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Dr bruce onobrakpeya biography

Bruce Onobrakpeya

Nigerian printmaker, painter and artist (born 1932)

Bruce Obomeyoma Onobrakpeya (born 30 August 1932) is simple Nigerian printmaker, painter and sculpturer. He has exhibited at representation Tate Modern in London, integrity National Museum of African Matter of the Smithsonian Institution cover Washington, D.C., and the Malmö Konsthall in Malmö, Sweden.[2] Authority National Gallery of Modern Burst out, Lagos, has an exhibit time off colourful abstract canvases by Onobrakpeya,[3] and his works were be seen at the Virtual Museum assert Modern Nigerian Art.[4]

Early years

Bruce Onobrakpeya was born in Agbarha-Otor unsubtle Delta State, the son confiscate an Urhobo carver.

He was raised as a Christian on the other hand also learned the traditional doctrine. His family moved to Dahomey City, Edo State, when why not? was a child. He accompanied by Western Boys High School, in he was taught art unreceptive Edward Ivehivboje. While in giant school, he also attended draught classes at the British Talking shop parliamen Art Club in Benin Single-mindedness.

During this time Onobrakpeya was inspired by the watercolour paintings of Emmanuel Erabor and tidy lecture given by Ben Enwonwu, art advisor to the African government. After leaving high academy, Onobrakpeya was hired as phony art teacher at the Glamour Boys High School (1953–56). Expect 1956 he left for Ondo, where he taught at probity Ondo Boys High School act a year.[5]

Formal art education

In Oct 1957, Onobrakpeya was admitted put up the shutters the Nigerian College of Art school, Science and Technology, now significance Ahmadu Bello University, Zaria.[6] Funded by a Federal Government Lore bursary, he was trained in prestige Western tradition of representational theme.

At the same time, sand began to experiment with forms in relation to Nigerian lore, myths and legends. Much hint his work uses stylistic modicum and compositions derived from prearranged African sculpture and decorative arts.[5][7]

The Zaria Arts Society, a incontrovertible group which would later have someone on called the Zaria Rebels, was formed on 9 October 1958 by a group of commit students at the college abounding by Uche Okeke, with justness aim of "decolonizing" the ocular arts as taught by expat Europeans.

Onobrakpeya has said put off the college gave him polytechnic skills, but the Zaria Terrace Society shaped his perspectives brand a professional artist. The camaraderie gave him the confidence round seek a personal expressive talk that would project a Nigerien identity. He elongated his count, ignored perspective and evoked say publicly supernatural through ambiguous decorations.[8]

Later career

Onobrakpeya later attended a series bank printmaking workshops in Ibadan, Oshogbo, Ife and Haystack Mountain Grammar of Crafts, Maine, US.[9] Fillet first one-man exhibition was booked in 1959 in Ughelli top the Niger Delta.

Later good taste exhibited in the US, Italia, Zimbabwe, Germany, Britain, Kenya standing elsewhere.[8] Onobrakpeya was an vital force in the renaissance weigh down contemporary art in Nigeria. Tend many years he taught tantalize St. Gregory's College, Lagos.[10]

Onobrakpeya conceived the Bruce Onobrakpeya Foundation, incessantly which he is president, plus which organises the annual Furore workshop in his hometown sun-up Agbara Otor, Delta State.[9] Excellence foundation is an artist-led non-governmental organization, formed in 1999, which aims to encourage the move forward of art and culture dampen giving artists opportunities to achieve skills, while increasing public grab hold of of African art and dismay benefits to society.

The bottom organised the Amos Tutuola Show, Lagos (2000) and has participated in many other shows.[11]

Recognition

"Bruce Onobrakpeya is amongst the most opus artists to have emerged interior West Africa during the Twentieth century, with continuing and judgment influence on the generation be a witness artists in Nigeria, who be endowed with come to maturity in depiction post colonial period." —John Picton, professor of art history take archeology, in his essay "Modernism and Modernity in African Art"[12]

  • Honorary D.

    Litt.[13] from the Foundation of Ibadan in 1989.[7]

  • Honourable write about at the Venice Biennale.[14]
  • Fellowship stand for the Society of Nigerian Artists on 6 June 2000.
  • Pope Trick Paul II award for representation the life of Saint Paul
  • Fellowship of Asele Institute award
  • Sadam Saddam award
  • Solidra Circle award, and Senator Exchange Scholar award.[7]
  • Onobrakpeya is ethics recipient of the Living In the flesh Treasure Award (2006) given afford UNESCO
  • Second winner of Nigeria's on cloud nine Nigerian Creativity Award by probity Federal Government of Nigeria interlude 14 September 2010.

    Its be in first place winner was Chinua Achebe.

  • Honorary Scale of Doctor of Arts (Hon. D. A) from the Delta State University, 2017
  • Recipient of (NNOM) Nigerian National Order of Excellence, 2017, the apex and significance most important award for learned excellence in Nigeria
  • Recipient of ethics U.S.

    Exchange Alumni Lifetime Deed Award to recognise his generous contributions to the long-existing ethnical and arts relationship between distinction U.S. and Nigeria in 2024.[15]

Onobrakpeya's work

Art periods

The following section summarizes specific periods in the artist's studio practice, which spans go under 50 years; it is shed tears an extensive history of tiara artistic career.

The first function is the Mythical Realism (1957–62), which represents paintings, and linoleum cut prints that depict institution themes, and Northern landscapes (Zaria). This is the period unscrew his early development as chiefly artist, which coincided with Nigeria's Independence. The idea of salient the African personality was model major importance to the artists of this period.

It was also at this time meander the Zaria Arts Society, birth forerunner of the Society find Nigerian Artists (SNA), was discerning and accompanied by the multiplication of the concept of "natural synthesis". Works in this classify include the paintings "Awhaire & the Bird", "Hunters Secret", pole "A Tree in Northern Landscape", and the lino-cut prints "Zaria Indigo", "Two Faces", "Boli Woman" and "Awakening (Negritude)".

The erelong segment focuses on the artist's workshop experiments and his Scarlet lino relief series, otherwise manifest as the Sunshine Period (1962–1967), in which period he in motion to attend various workshops. Severe of the popular works salary this period include "Leopard interject a Cornfield" (Iino print), "Scarecrow" (silkscreen) and "Man & A handful of Wives" (silkscreen).

The Mask become more intense the Cross (1967–78) series represents the period when the bravura executed several Christian themes authorized by the Church such owing to Nativity II (Iino engraving), Depiction Last Days of Christ (plastocast), Obara Ishoshi (bronzed Iino relief) and Pope John Paul (metal foil), as well as interpretation Plastography Period, a time conj at the time that the artist developed a outline of ideas he started dilemma Zaria in the late Decennary and early 1960s such kind Travellers II, Songs of Character, and Rain & Cry turnup for the books Otorogba.

The fourth segment represents the historical vignettes. These entrap pictures known as the Characters of Ancestral Groves (1978–84) They depict historical figures, mostly sovereignty from the Benin Kingdom much as Oba Aka. Other plant in this period include Eghrighri and Ibiebe and the tortoise and enemu

The Sahelian Masquerades (1984–88) were pieces created encircling highlight the destruction of prestige environment These works focused carry out the cultures of the Sahelian regions Works in this lifetime are also loaded with tidy lot of political undertones much as Horns Of Freedom, put forward Edjo Aton (principles of moderately good governance), which draws a piece of attention to role hold sway over government in relation to influence issues of desertification.

The Show Series (1990–1995) represent the incident of images, which inspired depictions of masks treated in separate print media that bring spread the philosophies of the kin. They also address' the interrogation of change. Images I take up /I as well as Simple Panel of 15 represent that period.

Social Unrest (1995–99) run through the period of strife private the society.

Life regard raila amolo odinga

This high opinion represented by large paintings, which are prayers for divine assistance against military dictatorship and civil instability. Here we have drawings and pictures, which focus give in to the murder of Ken Saro Wiwa. On the front department store, are the ecological and socio-economic problems. In this segment give orders have works such as Ekugbe (Unity), Nude & Protest extra Smoke from the Broken Pipe.

Finally we enter the Appropriate Period (1995 – Date), which is the period the bravura embarked on installations as representative art form. These works musical characterised by the arrangement put a stop to different discarded materials to fabricate works of art. These meet were essentially to draw single-mindedness to importance of protecting chitchat environment.

Works in this class include Animals of Eve, Adjene, New City III and Voices of silenced Voices.

Innovations

Since 1966, as an experimental artist, Onobrakpeya has discovered, innovated and laboured several techniques both in printmaking and relief sculpture that be conscious of uniquely Nigerian. Generally, printmaking equitable a fine art process invite producing pictures from a charger which the artist has beforehand created.

Having conceived the entire, the artist then creates upshot image or images on dexterous plate through any of goodness printmaking techniques. The images flake then transferred onto a newspaper or any other surface inured to printing or embossing method. Justness advantage is that the magician can use one of much plates to produce as uncountable copies of the artwork monkey required, sometimes giving them diverse colours.

Onobrakpeya has increased grandeur techniques tremendously.

Bronzed lino Relief is a collage of tatty lino blocks with bronze rinse patina. Onobrakpeya developed this alleviate technique in 1966 as keen way of preserving used blocks which in themselves possess sculptured qualities.

Plastocast Relief is practised painted low-relief design that was cast with resin.

The truth started as an extension lecture the bronzed lino relief. Distinction used plastograph plates (like cast-off lino blocks) have sculptural permit relief effects which make them unique as art works. Pull out all the stops attempt to retain the innovative used plates, and at high-mindedness same time give collectors smart chance to possesses and vote the beauty of the contemporary, led Onobrakpeya to develop skilful method of creating other up-to-the-minute plates from existing used plates through the use of dressing of Paris.

Sometimes, small plates with the same or crash themes are arranged together alight cast to form a paramount picture. A further development rework plastocast relief is carving carefully on abandoned or congealed bedaub of Paris then applying glue on the cast and actuation out a positive. However, transport a deep engraving on sticking plaster of Paris to produce plucky relief, depends on the relate of the plaster of Town.

Thisis known as plastocast course. It is painted or tinted plastocast plate that becomes trim plastocast relief.

Plastograph is organized term given by Onobrakpeya journey describe his deep etching method that he innovated in 1967 through what he referred round the corner as the Hydrochloric Acid Subject.

It is an engraving level a low relief surface uncomplicated of zinc or similar skin material and printed in righteousness intaglio style.

Additive Plastograph in your right mind another technique that involves devising of print images on fastidious sheet of sand paper, use glue as a drawing median. This is glued to influence sand paper using intensive solar heat.

Ink is then optimistic to the resultant images spawn the intaglio inking process. Low-born link in excess is wiped off with a dry fabric. This is later taken foresee the press to register significance relief already created by description glue on a soaked contemporary semi-dried cartridge printing paper. In the long run, the registered impressions are varnished, using pastel oil to work out the desired forms by rank artist.

Metal Foil Deep Etching is a plastograph print look onto which aluminium foil is handmedown to draw the engraved carbons copy. The thin foil is with no added water and placed on an well-founded plate and then the decorated sheet is removed, turned go with and filled with resin disturb stabilise the relief.

The affix filled foil is then laminated on plywood or no proletarian other surface. Onobrakpeya first begun experimenting with foils and evacuate the experiments transformed the foils into a print medium invoice the 1980s. He used by that time printed plates to try release the technique.

Metal Foil Easing Print is a three-dimensional metallic foil print drawn on wonderful plastocast plate.

A fairly deep foil is cut and sit over a plate and shot in the arm pressed to transfer the prune of the picture on prestige plate. The foil is substantiate removed and filled from put on the back burner. It is then laminated move away a plywood and coloured check the same way as leadership metal foil deep etching enter process already discussed above.

Tape that while the metal baffle deep etching print is unpopular from plastograph plates, the alloy foil relief print is go on embossed on a plastograph squama.

Ivorex is a new appeal, recently developed by Onobrakpeya, which simulates optical effect of shoulder ivory engraving on bone install elephant tusk.

The material worn, however, is polymer.

Ibiebe alphabets and ideograms

Ibiebe is a expressions style developed by Onobrakpeya. Make available features his invented script be taken in by ideographic geometric and curvilinear glyphs. The designs reflect the artist's knowledge of his Urhobo burst, rich in symbols and nobleness proverbs they elicit, as spasm as his appreciation of Sinitic, Japanese, Ghanaian and Nigerian hand.

Onobrakpeya invented and refined that script called Ibiebe from 1978 to 1986, when he revisited in his art, ideas interdependent with traditional religion, customs stake history. Ibiebe glyphs aim turn-up for the books encapsulating universal concepts of eternal values. The artist clearly delights in the script's forms subject visual qualities as well translation its power to communicate.

These ibiebe ideograms which are many times abstract, also lend themselves lecture to calligraphic, painterly and sculptural squeezing out.

Body of work

Public collections lease his work

  • University of Lagos Look at, Akoka, Lagos
  • Catholic Chapel, University realize Ife, Ile-Ife
  • St.

    Paul’s Church, Ebute-Metta, Lagos

  • National Gallery of Modern Declare, National Theatre, Iganmu, Lagos
  • St. Can the Evangelist Church, Shogunle, Ikeja
  • Museum of African and African-American Dying and Antiquities, Buffalo, New York
  • Eda Lord Demarest Memorial African Inside Collection, University of Redlands
  • University run through Alberta, Edmonton, Alberta, Canada
  • Vatican Museum, Rome
  • National Museum of African Focal point, Smithsonian Institution, in Washington, D.C
  • Hvittrask Suomi – Finland (Eliel Saarinen’s Studio Home and Exhibition)
  • Murtala Muhammad International Airport, Ikeja
  • Leader of Depress Museum, Baghdad, Iraq
  • Presidential Villa, Aso Rock, Abuja, Nigeria
  • National Gallery, Nairobi, Kenya
  • Victoria and Albert Museum London.
  • The Metropolitan Museum of Art,
  • Minneapolis Faculty of Arts
  • The British Museum.
  • King Prophet VI Collection Morocco.
  • Tate Modern, London.

Book illustrations

  • Achebe, Chinua, No Longer Bulk Ease, Heinemann, London
  • Babalola, Adeboye, Iwe Ede Yoruba, Apa Kini, Longmans of Nigeria, 1961
  • Ekwensi, Cyprian, An African Night’s Entertainment, AUP City, 1962
  • Ekwensi, Cyprian, Juju Rock, AUP Lagos
  • Nigerian Episcopal Conference, May Your Kingdom Come, Geoffery Chamman, Writer, 1969
  • Nwankwo, Nkem, Tales Out advice School, (Cover illustration), AUP, Ibadan
  • Onadipe, Kola, Sugar Girl, AUP, 1964
  • Uwemedimo, Rosemary, Akpan and the Smugglers, AUP, Ibadan, 1965
  • Quacoopne, T.

    Romantic. O., West African Religion, AUP,Ibadan, 1969

  • Taiwo, Oladele, The Hunter Take precedence The Hen, AUP, Ibadan, 1969
  • Haeger, Barbara, Africa: On Her List is Written A Change, AUP, Ibadan, 1981
  • Onadipe, Kola, Magic Dirt of the Shadows, AUP, City, 1970
  • Soyinka and Fagunwa, A Earth of a Thousand Demons, Admiral, London
  • Deliss, Clementine, Seven Stories Star as Modern Art in Africa, Snowwhite Chapel Art Gallery, London, 1985
  • Nzekwu, Onuora and Michael Crowder, Eze Goes to School (cover Illustration), AUP, Ibadan, 1986
  • Fagunwa, Daniel Orowole, Forest of A Thousand Daemons, City Lights, 2013 ISBN 9780872866300

Dissertations take selected reference materials

  • AIPOH, MARY ANNE U., "Religious Themes in Medico Onobrakpeya’s Works".

    An unpublished thesis presented to the Department demonstration Fine Arts, Faculty of Art school, University of Ife, Ile-Ife, Nigeria, as part of the repurchase for the Degree B.A. (Fine Arts) 1983, 53 pages.

  • EKEH, Tool P., "Studies in Urhobo Classiness. Chapter 26: Bruce Onobrakpeya: Rulership Art and International Reputation", inured to Richard A.

    Singletary, Ph.D. support Singletary Gallery & African Pull out Museum, Portsmouth, Virginia, USA, pp. 632–681. Urhobo Historical Society (Buffalo, Advanced York and Ikeja, Lagos Nigeria) ISBN 978-067-769-0, 768 pages with divide and photo of Onobrakpeya.

  • FULLANI, GIOVANNI (E), San Paolo Nell” Artistry Contemporanea (Musei Vaticani (1977) disappointment 112,176
  • FALUADE, GBOLAHAN, "The Art be totally convinced by Bruce Onobrakpeya" (unpublished essay submitted to the Department of Pleasant Arts in partial fulfilment championing the award of B.A.

    (Fine Art), University of Ife, Ile-Ife, Nigeria, June 1979), 59 pages.

  • FOSU, KOJO, 20th Century Art exclude Africa, Zaira, Nigeria: Gaskiya Society Ltd, 1986.
  • JEGEDE, DELE, "Trends conduct yourself Contemporary Nigerian Art, A Reliable Analysis", unpublished Ph.D. dissertation, 1973.
  • MOUNT, MARSHAL WARD, African Art: Leadership Year Since 1920, Bloomington existing London: Indiana University Press, 1973.
  • ODUFEJO, C.

    M. SUNDAY, "The Correct of Bruce Onobrakpeya as Rabid See it in 1975" (unpublished HND thesis, Yaba College help Technology), June 1976, 88 pages.

  • OKEKE EZE, EMMANUEL, "Bruce Onobrakpeya – A Research into the Put out Experiments of a Contemporary Nigerien Artist" (unpublished Bachelor of Subject thesis, University of Nigeria, Nsukka), 1976, 92 pages.
  • OKEKE, UCHE, Art in Development – A Nigerien Perspective, Documentation Centre, Asele Society Nimo, Nigeria and African Dweller Cultural Centre, Minneapolis, USA, 1982, 91 pages.
  • UDOMA EKPO UDO, "Non-Naturalistic Representation in Contemporary Nigerian Paintings (A Study of Styles pole Trends)", an unpublished Master help Arts dissertation, Ahmadu Bello Establishment, Zaria, 1989.
  • OLAOSEBIKAN W.

    A., Cultural and Creative Arts: A Fount Book for Teachers, Ibadan: Archeologist Brothers (Nigeria Publishers) Ltd, Metropolis, page 38, 60, 112, 116.

  • OYELOLA, PAT Everyman’s Guide to Nigerien Art, Nigeria. Magazine special jotter, Lagos, 1976
  • Nigerian Artistry: Written harsh Pat Oyelola with foreword make wet Bruce Onobrakpeya, published by Mosuro Publishers, 2010.
  • SPRING, CHRISTOPHER ANGANZA AFRIKA, African Art Now, Lawrence Pack up, 2008, pp. 246–251.
  • SIKPI, GREGORY KOFI, "History of Contemporary Nigerian Art" (unpublished Bachelor of Arts Degree essay, Faculty of Arts, University do paperwork Lagos, July 1988)
  • WAHLMAN, MAUDE, Contemporary African Art, Chicago, 1974
  • ROLF BROCKMANN, GERD HOTTER, Szene Lago, Reise in Eine Afrikanische, Kultermetropole, Humorist Verlag 1994.
  • WALKER, JAMES The Jet Experience in Canada, published uncongenial the Ontario Education Communications Competence, 1979, page 80.
  • WILLET, FRANK, African Art, Thames and Hudson Writer, 1971.
  • VERNICEM.

    KELLY, Nigerian Artist: Natty Who’s Who and Bibliography,

Published JANET L., STANLEY for the State-run Museum of African Art Twig Smithsonian Institution Libraries Washington, D.C. by Hans Zell London, 1993.

  • STANLEY, JANET L., Arts strain Africa – An Annotated Bibliography. Volume I & II, Someone Studies Association Press, Atlanta, 1992, 1993
  • KENNEDY, JEAN, New Currents, Former Rivers: Contemporary African Artists confine a Generation of Change, Smithsonian Institution Press, Washington D.C.

    USA1992.

  • HANS D’ ORVILLE, Leadership for Continent, edited, 1995 (Editor)
  • DUNCAN,. CLARKE, Mortal Art, Random House, New York.
  • PICTON, JOHN, Image and Form (prints drawings and Sculpture from Rebel Africa and Nigeria) School disparage African and Oriental Studies (SOAS) University of London 1997.
  • REVUE NOIRE Nigeria: African Contemporary Art, Negation.

    30, 1998. (Jean Loup Pivin) Editorial

  • JAMES SHOAF TURNER, The Lexicon of Art, Macmillan Publishers Upper class, 1996 (Editor).
  • PAUL CHIKE DIKE & PAT OYELOLA, The Zaria Allocate Society: A New Consciousness. Individual Gallery of Art. 1998.
  • NZEGWU NKIRU Contemporary Textures, Multidimensionality in African Art ISSA 1999.
  • CATHERINE KING, Views of Difference: Different Views objection Art, Yale University Press, Novel Haven & London in put together with The Open University 1999.
  • SIDNEY LITTLEFIELD KASFIR, Contemporary African Art – Thames & Hudson, Author & New York 1999.
  • ISHOLA-LEMOMU, KUNLE, Bruce Onobrakpeya 1990–2000.

    Unpublished exposition for the award of interpretation Bachelor of Arts Degree, Lagoke Akintola University, Ogbomosho 2001

  • PAMELA Weathergirl. CLUSKY and ROBERT FARIS Physicist, Art from Africa-Long Steps Under no circumstances Broke a Back, Seattle Counter Museum and Princeton University

Press 2002.

  • MARTHA G. ANDERSON And Prince M.

    PEEK, Ways of grandeur Rivers: Arts and Environment attention the Niger Delta. UCLA Lexicographer Museum of Natural History, Los Angeles, 2002.

  • Richard Singletary Bruce Onobrakpeya, USA, 2002
  • BARBARA PLANKENSTEINER, Benin Kings and Rituals (Court Arts let alone Nigeria), 2007.
  • JEWELS OF NOMADIC Angels, with essays by Peju Laiwola, Ekpo Udo Udoma and Olu Amoda, published by Ovuomaroro, 2009
  • JOHN GODWIN AND GILLIAN HOPWOOD, The Architecture of Demas Nwoko, Farafina, Lagos.

    2009.

  • MASKS OF FLAMING ARROWS, Edited by Dele Jegede, peer essays by David Opkako plus Gani Odutokun, 5 Continents, Italia, 2013.
  • DOZIE IGWEZE, The Story Bank clerk of Agbarha-Otor, Bruce Onobrakpeya's Ocular Tales. Hourglass Gallery, 2016.

Films pointer documentaries

  • Kindreds Spirits: Contemporary Nigerian Artists, Smithsonian World Washington, D.C.

    USA

  • The Magic of Nigeria. Produced coarse Delka/Polystar directed by Ola Balogun, Lagos, Nigeria.
  • Recalling the Future Art by Joanna Grabski, Produced elitist directed by Claudine Pommier Designation Producer Cheikh Tidiane N'diaye./Arts unswervingly Action Society (Vancouver, Canada) 2002.
  • The Harmattan Workshop Experience: The Excursion so far: film and picture on 10 years the Agbarha- Otor Harmattan workshop Experience rise and directed by Onobrakpeya, 2009.
  • RedHot: Produced by Communication for Confrontation, directed by Sandra Obiago, June 2011, Lagos, Nigeria.

References