An Art exhibition, titled, Six Swans, which opened on May 25 and ended June 1 at Signature Beyond Art Gallery, Ikoyi, has revealed the beauty of female artists.
Featuring the works of six talented female artists: Useh Akpoghene Caroline, Amaghiro Chiamaka Lilian, Baliki Audu, Eberechukwu Lucia Okoro, Elizabeth Chioma Ekpetorson and Faith Michael, their works incorporate swans as symbols.
The gallery says incorporating the symbolism of swans into the exhibition adds a layer of depth and meaning to the artwork on display, “swans are revered for their grace, beauty, and transformative nature, qualities that parallel the diverse and intricate works created by the featured artists.”
By aligning the show with symbols of swans, they create a cohesive and immersive experience for visitors, inviting them to explore the themes of beauty, transformation, and self-discovery through the lens of each artist’s unique perspective.
Useh, in her quest to find a distinctive way of expressing herself, employs the use of found materials in creating her works with the background and knowledge of mixed media as an alternative to painting.
With this, she is able to stir up conversations between her works and audience, as seen in one of her works, titled, Dear, which comprises pegs, combs, wristwatches, cigarette buds and all manner of scrap materials.
Useh believes that art is humanity, so is humanity a piece of art that educates, advocates and protests, projects, questions, challenges, provokes and deciphers behavioural actions.
Useh, through her art, aims to curb environmental disturbances as well as, sensitise her audience on an alternative means to waste management.
She said, “From time, we have all possess the willpower and strength in our diverse space of existence which sum up to nation building. The fanciest spike that beautifies our environment is the presence of people with traits and colour with different shades, class, look, creed and volume that are unified to encourage accommodation and compassion.”
Amaghiro uses different media such as soft petals, charcoal, pen, acrylic and oils to project her ideas through portraiture of human subjects.
Her works encompass her endless search for ‘whats and whys’. As she constantly accustoms herself with the materials she chooses to delve into, “I become mostly drawn to the object of my admiration,” she said.
According to her, “for every stroke and smudges realised comes with the struggle and the intention to say something, to make a mark and draw my viewer to ‘come and see’. I consider the art of drawing as the life of every work of art, especially in its rhythmic motion.
“There is always an air of drama playing out in the lines I employ in the movement of the subjects in my work with the use of charcoal mostly evident in my compositions, assisted by acrylics and sometimes oils, I approach the figures with the intent to tell a story or question a stance. ”
Akpetorson’s figurative body of work is about self-acceptance and other subject matters catalysed by swift response to creative impulses on human issues.
She said, “the art itself continues to have a tremendous influence over my existence.”
According her, “in the past, I have enriched my work within an impressionist- cubist root, right now; all art movement labels are stripped off. I am an artist of divine expressions, with a penchant for nudes and portraits; this is to highlight the importance of perceiving beyond physical attributes.
“Ultimately, my art is toward humanity, let every human breathe and be free. I enjoin each spectator to let go of prejudice based on the exterior, excavate into distinct characteristics of each entity, animate or inanimate.”
On the other hand, Audu’s dedication to promoting cultural exchange is evident in her participation in exhibitions and programmes across the African continent.
As a multi-disciplinary artist, Bali, as she is fondly called, explores the intricate relationship between humans and their environment, prompting social and existential inquiries.
Her art visualises this dynamic, interaction, employing rich colours, vivid lines and texture to narrate stories of visual exploration.
Through her art, Bali endeavours to inspire, educate and connect with audiences, offering profound testament to the enduring power of creativity and expression.
She said, “as a female artist, my work serves as a canvas for the struggles of resilience spirit of women and children. Drawing inspiration from traditional henna dot patterns, I aim to capture the essence of the challenges women and children encounter in a world that often impose limitation.
“Through my work, I implore the universal themes of resilience, self-discovery and empowerment. The canvas becomes a mirror reflecting the strength, vulnerability and beauty inherent in human nature.
“The traditional hyena dot patterns I incorporate speak to the layers of identity, societal expectations and the dynamic interplay between tradition and modernity,” she said.
Eberechukwu found a safe space for her artistic expression, releasing her grief through reachable mediums. And over time, it became a tool to convey her thoughts and emotions. Her works have been described as impressions of diverse human experiences and memories, subtly interwoven in carefully laid down brush strokes and dramatic scenes.
Eberechukwu, through her works, hopes to capture and immortalise priceless memories, which ‘humanity’ tends to forget. Her paintings create an inviting sweet-sour aura of nostalgia capable of drawing in her audience into itself with hopes of causing a reoccurring memory in the mind of the viewer.
As one of the fresh and rising artists, Michael comes with a natural dexterity in painting. Her realistic depictions are mostly in figurative forms brushed up with muted, yet conversational colors.
Her brushwork illuminates the voices of her subjects on canvas. Michael evokes emotional scenes from her perspective of life using her paintings to strengthen the weak.
