilience and creativity of Nigerian artists in the aftermath of conflict.
With the theme: “Post War Collection of Contemporary Nigerian Art,” he added the diverse range of artworks captures the evolution of artistic expression, intertwining tradition with contemporary themes, contributing to a rich tapestry of Nigeria’s post-war identity.
The show featured artists such as, Kingsley Ayogu, Babajide Olatunji, Benedict Olorunisomo, Busayo Lawal, Tima Dairo and Damilola Ajegbomogun.
There was also an Art talk that brought experts, scholars, art critics, collectors and artists together to ‘dimension art as an asset’ and it was a fascinating ArtTalk session of the show with Femi Akinsanya, Maky Makura, Obi Asika, and Olusegun Paul Andrew.
The panelists explored the dimension of art as an asset, saying it adds depth to the discourse, highlighting the intersection of artistic expression and economic value in the contemporary art scene.
They also shed light on the value and significance of Contemporary & Modern African Art. It also provides a platform for dialogue, education, and appreciation, fostering a deeper understanding of the artistic contributions and helping to reshape perceptions within the art community and beyond.
To Andrew, “incorporating artists of Nigerian descent from the post-war era in the discussion adds a significant layer of historical and cultural context.”
Their contributions, he said, not only reflect artistic evolution but also offer insights into the socio-political landscape, enriching the narrative of Nigerian art during a pivotal period.
“Their creative prowess contributes to the rich tapestry of Nigerian art, showcasing the diverse talent emerging from the country. Absolutely, the anticipation for more contributions to Contemporary Nigerian Art is well-founded. The dynamic and evolving nature of the art scene promises continued innovation and fresh perspectives from talented artists. Exciting times lie ahead for the exploration and celebration of Nigerian artistic expression.
“Establishing a robust ecosystem and economic value for Nigerian artists, and Africans in general, hinges on implementing effective pricing mechanisms. This approach not only recognises the artistic merit but also fosters sustainable growth within the creative community, contributing to a more vibrant and economically viable cultural landscape,” he stated.
In his conclusion, Andrew observed, “recognising and appropriately valuing African art is crucial. This not only honors the artistic heritage but also ensures fair compensation for the creativity and cultural significance embedded in these works. By elevating the value of African art, we contribute to a more equitable and sustainable future for artists and the broader artistic community on the continent.”
The private collection of Modern & Contemporary African Art by the Olusegun Paul Andrew Foundation is instrumental in fostering a culture that intertwines wealth and creativity within the African art landscape. Such initiatives contribute significantly to the elevation of African artists, promoting their works and, in turn, enhancing the cultural and economic value of African art on a global scale.
Over the years, Paul Andrew is changing the narrative by addressing undervaluation in Contemporary & Modern African Art. By implementing favorable validation mechanisms, he is not only working towards fair pricing but also contributing to a shift in perception, recognizing the true worth of African art assets. This approach helps create a more equitable and sustainable market for artists and their creations.
