By Anna Funke
Born in Lagos, Nigeria, Abiodun Olaku is the most accomplished master of the illuminated landscape in Nigerian art. Two years before the country gained its independence from colonial rule in 1960, Olaku was born in Lagos during the festive season between Yuletide and New Year celebrations, hence the name Abiodun - a child born during festivals.
Lagos offered Olaku better opportunities, especially in terms of his preparation as an artist. In 1970, he was admitted to the Baptist Academy, a college equipped with facilities for art studies in a country when, at that time, most schools were characterized by the avoidance of that subject.
In his third decade of avid, dedicated and progressive art practice since graduating from the prestigious Yaba College of Technology, Lagos as a painter in 1981, under the supervision and guidance of Prof. Yusuf Grillo, Kolade Oshinowo and late Dr. Isiaka Osunde. Abiodun Olaku has crystallized into one of the ‘exclusive’ masters of his generation.
Olaku is a former Vice President of Guild of Professional Fine Artists of Nigeria (GFA) and a foundation member of one of Nigeria’s oldest group studios, Universal Studios of Art (USA) located within the National Theatre complex, Iganmu, Lagos.
His influence within the visual art industry and community in Nigeria is quite potent and commendable having trained, mentored and inspired a significant mass of the emerging generations of artists; as well as passionately and radically pursing the promotion, social elevation and the overall cause of professional artists in the Nigerian society, leading to a couple of awards in recognition of this.
But the question that has always faced him is a timeless puzzle for many landscape artists trapped in a schizophrenic topography. On the one hand is the Nigeria of the Victoria Island and Lekki Township, where the standard of living, the architecture, and display of affluence matches the best experiences from the richest parts of the world. On the other hand is the terrain of Maroko, Ajegunle, and Oworonsoki, crippled by poverty, chaos, and debris piled around slum dwellings.
Complicating matters is his vivid and photographic recollection of his childhood in the filthy metropolis of Ibadan. Olaku accepts both parts of Nigeria, but not with the hopeless submission of the camera. His work is idealistic rather than merely realistic. He tames the use of light as his allegorical accomplice for musical and poetic compositions that balance natural lights and artificial illuminations.
Olaku, who has had 3 solo shows and over 120 joint and group exhibitions to his name, is widely exhibited, collected and commissioned, in significant places like the U.S.A, U.K, France, Holland, South Africa, apart from some of the African and Asian countries.
Olaku, who has had 3 solo shows and over 120 joint and group exhibitions to his name, is widely exhibited, collected and commissioned, in significant places like the U.S.A, U.K, France, Holland, South Africa, apart from some of the African and Asian countries.
From the increasing prospects at home and the attention in the Diaspora, contemporary Nigerian art is undoubtedly becoming popular in the world.
No comments:
Post a Comment