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1
NDIDI DIKE: A MODERN NIGERIAN FEMALE ARTIST
BY
ODIKE, FELICIA IJEAMAKA
PG/MA/07/42885
PROJECT SUBMITTED TO THE DEPARTMENT OF FINE AND
APPLIED ARTS, UNIVERSITY OF NIGERIA, NSUKKA IN PARTIAL
FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF A
MASTER OF ARTS (MA) IN ART HISTORY
DECEMBER, 2009
2
CERTIFICATION
Odike, Felicia Ijeamaka, a postgraduate student in the Department of
Fine and Applied Art with registration number PG/MA/07/42885 has
completed the requirement for research work for the award of Masters
Degree in Art History. The work embodied in this report is original and has
not been submitted in part or in full for any Degree of the University or any
other University.
………………….. …………………..
Prof. Ola Oloidi
Supervisor Head of Department
……………………..
Professor P.S.O. Aremu
External Examiner
3
APPROVAL PAGE
This project has been examined and approved for the Department of Fine
and Applied Art, University of Nigeria, Nsukka
By
………………………
Prof. Ola Oloidi
Supervisor
……………………...
Head of Department
………………………
Professor P.S.O. Aremu
External Examiner
4
DEDICATION
This project is dedicated to the Almighty God for his guidance and
protection throughout my academic years.
5
ACKNOWLEDGEMENT
My unreserved gratitude goes to my supervisor, Professor Ola Oloidi
for his advice, encouragement and constructive criticisms which helped me
to write and complete this project successfully. I give special thanks to my
husband, Mr. Peter Odike, for his unflinching support. I am also grateful to
Rev. Father Raphael Odike, Okwy, Okey and my mother, Mrs. Bridget
Dibor for their encouragement.
I am equally indebted to the entire staff of the Department of Fine and
Applied Arts, University of Nigeria Nsukka for their encouragement and
help in the completion of this work. For typing of this project, I am grateful
to Ulumma, Blessing, Bondy and Ifeyinwa.
6
TABLE OF CONTENT
Title Page - - - - - - - - i
Certification - - - - - - - - ii
Approval - - - - - - - - iii
Dedication - - - - - - - - iv
Acknowledgement - - - - - - - - v
Table of Contents - - - - - - - - iv
Picture of the Artist - - - - - - - - viii
List of Plates - - - - - - - - ix
CHAPTER ONE: INTRODUCTION
Background of the Problem - - - - - - 1
Statement of the Problem - - - - - - 2
Objectives of the Study - - - - - - 2
Scope of the Study - - - - - - 3
Significance of the Study - - - - - - 3
Methodology - - - - - - 3
Limitations - - - - - - - - 4
Organization - - - - - - - - 5
Literature Review - - - - - - - - 5
CHAPTER TWO: NDIDI DIKE: A PROFILE
Early life and Education - - - - - - - 13
Profession Training - - - - - - - 17
CHAPTER THREE: NDIDI DIKE THE ARTIST
The Modern Female Artist - - - - - - 23
The Postmodern Female Artist - - - - - - 24
Her Challenges as a Female Artists - - - - - 27
Her Influence on Other Female Artists - - - - - 29
CHAPTER FOUR: NDIDI DIKE; VERSATILITY PERSONIFIED
The Painter - - - - - - - - - 33
The Sculptor - - - - - - - - 35
Analysis of Her Works - - - - - - - 37
Final Assessment of Her Works - - - - - - 90
CHAPTER FIVE: NDIDI DIKE CONTRIBUTIONS TO THE
DEVELOPMENT OF MODERN NIGERIAN ART- - - 94
7
CHAPTER SIX: CONCLUSION - - - - - 98
Bibliography - - - - - - - - - 100
Appendix - - - - - - - - - - 104
8
PICTURE
9
LIST OF PLATES
Plate 1 Pantheon of The Gods - - - - - 39
Plate 2 Northern Architectural Cloth - - - - 40
Plate 3 Amanikpo - - - - - - - 41
Plate 4 Cloth from The Apprentice Weavers Loom - - 42
Plate 5 Mother and Child - - - - - - 43
Plate 6 The Evil Spirits Converge - - - - 44
Plate 7 Moonlight - - - - - - - 45
Plate 8 Uli Form - - - - - - - 46
Plate 9 Adhiambo - - - - - - - 47
Plate 10 Child Custody Battle - - - - - 48
Plate 11 The Elegance Of Uli - - - - - 49
Plate 12 Colours of My Universe - - - - - 50
Plate 13 The Muse‟s Delight - - - - - 51
Plate 14 Creating My Own Fabric - - - - - 52
Plate 15 Earthly Feeling - - - - - - 53
Plate 16 Peaceful Ascension - - - - - 54
Plate 17 Many Rivers to Cross - - - - - 55
Plate 18 Luscious - - - - - - - 56
Plate 19 Glory to Our Fatherland Mural - - - - 57
Plate 19b Glory to Our Fatherland Mural - - - - 58
Plate 20 Ifa Divination Board - - - - - 60
Plate 21 Igbo Mirror Holders - - - - - 61
Plate 22 Chequer Board Series - - - - - 62
Plate 23 The Elders Meeting - - - - - 63
Plate 24 Mahogany Cloth - - - - - - 64
Plate 25 Untitled - - - - - - - 65
Plate 26 Cultural Heritage - - - - - - 66
Plate 27 Full Moon on Cammood - - - - - 67
Plate 28 Deligates to the African Union - - - - 68
Plate 28b Deligates to the African Union - - - - 69
Plate 29 African Passage Participants - - - - 70
Plate 29b African Passage Participants - - - - 71
Plate 29c African Passage Participants - - - - 72
Plate 30 Offering for a Child - - - - - 73
Plate 31 Akwete - - - - - - - 74
Plate 32 Akaraka (Destiny) - - - - - - 75
Plate 33 Pennies and Palms - - - - - - 76
Plate 34 Duality - - - - - - - 77
10
Plate 34b Duality - - - - - - - 78
Plate 35 The Couple - - - - - - - 79
Plate 36 A Drop in the Ocean - - - - - 80
Plate 36b A Drop in the Ocean - - - - - 81
Plate 36c A Drop in the Ocean - - - - - 82
Plate 36d A Drop in the Ocean - - - - - 83
Plate 36e A Drop in the Ocean - - - - - 84
Plate 37 Dwellings, Doors and Windows - - - - 85
Plate 38 Voyage - - - - - 86
Plate 39 No Easy Walk to Freedom - - - - 87
Plate 40 Ndigbo Traditional Delegate - - - - 88
Plate 40b Ndigbo Traditional Delegate - - - - 89
11
CHAPTER ONE
INTRODUCTION
BACKGROUND
Ndidi Dike graduated from the Department of Fine and Applied Arts,
University of Nigeria Nsukka, in 1984, majoring in painting but later built
her reputation as a sculptor. She is currently involved in sculptural
installations with thematic focus on Africa. Ndidi Dike is one of the
outstanding female contemporary visual artists from Nigeria. From
childhood, Dike has been naturally endowed with innate creative tendencies.
With her formal education, Dike has been fully committed to art. Ndidi Dike
is a reputed sculptor, specialist in mixed media painting, art consultant and
cultural activist; she is also a ceramist, and batik artist who is self-employed
as a full time artist. She is an uli exponent.
Uli is an internationalized traditional Igbo decorative linear painting
tradition, which has been taken to global height by Professor Uche Okeke.
Uli actually became a defining style for Nsukka School where Ndidi Dike
trained as an artist. Dike‟s career has experienced more than ten solo
exhibitions and over fifty-seven group exhibitions all over the world. Her
latest exhibition titled Tapestry of Life took place at National Museum,
Lagos, on 26th April 2008. It was opened by Chief Ojo Maduekwe who was
12
the Minister of External Affairs, a solo show exhibiting predominantly
paintings and a few sculptures.1
STATEMENT OF THE PROBLEM
In Nigeria, there are many exhibiting artists who are successful like El
Anatsui, Obiora Udechukwu, Olu Amoda, among others. People have tried
to study them to find out the secrets behind their successes. Today, over a
century from the unofficial pioneering role of Aina Onabolu, there has been
no serious research on female Nigerian artists2. Rather, focus has been
mainly on male artists. The only few exceptions, however, are female artists
like Afi Ekong, Ladi Kwali and Etsu Clara Ugbodoga-Ngu. This is why it is
pertinent here to focus on Ndidi Dike, one of the notable modern Nigerian
female artists who are currently making waves in the Nigeria art industry.
OBJECTIVES OF THE STUDY
Attempts will be made to achieve the following objectives:
1. To examine her contributions to the growth of modern art in Nigeria
2. To find out the extent her activities have encouraged other female
artists
3. To identify the challenges of female artists in Nigeria
13
SCOPE OF THE STUDY
The scope of this study is concerned with the life and work of Ndidi
Dike as a modern female Nigerian artist. Attempts will therefore be made at
studying the artist, her works, professional career and status in modern
Nigerian art scene.
SIGNIFICANCE OF THE STUDY
This study is significant for some reasons. It will serve as a foundation
on which students can carry out further researches on women artists in
future. The information in the study would be useful to art students,
especially the females, who would be able to have a comprehensive
knowledge of this female artist; thus serving as an inspiration to them. The
study will also enrich the knowledge of the art historians. Finally this work
will help to broaden the horizon of the society and change its perception of
the image of the female artists.
METHODOLOGY
The study relied heavily on primary and secondary sources. Primary
sources include visiting the artist in the studio for oral interview and
discussions, then sighting the relevant works and photographing them.
Observations in some art seminars and workshops have also fortified the
research energy of the study. Other primary sources include photographs of
14
works from private collections, text messages and telephone conversations
with the artist in question.
The Secondary sources are collected from Internet and published
materials such as exhibition catalogues, books, journals, magazines,
newspapers and conference papers. Few undergraduate and postgraduate
projects, dissertations or thesis from some tertiary institutions have also
served as good secondary sources of information.
Methodologically, the study has employed narrative evaluation and
descriptive approaches to process information.
LIMITATIONS
Some factors have created problems for this research. For example,
the long distance between the researcher and the artist who is resident in
Lagos made frequent visits to the subject impossible. Another limitation is
that traveling expenses from one part of the country to another in order to
make contact with the artist were enormous and this naturally limited the
frequency of the researcher‟s travel to some sources of information. The
artist on the other hand was so busy that she cancelled appointments on
many occasions. Some of the works produced by the artist were no longer in
her possession and could not be located. Some in private collections could
also not be reached.
15
ORGANISATION
The entire work is broken into six chapters. Chapter one consists of
introduction and methodology, while chapter two is devoted to Dike‟s early
life, education and professional training. In chapter three, the focus is on
Dike as a modern female artist with postmodern tendencies, her influence on
female artists and the challenges she faced as an artist. Chapter four
examines Ndidi Dike as a versatile painter and sculptor, and the analysis and
final assessment of her works. Dike‟s contributions to the development of
modern Nigerian art are discussed in chapter five while chapter six brings
the study to a conclusion.
LITERATURE REVIEW
Not much has been written and documented on contemporary
Nigerian artists. Even the existing literature on contemporary Nigeria artists
are in form of biographical sketches, exhibition catalogues, reviews,
citations in biographical compilations, lecture scripts, special projects
written by academics and students, articles in newspapers, magazines,
journals and even those written by the artists themselves. It is even worse in
the case of modern Nigerian women artists who are given scanty coverage.
Kojo Fosu `s 20th Century Art of Africa attempts to trace the development of
contemporary African art from 1900 to its early 1980s by presenting
16
biographies of artists with brief sweeping analysis and discussions of their
individual works3.Older generation artists like Ladi Kwali, Kamala Ishag,
are the focus of his study. However, the younger generation artists who were
still evolving were not accommodated in this work.
New Currents, Ancient Rivers: Contemporary African Artist In A
Generation of Change by Jean Kennedy ranks among the most ambitious
research on contemporary African art by its scope and focus4. The author
weaves together the various aspects of art like painting, sculpture, poetry,
prose, music and theatre. Female artists are her focal point, though she also
acknowledges the dominance of men in the arts.
She mentions traditional female artists like the mothers of
Uche Okeke and Festus Idehen. She also recognizes the pioneer female
artists like Etso Clara Ugbodaga – Ngu and Afi Ekong but dwells more on
the arts of Collete Omogbai and Sokari Douglas Camp. In Pat Oyelola`s
book titled, Every Man’s Guide to Nigerian Art, the work of the author is in
the category of biographical compilations5. This amply illustrated
publication gives an insight into the personalities of contemporary artists and
their individual philosophies. It is only a commemorative documentary of
Nigerian art.
17
Articles in journals and magazines discussing contemporary female
Nigerian artists can be found, in Lawrence Allagoa‟s Exhibition Centre’s
New Home6. Etsu Ngu, a pioneer female artist and teacher whose paintings
and sculptures shown in her sixth solo exhibition in early 1967 at the New
Exhibition Center, Lagos, are analyzed by Lawrence Allagoa in the Nigerian
Magazine.
Ndidi Dike is among the popular modern Nigerian female artists
whose works have received critical reviews from many writers. This has
made it relatively easy for one to have documents on her exhibitions in form
of catalogues, journals, newspapers and magazines, but there is no published
book wholly devoted to Ndidi Dike and her works. In his article,
Contemporary Nigerian Artists: A Betrayal of Masters?, Funso Taiwo
mentions new artists like Nsikak Essien, Ndidi Dike, and Lara Ige among
others7.
Their views on modern Nigerian art, patronage and exhibitions and
their relationship with such older artists like Bruce Onobrakpeya, Demas
Nwoko, Dele Jegede among other are discussed. Chika Okeke‟s article in
Classic Magazine titled “Nigerian Women Artists: Amazons of a New
Order” brings to light prominent female Nigerian artists8. He discusses
Theodora Ifudu, Chinwe Uwatse, Ndidi Dike and Omolara Ige among
18
others. Female pioneer artists in the person of Afi Ekong and Theresa Luck
Akinwale were mentioned and their professional courage acknowledged. Ola
Oloidi in his article “Art Patronage and Professionalism: Towards a Golden
Era in Nigeria”, discusses the galaxy of Nigeria artists who showed their
works during Guinness Nigeria sponsored exhibition titled Unity Through
Art:
The above comment is evidence of Ndidi Dike‟s focus as a serious
professionalising artist and her boldness of spirit in competing with
experienced male artists. Kunle Filani in his critique titled, “The Art of
Ndidi Dike as a Poetic Projection of Culture” says: “for Ndidi, figures
especially human figures are out of her visual vocabulary. Except for
coincidental allusions of recent totem images, her formal expressions are
suffused with coded motifs and patterns of culture10
”. Ola Oloidi‟s article,
Philosophical and Ideological Triumvirate, counts Dike among the members
of Nsukka School which has become a movement with global manifestation
when he says: “Today Nsukka School is professionally, intellectually and
The works, which are predominantly paintings, represent twelve
artists whose professional careers are well validated by their
already projecting artistic personalities. The artists represented
are Bruce Onobrakpeya, Kolade Oshinowo, Mike Omoighe,
Obiora Udechukwu, Olu Amoda, and Ndidi Dike … Dike has
suppressed limiting feminity to feature more encouragingly in
her sculptural medium9.
9
ideologically made up of Obiora Udechukwu, EL Anatsui, Tayo Adenaike,
Olu Oguibe, Chike Aniakor, Chika Okeke-Agulu, Ola Oloidi as well as
Ndidi Dike, Chinwe Uwatse, Macia Kure (Okeke-Agulu…)”11
.
Kingsley Ene-Orji, in his unpublished M.A Thesis titled Postmodern
Tendencies and Affirmations in Modern Nigerian Art, describes Ndidi Dike
as one of the foremost female Nigerian artists who have carved out a niche
for themselves as sculptors.12
He maintains that Dike‟s eclectic sourcing of
materials by a recourse to her Igbo tradition and that of others to create
modernist work is not a new phenomenon. Bisi Silva sees Dike as, “well
known for her wood sculpted totem poles__
traditionally the preserve of male
sculptors within Nigerian society__
and her wall hanging wood reliefs. After
over a decade of transgressive sculptural practice, Dike successfully added
painting to her artistic repertoire”.13
Silva who gave detailed description of Dike‟s work in the exhibition
titled Wake-into-Bondage talks of the conceptual meaning of these works.
Marcia Kure also sees Dike as a well-established professional sculptor who
has inspired a new generation of female sculptors in her unpublished B.A.
thesis titled Ndidi Dike and Omolara lge: Two Contemporary Female
Nigerian Artists14
.The Challenges of Nigerian Women’s Art by Stella
Idiong picks Dike among the front-liners of unconventional avant-gardes
10
and highly experimental post modern expressionists15
. Jerry Buhari‟s article,
“The Changing Female Calender”16
, Chike Aniakor‟s “Crossing Boundaries
Gender Transmogrification of African Art History”17
, and Krydz
Ikwuemesi‟s article “Between Nkiru Nzegwu and The Politics of Gender
Transmogrification”18
, have all made positive comments about Dike‟s
professional career as an artist. From the foregoing, it is obvious that no
detailed work has been done on Dike and her works.
The literatures reviewed are mainly newspaper articles, journals,
publications and exhibition catalogues. Dike has been projected as a
contemporary female artist, an inspiration and role model/ icon to
generations of modern artists, in Nigeria, but many aspects of this radical
female artist are not covered by these works. With the above reviews in
mind, it is evident that there is the need to produce detailed, up- to- date and
comprehensive work which will be a contribution to modern art in Nigeria.
11
REFERENCES
1. Interview with Ndidi Dike, 45 Raymond Njoku Street, 10th November
2008, Lagos.
2. Kingsley Ene-Orji, Postmodern Tendencies and Affirmations in
Modern Nigeian Art 1985 – 2005”. M.A. Thesis, University of
Nigeria, 2007, p.2.
3. Fosu Koju, 20th Century Art of Africa, Vol. 1. Zaria: Gaskiya
Corporation Ltd, 1986.
4. Jean Kennedy, New Currents, Ancient Rivers: Contemporary Africa
Artist in a Generation of Change. Washington D.C Smithsonian
Institute Press, 1992.
5. Pat Oyelola, Everyman’s Guide to Nigerian Art; 2nd
Edition (Lagos:
Nigeria Magazine, 1980) pp.77-128.
6. Lawrence Allogoa, “Exhibition Center‟s New Home”, Nigeria
Magazine, No 93. 1967: 126-144.
7. Funso Taiwo, “Contemporary Nigeria Artists: A betrayal of Masters”?
Expression Magazine, April 3, 1992. 16-22.
8. Chika Okeke, “Nigeria Women Artists: Amazons of a New order”,
Classic Magazine. October 5, 1992. 27-29.
9. Ola Oloidi, “Introduction. Art Patronage and Professionalism:
Towards a Golden Era in Nigeria” Guinness Nigeria Ltd. Exhibition
Catalogue. Lagos: 1990.
10. Kunle Filiani (2004). The Art of Ndidi Dike as a Poetic Projection of
Culture. Available at www.kunlefiliani.com. (Accessed 10 August
2008)
11. Ola Oloidi “Philosophical and Ideological Triumvirate: Schools,
Discourse and Styles in Modern Nigerian Art” in Styles, Schools and
Movements in Modern Nigerian Art: National Gallery of Art 2008. p.
14.
12
12. Kingsley Ene-Orji Postmodern Tendencies and Affirmations in
Modern Nigeria Art 1985 – 2005, M.A. Thesis, University of Nigeria,
Nsukka, 2007. p.37.
13. Art talk (2008) Ndidi Dike & Bisi Silva. Available at
htt://wordsbody.blogspot.com/2008/02/waka-into-bondage-
talk.html(Accessed 8 August 2009).
14. Marcia Kure “Ndidi Dike and Omolara Ige: Two Contemporary
Female Nigeria Artists”, B.A. Thesis, University of Nigeria, Nsukka,
1993. p. 47
15. Stella Idiong, “Challenges of Nigerian Women‟s Art,” in Nigerian
Women in Visual Art, National Gallery of Art, 2004. p. 169.
16. Jerry Buhari, “The Changing Female Calendar”, in Nigerian Women
in Visual Art, National Gallery of Art, 2004. P. 171.
17. Chike Aniakor, “Crossing Boundaries Gender Transmogrification of
African Art History” in Nigerian Women in Visual Art”, National
Gallery of Art, 2004. p. 157.
18. Krydz Ikwuemesi, “Between Nkiru Nzegwu and the Politics of
Gender Transmogrification” in Nigerian Women in Visual Art”
National Gallery of Art, 2004. p. 164.
13
CHAPTER TWO
NDIDI DIKE: EARLY LIFE AND EDUCATION
Ndidi Onyemaechi Dike Nnadiekwe was born on the 16th of June,
1960, in London, England1. She hails from Amaokwe Item, in Bende Local
Government Area, of Abia State, in the eastern part of Nigeria. She actually
spent the early part of her life in London where she attended Mossford
Primary School, Barkingside, England from 1963 to 1969, and Fairlop Girls
Secondary School, Essex, England between 1969 and 1974,before obtaining
her Junior Certificate of Secondary School Education (C.S.E). She then
came back to Nigeria and resumed her secondary school education at the
Queen of the Rosary College (Q.R.C), Onitsha between 1974 and 1976 and
obtained her West African School Certificate (W.A.S.C).
In her revealing conversation with Bisi Silva, Dike said she developed
interest in art around the age of 5 or thereabout2. In her primary school at
Mossford in England, she was exposed early to art experiences both in
human and material resources. Therefore, she always enjoyed any activity
that required the use of hands. She was always attracted to bright colours
and different shapes. During art classes, she liked playing a lot with colour
papers, crayon, clay and paper mache. Ndidi Dike always found such
14
experiences exciting and engaging. In her early years at secondary school in
England, Dike revealed that she spent a lot of time making collage; drawing
and painting with watercolour. She even dabbled a little in poetry,
embroidery and learnt also to play the piano. Ndidi Dike loved the sense of
freedom, of interpretation, of exploring different media and, always felt a
sense of peace during creative activities.
Ndidi Dike believes that every individual possesses a supreme gift
within, an innate energy that has its own sense of direction. Some people call
it talent and she believes that hers is anything that involves creativity. On her
return to Nigeria, Dike had a private teacher, as art was not available in her
school`s curriculum. This provided her with the opportunity to experiment
with a diversity of materials such as colour glass beads, shells, seeds and
enamel paints before enrolling to study art at the tertiary level.
Knowing quite well that art would be her life- long endeavour, Dike
entered University of Nigeria, Nsukka, in 1976 but surprisingly opted for
Diploma in Music Education due to little deficiency in her entry
requirements, which disqualified her from gaining admission into the
Department of Fine and Applied Arts. She studied Music from 1976 to 1981
majoring in Voice before being admitted as a direct entry student for
Bachelor of Arts degree in Fine and Applied Arts, which spanned between
15
1981 and 1984. When Dike was studying Music Education, she became a
founding member of a multi-racial jazz group known as Mixed-Blood. She
also become a suprano singer of the University Choral Society. Ndidi also
played major roles in two operas, Yeamen of the Guard and Bless the Bride
respectively.
All these culminated into what one could discern as intrinsic creative
tendencies in her blood. On her entry into the Department of Fine and
Applied Arts, Dike chose painting as her area of specialization. Her lecturers
were Uche Okeke, Obiora Udechukwu, Seth Anku, Ola Oloidi, Nnah
Udosen and Chike Aniakor. Courses she was exposed to were life drawing,
life painting, art history and painting composition. The painting composition
course included mixed media technique and this is what Dike specialized in.
Dike was in love with abstraction and stylization, which characterized (and
still does) most of her works. Her expectations about what she could learn in
school to help nurture and exploit her creative inclinations were high. She
was energetic, confident and optimistic about the path she was treading. She
graduated in 1984 with a Second Class lower Division.
Talking about her university experience, Dike did not see it as
challenging as she had expected. Nevertheless, she was interested in
exploring how different media could be incorporated into a traditional
16
painterly style. While her classmates were using conventional
media/mediums like oils, acrylics and gouache for painting, Ndidi was busy
using or working with unorthodox painting surfaces like plantain leaves.
Even though she majored in mixed media painting at the University of
Nigeria, Nsukka, Ndidi Dike has acquired a reputation as a sculptor which
actually attests to her intrinsic creative versatility3. When she finished her
university education, Ndidi did the obligatory twelve months National Youth
Service.
While in service, she continued with her mixed media painting
because she had made up her mind to professionalize; that is to become a
professional studio artist based at home in Owerri, Imo State. During her
Youth Service, she served at the Nigerian Telecommunication, Kaduna
between 1984 and 1985. All the works she produced during her service
culminated in her first solo exhibition in 1986, at Multi Purpose Hall,
Owerri. The exhibition was titled Mixed Media Expos’19864. From there
onwards, the sky became her limit. She is well grounded in creative art
despite her gender. Ndidi has about ten solo exhibitions and more than fifty-
seven group exhibitions from 1986 till date. Her late parents were very
supportive and encouraged Ndidi in her chosen career when they were alive.
17
PROFESSIONAL TRAINING
It should be noted that Ndidi Dike always claims in her curriculum
vitae that, she holds a Bachelor of Arts degree in Fine and Applied Arts,
rather than narrowing it down to the specifics of specialization. This is an
index of her liberated mind because she never allowed her specialization in
painting to box her into a corner, rather she sees herself as an artist in whose
hands all materials could be transformed into aesthetically satisfying end.
Ndidi is an experienced sculptor, an installation artist, and a painter. Dike
has been exposed professionally both at home (Nigeria) and internationally.
Her wonderful relief sculptures and artistic career in general have exposed
her work to the critical attention of notable art critics, art historians and
reporters such as Kunle Filani5, Jess Castellote
6, Krydz Ikwuemesi and
Emeka Agbayi7 among others.
Her works have been reviewed in Nka journal8 and Position
International Art Review9. Ndidi Dike was one among the galaxy of
Nigerian artists, who took part in an exhibition sponsored by Guinness
Nigeria Limited in 1990. This exhibition titled Unity Through Art featured
prominent Nigerian professional artists like Bruce Onobrakpeya, Obiora
Udechukwu, Sina Yussuf, Jimoh Buraimoh and others. Ola Oloidi`s review
18
of the art works, putting Dike on the same pedestal with these professional
giants is an attestation to her artistic exposure and professionalism10
.
In a personal conversation with this researcher11
, Dike revealed that,
in her professional career as an artist, she drew inspiration and
encouragement from her parents: Mr. and Mrs. Dike Nnadiekwe of the
blessed memory. According to her, they were very supportive and her
mother in particular was instrumental to her becoming a successful artist.
She cited Igbo culture with regard to styles and traditional colours such as
red, yellow ochre, white, earth hues and synthetic blues as another source of
inspiration for her works. Dike confessed to love of abstraction, which is a
common phenomenon in her works. She has widened the scope of her
artistic horizons through international exhibitions, workshops, community
art investment projects, major commissions, seminars, symposia,
professional lectures, critical reviews of her works by art critics and
membership of professional bodies.
During the Africa‟ 95 season12
, Ndidi Dike was in England as a
Visiting Artist- in- Residence at the Gasworks, an artist studio complex, in
London. She also took part in both the TENQ/Articulations workshop13
organized in Senegal and the PAMOJA International Sculpture Workshop14
at Yorkshire Sculpture Park, England, which formed part of the Africa‟ 95
19
season events. Dike also took part in a group exhibition organized at Jean
Welz Gallery in South Africa in 2005, the exhibition titled The Rediscovery
of Tradition15
focused on Uli and the challenges of modernity. She has
exhibited in such places as South Africa, United State of America (USA),
England, Senegal, Berlin, Switzerland, Indonesia, Tunisia, Kenya, Canada,
Netherlands, Indiana, Cuba, and Nigeria.
Ndidi Dike is a member of the following professional bodies: National
Directory of Arts, Committee for Relevant Art (CORA), Society of Nigeria
Artists (SNA), Sculptors Guild of Nigeria, The Art Council of the African
Studies Association Washington D.C (ACASA) International Federation of
Business and Professional Women (Young Career Women), Guild of Fine
Artists, Nigeria (GFAN), Canadian and African Business Women‟s Alliance
(CAABWA) among others16
. Dike believes in the spirit of professional
bodies, which creates avenues and opportunities for teamwork. She believes
that it also fosters community or team spirit, which promotes
professionalization and other artistic collaboration like workshops,
community projects and even national issues that have artistic relevance.
She acknowledges the influence of Jimoh Buraimoh, as well as the
inspiration of Ray Soko‟s mixed media technique and Ben Enowonwu‟s
textures on her work. She also recognizes influence of traditional art forms
20
such as masks, carved doors, posts, decorative motifs, Uli designs, motifs
from Akwete and Okene clothes and local mats, in her work. Dike has this to
say about her professional inspirations:
On another note she said:
As I gain more experience and visibility I had the
opportunity to work with national and international art
facilitators, curators etc in diverse capacities such as Art
Adviser/Consultant, and in Exhibitions Jury Panel. I have
attended and participated in seminars, symposia,
international workshops and lectures
Ndidi Dike is a serious professional and she admires other
professionals like Bisi Silva (a curator), Nnenna Okorie (a sculptor) Macia
Okeke-Agulu (a painter), Ben Osagie Eluwa among others. Her advice to art
students who are planning to professionalize is to work hard, show total
commitment and be positive and also initiate research.
I will also like to single out my visit in 1994 to Senegal for TENQ
a workshop for painters and sculptors which acted as a prelude to
the African ‟95 season held in Britain. It was an exciting and
engaging experience which provided the opportunity to meet and
work with colleagues from the Francophone countries, South
Africa and Europe, notably with artists such as Mustapha Dime,
Elhadji Sy, Souleymane Keita, Fode Camara, David Kolowane
and Yinka shonibare. I will never forget my meeting with the
sculptor, the late Mustapha Dime and visiting his studio on Goree
Island inside a cliff. It was a great experience and I appreciate the
professional advice that he so generously shared with me17
.
21
REFERENCES
1. Marcia Kure Ndidi Dike and Omolara Ige: Two Contemporary
Nigerian Artists, B.A. Thesis University of Nigeria, Nsukka, 1993.
p.41.
2. Bisi Silva (2005) Ndidi Dike – A Leading Female Contemporary
Visual Artist from Nigeria. Available from http://www.ndidike.com
(Accessed 10 August. 2008)
3. Kingsley Ene-Orji, Postmodern Tendencies and Affirmations in
Modern Nigerian Art 1985-2005. M.A. Thesis, University of Nigeria,
Nsukka, 2007. p.37.
4. Ndidi Dike, Exhibition Catalogue titled Mixed Media Expose 86. June
22-27: Multipurpose Hall, Owerri, 1986.
5. Kunle Filiani (2004) The Art of Ndidi Dike as a Poetic Projection of
Culture. Available at www.kunlefiliani.com (Accessed 20 August
2008)
6. Jess Castellote (2008) Ndidi Dike at CCA, Lagos: A View From My
Corner. Available from http://jesscatellote.wordpress.com (Accessed
20 August 2008).
7. C. Krydz Ikwuemesi and Emeka Agbayi ( 2005), The Rediscovery of
Tradition: Uli and the politics of Culture. Lagos: Pendulum art
Gallery, 2005, p.129.
8. Katy Deepwell (1996), “Reading in Detail the Work of Ndidi Dike”,
Nka Journal of Contemporary African Art. Available from
http://web.ukonline.co.uk (accessed 10 August 2008)
9. Frank Aig-Imoukuede “Art of Ndidi Dike”, Position International Art
Review Vol. 2.
22
10. Ola Oloidi, “Art Partronage and Professionalism: Towards a Golden
Era in Nigeria, Guinness Nigeria. Ltd:. Exhibition Catalogue, Lagos:
1990.
11. Interview with Ndidi Dike, 45 Raymond Njoku Street, 10th November
2008, Lagos.
12. KABASA Exhibition Catalogue, Gasworks Studio and Gallery,
London, England. September 23 November 6 1995.
13. TENQ/Articulations Workshop. St Louis Du Senegal, September 15-
30 1994.
14. PAMOJO International Workshop/Exhibition, Yorkshire Sculpture
Park, England, September 1995 – February 96.
15. Ndidi Dike (2004) Artistic Profile. Available from
www.ndididike.com about ndidi.html (Accessed 20 August 2008).
16. Ndidi Dike (2004) Artistic Profile. Available from
www.ndididike.com about ndidi.html (Accessed 20 August 2008).
17. Ndidi Dike (2005) A Conversation with Bisi Silver. Available from
htt://www.com (Accessed 10 August 2008).
23
CHAPTER THREE
NDIDI DIKE THE ARTIST
In this chapter, Dike who is somewhat possessed with the spirit of
quest and experimentation is here viewed from postmodernist angle and will
also be discussed as a typical modern female artist, also gradually moving
from modern to postmodernist culture, which is the prevailing global
phenomenon. To be discussed also in the chapter is the influences of her
activities on female artists and the challenges she has faced as female artist.
THE MODERN FEMALE ARTIST
Ndidi Dike is an exceptionally active female artist who has to her
credit more than 10 solo and 57 group exhibitions1. She is a versatile artists,
professionalizing in ceramics, painting, textiles and even a man dominated
area, sculpture. Dike is among other younger generation artists who make
use of composite panels pioneered by El Anatsui2, but along different
stylistic plane. She probably wanted to rebel against female absence in this
field, which might be the factor that made sculpture her choice of artistic
expression. It may be because it suits her tactful, yet restless character. Her
reason for being able to achieve this in a society where women are
disadvantaged, and in a field dominated by the men folk, lies in her
professional determination.
24
Dike‟s exclusive area is relief and freestanding sculptures in wood
combined with strange elements like metal, beads, pieces of mirror, cowries,
leather and musical instruments3. These sculptural pieces are made to serve
functional and aesthetic purposes. The Exhibitions circuits are male-
dominated but in several significant exhibitions held both inside and outside
the country, Dike often participated actively. Typical example is Artgrads
UNN exhibition titled Homage (1991)4. Ndidi Dike and Chiwe Uwatse were
the only female among thirty-five male participants. Dike was also a front-
liner in the exhibition tagged The Challenges of Nigerian Women`s Arts5 for
the commemoration of Nigeria‟s 41st independence anniversary in the year
2001 at Abuja and Lagos respectively. Dike is well grounded in creative
history and artistic philosophy. She understands the essence of art and her
purpose as a contemporary female artist.
A POSTMODERN FEMALE ARTIST
Well known for her totem wood poles and her wall hangings as well
as wood reliefs, Dike suddenly decided to add some touch of post
modernism to her artistic creation and treasure bag. Actually, one cannot but
emphasize the need for artists to exercise freedom in the choice of subject
matter and style. The world at large is the constituency of any liberated
artist.
25
The contemporary artist is also bombarded with various new
possibilities, not only from constant travels but also through electronic
interconnectivity. He is therefore regularly subjected to influences from the
array of artistic creativity coming from all over the world. It will be unwise
not to react to these modern tendencies rather; it is ingenuity to appropriate
these variety of visual experiences into a personal style which is a product of
prevalent cultural mood referred to as postmodernism. “Since art is a salient
aspect of culture, it has evolved a postmodern interpretation. Postmodernism
is today seen as a negation of modernism and recourse to past conventions
and art practice”.6
This mode of artistic expression has gained a global currency. Though
it is not yet popular in Nigeria because contemporary Nigerian art practice is
still fixated in modernism, very few artists create works that fit into the
postmodern category, particularly those who are exposed to western art
practice. Some academic and adventurous artists like Sokari Douglas Camp,
a Nigerian artist in diaspora, El Anatsui of University of Nigeria, Nsukka,
Uchechukwu Onyishi, graduate of University of Nigeria, Nsukka, Eva
Obodo, Obiora Anidi, Diplompiizulike and of course Ndidi Dike among
others are involved in postmodernism.
26
In Waka-Into-Bondage7, Dike‟s exhibition at Center for
Contemporary Art (CCA), Lagos, held between 2nd
Feburary and 8th
March
2008: her works took on a more conceptual framework to enable her
actualize ideas researched over a considerable period. This exhibition, was
an excursion into a less familiar territory for her: Installations in form of two
large carved canoes filled with bloodlike liquid and sugar respectively
hanging powerfully from the ceiling, just hovering above the ground, which
was filled with subtle allusion to the “transatlantic passage”. The exhibition
actually takes on the history and the effect of slave trade on the local
population, in this case the coastal town of Badagry. Dike attempts here, to
trigger traces and memories of our forefathers as they walked the last three-
quarter mile into slavery.
Her recent wood panels, also in the show continued her familiar
exploration of the use of motifs in her timber planks and panels. But these
works are less decorative than the previous ones; there is a greater depth of
meaning. As Dike matures as an artist, her works acquires more
appropriation of meaning and less about the formal qualities of patterns and
motifs. It is a gradual movement from modernism to postmodernism, all the
way keeping her characteristic identity as an artist. When asked why she
used pinewood for the panels, Dike replied, “the planks are from harbour
27
pallets. The type of wood is important. Slaves were taken away in wooden
ships and canoes. Their homes and cabins in the new world were also made
out of wood. They gazed out of the wooden windows contemplating their
freedom…”8. Ndidi didn‟t say it, but this is also a formal device: the
smoothness and whiteness of the pine planks act as a counterbalance to the
roughness and blackness of the charred areas and the rusty irons. The tactile
qualities of the found objects, the mirrors, the old coins, the wire mesh, suit
well the plainness of the wood.
Dike‟s Traditional Igbo Women Mirror Holders is an assemblage of
panels and a variety of mirrors used by women in Igboland,
Ndigbo Regalia, and African Historical Cloth among others, are testimonies
of her works with postmodern tendencies9.
HER CHALLENGES AS A FEMALE ARTIST
One of the challenges Ndidi Dike encountered as a female artist was
what one could term gender discrimination. Typical example of this is her
elimination from the Smithsonian Exhibition which took place in 1997 under
the curatorship of Simon otternberg, despite her international stature as an
artist10
. Nkiru Nzegwu an eminent art historian lamented that that two
important female artists with solid creative credentials in the persons of Dike
and Uwatse were left out of this exhibition is enough evidence that this is a
28
general problem associated with Nigerian female artists. Nzegwu actually
saw this sexist bias as obvious in its gender blindness. The dominance of
seven male artists, as against one on the female side is undiluted gender
discrimination. This then brings us to the politics of representation and
gender issue, in shaping of an art exhibit. In a case like this Dike reasoned
that one has to work harder in other to make enough impact in her
profession.
Ndidi also maintained that initially, it is not easy really when one
considers the challenge one encounters in getting sculptural materials like
wood in a predominantly male environment. In wood market women are
non existent and such situation does put her off but she overcame the
challenge because she meant business11
.
Other challenges that could be easily seen through the lens of
outsiders as it concern female artists in general is the lack of participation in
art exhibitions, low self esteem, negative family attitudes and unwillingness
to compete in men‟s world which Ndidi Dike has adequately overcome
through hardwork. Idiong, Stella in her article titled “The Challenges Of
Nigerian Women‟s Art12
” published in the journal of Nigerian Women In
Visual Art stresses also the importance of wealthy women sponsoring
exhibition for female artists, establishing art galleries and accepting female
29
artworks in their galleries. The challenges for female artists are multifarious
but with proper support and encouragement, the Nigerian female artists who
are hard-working, courageous and dynamic will surmount all cultural and
social challenges to stay on the job and contribute significantly to art
development in Nigeria. Dike on her side believes that there is nothing like
challenges if one is determined. She agrees that sculpture is dominated by
men but procurement of wood for her now is no longer a big deal13
.
HER INFLUENCE ON FEMALE ARTISTS
No doubt Ndidi Dike had been presented as an ambitious, active and
creatively experimental artist who has earned the respect of female artists
through hard work. She has held many group exhibitions with notable
female artists like Funke Ifeta, Chinwe Cynthia Uwatse, Ada Udechukwu,
Marcia Kure, Lara Ige among others. Dike‟s determination and contributions
to the advancement of art has encouraged other female artists who are
professionally weak to revive their creative talents. Her exhibitions and
exposure has also restored confidence in female artists who lack professional
rigour, dedication and sophistication in their career. Marcia Kure in her
unpublished theses titled Ndidi Dike and Omolara Ige: Two contemporary
Female Nigerian Artists14
maintains that Ndidi Dike‟s professional rigour
has encouraged and inspired, especially, women helping them to shape their
30
own styles and views in art. She said that Dike is a well established
professional sculptor who has inspired a new generation of female sculptors
despite the domination of the field by men.
Ndidi is constantly set to correct some obnoxious assumptions about
female artists as seen through the lens of certain critics. Marcia Kure an
artist and Nkiru Nzegwu, an eminent art historian, have written about Dike
and her works showing their acknowledgment of her promotion of the image
of female artists in Nigeria.
Dike has served as member of Artist Mentorship Project for women
and children artwork in 2003 and also member of the Exhibition Jury for
Women and War in 2001. It is a competition organized by the International
Committee of the Red Cross. She won the award of best female artist in
2001 presented by Pan African Broadcasting Heritage and Achievements
Awards (PABHA)15
. These achievements won her the admiration of notable
female artists and also exerted great positive influence on up surging modern
young Nigerian female artists. During a discussion the researcher had with
Ndidi Dike about the influence of her artistic activities on female artists, she
maintained that those things written about her and her works could easily be
traced in the internet, because she is on the move and cannot clearly
remember every comment made16
.
31
REFERENCES
1. C. Krydz Ikwuemesi and Emeka Agbayi, The Rediscovery of
Traditions: Uli and the Politics of Culture. Lagos: Pendulum Art
Gallery, 2005. p.212
2. Chijioke Onuora, Historical and stylistic Trends of Wood Burning
Sculpture Techniques Among Nsukka Artist, 1975 – 2007. M.A.
Thesis, University of Nigeria, Nsukka, 2008. p.24.
3. Chike Aniakor, “The Ijele Mask” African Arts, Vol. xi. No. 4, 1978
p.151
4. Artgrads, UNN Exhibition Catalogue Titled Homage March 20-23:
Continuing Education Centre, University of Nigeria, Nsukka 1991.
5. Stella Idiong, “Challenges of Nigerian Women‟s Art” in Nigerian
Women in Visual Art. Nigeria: National Gallery of Art, 2004. p.169
6. Kingsley Ene-Orji, Postmodern Tendencies and Affirmations in
Modern Nigerian Art 1985 – 2005”. M.A. Thesis, University of
Nigeria, 2007 p.1
7. Ndidi Dike “Waka-Into-Bondage” (catalogue) Centre for
Contemporary Arts, Lagos, February 2-March 8 2008.
8. Jess Castellote (2008) Ndidi Dike at CCA, Lagos. Available from
http://jesseastellote.wordpress.com/2008/02/26/ndidi-dike-at-cca-
lagos. (Accessed 20 August 2008)
9. Kingsley Ene-Orji, “Postmodern Tendencies and Affirmations in
Modern Nigerian Art 1985 – 2005”. M.A. Thesis, University of
Nigeria, 2007 p.37.
10. Chike Aniakor, “The Ijele Mask” African Arts Vol. xi. No. 4, 1978. p.
151.
11. Felicia Odike, Personal Discussion with Ndidi Dike at 45 Raymond
Njoku Street, Lagos, March 2009.
32
12. Stella Idiong, “Challenges of Nigeria Women‟s Art in Nigeria Women
in Visual Art. Nigeria: National Gallery of Art, 2004. p. 170
13. Felicia Odike, Personal Discussion with Ndidi Dike at 45 Raymond
Njoku Street, Lagos, March 2009.
14. Marcia Kure Ndidi Dike and Omolara Ige: Two Contemporary
Nigerian Artists, B.A. Thesis University of Nigeria, Nsukka, 1993.
p.47.
15. Ndidi Dike (2004) Artistic Profile. Available from
www.ndididike.com/about ndidi.html (Accessed 20 August 2008).
16. Felicia Odike, Personal Discussion with Ndidi Dike at 45 Raymond
Njoku Street, Lagos, March 2009.
33
CHAPTER FOUR
NDIDI DIKE: VERSATILITY PERSONIFIED
Ndidi Dike is well grounded in creative history. She trained as a mixed
media painter but built her reputation on sculpture. Evidently her numerous
exhibitions proved Ndidi‟s diverse creative essence. She is a competent
carver, an inquisitive painter, a ceramist and sees herself as an artist in whose
hands all materials could be transmitted into aesthetically satisfying ends. She
therefore creates textile and painterly effects even while working with wood.
For her, materials and techniques are means of communication, hence she
manipulates texts and textures of diverse cultures to create art. Through her art
Ndidi creates a curious window through which one can peep into the crevices
of her creative mind1.
THE PAINTER
Ndidi Dike has always been a painter despite her repute in wood
carving. Painting as a branch of art was her area of specialization while, at the
University of Nigeria, Nsukka, studying for her bachelors degree. In her
mixed media painting, Dike displays a stylistic affinity with Jimoh Buraimoh,
a prominent Oshogbo artist who creates mixed media painting using beads
and paints. With her first exhibition Mixed Media Expose 86, at the Multi
Purpose Hall Owerri, Imo State (from 22nd
-27th
June) 1986, Dike launched her
34
professional career. The exhibition featured works done in various media.
These included seeds (cereals), sawdust, corks, gravel, beads, crushed
pebbles, brass chippings, dried grass, plantain leaves and stems and enamel
paint. Other works shown were paintings made by the artist as a child. Here,
the artist tried to promote and expose to the public a non-conventional
painting technique which has not been properly explored by other art students
and artists. Dike‟s early paintings and mixed media paintings consist of
Elegance of Uli, Uli Form, Child Custody Battle, Mother and Child,
Moonlight and Colours of my Universe.
Ndidi Dike loves abstraction and stylization in her paintings with few
exceptions like Elegance of Uli. She is interested in exploring how different
media could be incorporated into a traditional painterly style. This is why she
opted to work with traditional materials like plantain leaves instead of using
conventional medium like oil only. Her paintings are essentially
monochromatic, sometimes heavily textured and marked with simple
anecdotal symbols of culture. She often creates her own pace and space of
reality, culminating in fascinating titles such as Tapestry Of Life, Life Game,
Political Fantasy, Rhapsody in Blue, and Uli Dreamscape among others.
Some of her paintings and images are composed with ingredients of uli
35
calligraphy which qualifies her as an uli exponent and member of the Nsukka
School.
THE SCULPTOR
Ndidi Dike is a sculptor of acclaim who majored in mixed media painting but
taught herself to sculpt. Her primary medium is wood, carved and assembled
in panel forms. She produces single works as part of a larger series using
found objects to enhance the quality of such works. Her relief sculptures rely
on both accumulation of details, „multi-layered‟, textured and a strong tactile
sense2. Dike‟s choice of wood ranges from natural woods like rose wood, elm,
spotted beech, cedar, iroko, pirana, camwood, mahogany, apa, gmelina, and
pinewood which are occasionally enhanced with ink stains that generally
highlight the basic colour of the wood3.
She uses objects from Akan, Fulani and Igbo material cultures and
fuses them together with uli, nsibidi and akwete motifs and designs to create
work that is definitely African. In her works, Ndidi Dike repeatedly uses a
circle motif as spiritual symbol and also visual focus to unify her work. She
uses African imagery and symbols in her production techniques referred to as
mobile mixed media4. Her sculptures are composite assemblages of different
but mainly African woods. A typical example is The Traditional Igbo Women
Mirror Holder. Dike also uses strong vertical design in combination with
36
motifs and patterns which accumulate across the panels emphasizing a
multiplicity of textures and different intensities between burnt carving and flat
surfaces designed to bring the flat pieces of wood to life. Incorporated into her
reliefs are drawn motifs of textile patterns, lizard and tortoise from uli motif
derived from Igbo folk tales. Her style of wood-carving bears an echo of the
carving techniques of Igbo doors5, typical example of such work is Ndigbo
Regalia. Ndidi‟s favourite colours are red, white, umber, siennas, ochres and
sometimes yellow, black and green derived from wood colour, pigments, dyes
and acrylics. Her colour is mostly restricted to earth colours. The introduction
of colour to her works may be due to the fact that she specialized in painting
which influences her sculptural works. This combination affords her the
opportunity of synthesizing the two art forms
As mentioned earlier Ndidi Dike favoured relief sculptures with few
exceptions like African Passage Participants and Delegates to the African
Union which are sculptures in the round, in the form of totem poles.
Dike actually is unusual among her female contemporaries in her
adoption of carving as her sculptural specialty. Evidently, her works are a
critical re-engagement with traditional forms, a search for a new identity, from
the perspective of the modern African artist. Some of her noted carved works
are Pantheon of The Gods, Northern Architectural Cloth, Amanikpo,
37
Mahogany Cloth, Cultural Heritage, and Full Moon on Camwood among
others.
ANALYSIS OF HER WORKS
Ndidi Dike‟s art works cover a broad spectrum of media, styles and
techniques. She has produced works ranging from mixed media paintings to
mixed media sculptures and in between. She has also produced ceramics and
ceramic-related sculptures. Her works are characterized by abstractions and
stylization, which give them prominently African features and outlook: Her
medium of expression is wood with which she creates variegated forms of
relief-sculptured assemblage in panel forms. She produces single works as
part of larger series. She incorporates uli, nsibidi, and akwete motifs and
design in her works. In her panels, Akan, Fulani and Igbo material cultures are
fused together to create something definitely African.
Dike has many works of art to her credit, which she creates in Africa
imagery, symbol and concept. She produces burnt carvings and with her
power tools makes incisions on wood panel. These wood panels, it should be
noted, are often cut into pieces and later joined together to form a cohesive
whole.
Dike groups her works into interesting headings like Uli Suites of
Paintings, Mixed Media, Totem Poles and Relief among others. Apart from
38
Uli Suites of Paintings, others are sculptural works executed with woods and
enhanced with found objects which are either in relief form or freestanding as
the case may be.
MIXED MEDIA
In her Mixed Media Ndidi chose woods of different colours, grains and
density in her work. She incorporates the traditional Igbo palette white-nzu,
uhia-red, ochre-odo, uli-blue and black which is achieved with an acetylene
touch and numerous other elements to create sculptural reliefs that combined
painting and sculpture9. These styles she maintains actually appeal to her new
found sensibilities and artistic challenge. One of these mixed media works is
Pantheon of the Gods (Plate I). It is pertinent to know that in this sculpture,
only natural wood colouring is exploited for compositional and design effect.
It is a twenty-three door-post like carving. Each of the poles, individually
worked, seems to represent a god in African mythology; like the Amadioha,
Otutunzu, Sango, and Ikenga, among others. The pieces consist of mansonia
wood (dark), oak (ochre), edo (brownish yellow), akparata (streaked), and red
camwood. The colours range from sepia to blackish brown and from golden
yellow to reddish brown. On the surfaces
of these carved gods are intricate chisel marks, which define the composite
whole.
39
Another mixed media titled Northern Architectural Cloth (plate 2) has
the characteristics of mural decorations found mostly in the northern part of
Nigeria, particularly on the walls of Emirs‟ palaces. It consists of six defined
architectural features distinctly segmented by plain colours of apa wood, dyed
wood and areas designed with leather. This beautiful work has three
horizontal designs of varying sizes across its breadth with two curved
designed shapes on the lower part which ends up on designed edges. The top
part of this sculpture relief has also been designed leaving the remaining two
vertical sides plain. This work produced in 1997 functionally can be used as
beautiful room divider in any Emir‟s palace.
Amanikpo (plate 3) is a relief sculpture produced with found objects,
woods and acrylic. Structurally, the work consists of horizontal section
Title: Pantheon of The Gods
Medium: Mixed wood
Dimension: 61 x 91 cm
Year: 1989
Source :Internet.Ndidi Dike (2005). Mixed media. Available at
www.ndididike.com/mixedmedia.html
Plate 1
40
which appeared like a belt on which the six vertical stripes of woods gained
their support. This horizontal flat surface of the relief sculpture consists of
seven traditional masks painted in varying colours, of black, white and light
orange. The six stripes of woods which run vertically from, the horizontal
stripe are of varying lengths, and sizes with intricate and bold carvings on
their surfaces which make them look like beautiful adire clothes displayed for
their aesthetic appeal.
Title: Northern Architectural Cloth
Medium: Apa wood, leather, wood dye etc
Dimension: 71x 61 cm
Year: 1997
Source : Internet.Ndidi Dike (2005). Mixed media. Available at
www.ndididike.com/mixedmedia.html
Plate 2
41
These intricate carvings are in different shape and colours- geometric shapes
of varying sizes and beautiful lines that run horizontally and vertically in
varying movements and colours of white, dark and light brown, orange and
blue. The biggest stripe of the woods has Dike‟s characteristic burnts executed
across it in two sections. The entire surface and its designs make aesthetic
appeal to the eye. Functionally it would be used for interior decoration in an
Igwe‟s palace.
Title: Amanikpo
Medium: Mixed wood/ found objects, acrylic etc
Dimension: 99x80 cm
Year: 2001
Source: Ndidi Dike
Plate 3
42
Cloth from Apprentice Weaver’s Loom (Plate 4) presents the picture of
cloth weaving process in typical African Culture. This sculptural relief
produced from apa wood consists of two parts, the first section where some
natural colours of the wood is enhanced by beautiful texture and another part
where natural colour of apa wood is dyed with ink and wood dye to
complement it. There are also additions of white paint to create an illusion of
weaving yarn used in production of African rich fabrics.
Title: Cloth from The Apprentice Weavers Loom
Medium: Apa wood
Dimension: 71x 61 cm
Year: 1995
Source: Ndidi Dike
Plate 4
43
Mother and Child (Plate 5) is one of Ndidi Dike‟s early works produced
between 1974 and 1976 when she was still in secondary school. It was
executed with seashells and multiculoured beads. The work presents a picture
of two abstract figures represented as mother and child. The background
colour alternates between dark brown and yellow ochre, giving aesthetic
satisfaction to the observer. Functionally this product could serve as wall
hanging in the reception of hotels, palaces, public buildings and private
homes.
Title: Mother and Child
Medium: Multi coloured glass
beads, seashells, etc
Dimension: 108x61 cm
Year: 1974/1976
Source: Ndidi Dike
Plate 5
44
The Evil Spirits Converge (Plate 6) is typical of Ndidi‟s imagination
which reminds one of the Devil and his evil antics. It is mixed media which
consists of jute rope, sand and multi-coloured glassbeads. The colours used
range from light to darkbrown, yellow and white colour scattered all-over the
rentangular plane used in portraying the ugly faces and shapes of the evil
spirits converging to execute their evil plans on humanity. The work invokes
wired and fearsome reaction on observers. It is nightmare personified.
Title: Evil spirits converge
Medium: Jute rope, multi-
coloured glass beads, sand, etc
Dimension: 127x127 cm
Year: 1984
Source: Ndidi Dike
Plate 6
45
Moonlight (Plate 7) is a mixed media production measuring 90 x 90cm in size.
It is a moonlike shape produced with cork, sand, gravel and acrylic.
Structurally, it consists of an upper dark area, white stripes drawn horizontally
across the moon. Below, purple and brown abstract lines are drawn diagonally
across it with some white patches. The moon is resting gracefully on a dark-
purple background. Functionally, it could serve as wall decoration in parlours
in private homes and even in public places.
Title: Moonlight
Medium:cork,sand,gravel,
acrylic. Dimension: 90 x 90 cm
Year: 1986
Source: Ndidi Dike
Plate 7
46
ULI SUITES OF PAINTINGS
Dike‟s Uli Suites of painting is derived through instinct and
experimentation from uli traditional form of painting specific to Igbo women
from the south eastern part of Nigeria. It is the vegetable dye which is
designed or painted on the body of women during special occasions and
festivals. It is also used to paint murals on the walls of houses through
collaboration of women. Ndidi confessed that: “The attraction for me is
spontaneity, freedom of expression, lyrical qualities and rhythm I encountered
when executing a work10
.
Title:Uli Forms
Medium: Acrylic on canvas
Dimension: 45x40 cm
Year: 2004
Source: Ndidi Dike
Plate 8
47
The first painting in uli suites series under discussion is Uli Form (plate
8). It is an acrylic painting on canvass with the dimension of 45 x 40cm.
Structurally, it consists of four different monochromatic backgrounds cut
across by wavy and long line. This is a beautiful abstract painting where the
artist captures the fluid grace of indigenous forms. The entire arrangement
creates different types of shapes that could be formed by uli designs and
symbols.
Title: Adhiambo
Medium: Acrylic on canvas
Dimension: 45x40 cm
Year: 2004
Source: Ndidi Dike
Plate 9
48
Adhiambo (Plate 9) consists of monochromatic backgrounds that
characterize Dike‟s painting, and a lone abstract figure with axe-like head
bending towards the left side. Evidently, there are marks of uli symbols and
designs distributed strategically on the work. But her painting here is sparse
and she deployed uli symbols in a rather minimalistic key. It is an acrylic on
canvas with the dimension of 45 x 40cm produced in 2004.
Plate 10
Title: Child Custody battle
Medium: Acrylic on canvas
Dimension: 45x40 cm
Year: 2004
Source: Ndidi Dike
49
Another painting in the Uli Suite series titled Child Custody Battle
(Plate 10) is a painting of a separated family struggling over the custody of
their child. It is an acrylic on canvas with the dimension of 45 x 40cm. The
father who is represented in semi abstract form is seen using all his masculine
strength to win the battle. The entire picture captured here is fierce family
battle where the furniture and family properties are scattered and in disarray.
This actually may as well represent the emotional state of children from
separated and chaotic homes which does not augur well for them and the
society. This is a common phenomenon in African culture where children are
highly valued assets.
Plate 11
Title: Elegance of Uli
Medium: Acrylic on canvas
Dimension: 45 x 40 cm
Year: 2004
Source: Ndidi Dike
50
The Elegance of Uli (Plate 11) is a complete designer`s wear or outfit
treated with acrylic on canvas with dimension of 45 x 40xm. The
monochromatic painting consists of a beautiful hat, an elegant blouse and
skirt. The skirt and the hat have plain matching colours while the blouse is
treated with lighter grade of the same colours. All are placed in a position to
create the impression that they are already on the body of the model.
Plate 12
Title: Colours of my Universe
Medium: Acrylic on canvas
Dimension: 108x61 cm
Year: June 2004
Source: Ndidi Dike
51
Another work from Dike‟s Uli Suite of painting is Colours of My
Universe (Plate 12). This work consists of a monochromatic background
which incorporates two half circles of varying sizes located at strategic places
in the painting. Other shapes that appear in the work is a lone twinkling star
up in a dark-blue sky and a faint snakelike shape in light blue colour placed
horizontally across the fore ground of background. The beauty of this work is
enhanced by contrast in the colours of the star up in the blue sky and an
unidentifiable object treated with orange and white colour against the
background. This work is acrylic on canvas measuring 108 x 61cm in size,
produced in June 2004.
Plate 13
Title: The Muse's Delight
Medium: Acrylic on canvas
Dimension: 108x61 cm
Year: June 2004
Source: Ndidi Dike
52
The Muse’s Delight (Plate 13) is made up of very light and bright
background containing an abstract painting of what looks like the half torso
of a musician playing his musical instrument. This work is produced with
bright orange colour with some shapes of brown patches and very light orange
colours. The overall effect of the work is an atmosphere of relaxation, peace
and happiness probably evoked by the music, floating from the instruments,
which is believed universally to be the delight of every soul.
Title: Creating My Own Fabric
Medium: Acrylic on canvas
Dimension: 108x61 cm
Year: June 2004
Source: Ndidi Dike
Plate 14
53
The next painting, Creating My Own Fabric (Plate 14) has two
dramatic undulating lines moving vertically upwards to create a beautiful
contrast against the dark areas they passed through. This work is created only
with simple shapes but accentuated with colours distributed to create a
dramatic effect on the observer. Here the artist draws her inspiration from
traditional textiles, particularly those found in Nigeria to create this beautiful
work. The distribution of light and dark colours at strategic places in this work
also add strength to its beauty.
Plate 15
Title: Earthly Feelings
Medium: Acrylic on canvas
Dimension: 108x61 cm
Year: June 2004
Source: Ndidi Dike
54
The pictorial structure of Earthly Feelings (Plate 15) in summary is of
three thick circle of varying sizes on white patch separated by two horizontal
thick lines of unequal sizes. The background of the painting is rendered in
tints of orange, shades of brown and patches of white. There are remarkable
presence of faint shapes similar to logs of wood and tall grasses which makes
the composition earthy because the earthly environment is associated with
grasses and woods.
Title: Peaceful Ascension
Medium: Acrylic on canvas
Dimension: 45x40 cm
Year: 2004
Source :Uli Suites of Painting(2005). Available at
www.ndididike.com/ulisuite.hml
Plate 16
55
Peaceful Ascension (Plate 16) presents the picture of a trunk of a big
snake, probably a python, ascending up into the spiritual realm. The Python
represents the king of snakes and using it symbolically here may mean the
ascent of a great man probably a powerful king leaving his earthly throne to
occupy a spiritual one. Many Rivers to Cross (Plate 17) is composed of two
half circles in a rectangular background with a little gap at their middle which
may probably be the obstacle to be surmounted before victory is achieved.
Source :Uli Suites of Painting(2005). Available at www.ndididike.com/ulisuite.hml
Title: Many Rivers to Cross
Medium: Acrylic on canvas
Dimension: 45x40 cm
Year: 2004
Plate 17
56
The two shapes may be described as hearts yearning for union in love and
marriage but are prevented from their desire by obstacles of different cultural
background which makes it impossible. Here the artist has the freedom to play
with abstraction, positive and negative spaces and proper colour distribution
to achieve exciting and dramatic effect on the observer.
In Luscious (Plates 18) a reflective interpretation could depict the work
to mean a sweet, attractive and promising venture or future that entails steps
or stages of works and struggles to undergo before the goal is reached. Dike
here has the freedom to play with lyrical and rhythmic movement of her
brush-washes, strokes, colours, textures and forms which all combine to evoke
a dream like state in observer.
Plate 18
Title: Luscious ?
Medium: Acrylic on canvas
Dimension: 45x40 cm
Year: 2004
Source:Uli Suites of Painting(2005). Available at www.ndididike.com/ulisuite.hml
57
Another colourful work titled, Glory To Our Father Land (plate 19) is
a mural painting at the National Museum, Onikan, Lagos. This painting
produced in 2008 by Dike was funded by the Ford Foundation and other
prominent individuals. The work could easily be mistaken for paintings
produced by popular Black American painters like Jacob Lawrence due to
dorminance of bright colours in its execution __
yellow, ochre, blue, green,
orange, violet, white, little brown and black.
Plate 19
Title: Glory to Our Fatherland Mural
Medium: Acrylic on Canvas
Dimension: 109x383 cm
Year: 2008
Source: Ndidi Dike
58
Different faces, some with tribal marks and symbols were deployed in
portraying different people with different tribal identify under one national
umbrella and leadership as a country. It is a work of great length.
Title: Glory to Our Fatherland Mural
Medium: Acrylic on Canvas
Dimension: 109x383 cm
Year: 2008
Source: Ndidi Dike
Plate 19b
59
RELIEF
Ndidi Dike uses woods of diverse qualify and colours drawn from different
cultural backgrounds to create relief panels in which she also incorporates
found objects and elements like bones, cowries, beads among others to
enhance and accentuate their aesthetic qualities.
Her prominent relief sculptures discussed in this chapter are first, Ifa
Divination Board (plate 20) which is structurally a rectangular relief carved
with teak wood. At the centre of the board is the divination circle painted with
ochre. This circle contains four divination symbols produced with cowries and
other found objects. The board itself has beautifully designed edges and three
weavy lines running horizontally on top and below the divination circle
respectively. Two coloured found objects are also placed beside the two sides
of the divination circle. The aesthetic appeal produced by this relief piece lies
in the contrast between the light colour of the divination circle and dark brown
background of the board surface.
60
Title: Ifa Divination Board
Medium: Teak wood, brass object, etc
Dimension: 71x61 cm
Year: 2002
Source: Ndidi Dike
Plate 20
61
Igbo Mirror Holders (Plates 21) produced with teak wood is an
assemblage of panels and a variety of mirrors used in the past by Igbo women.
These mirrors are deployed strategically at the upper part of the panel. At the
lower part, a winding linear design is carved and darkened by wood dye. The
works describe a general vertical orientation and are imbued with hues of
brown in horizontal direction.
Title: Igbo Mirror Holders
Medium: Teak wood, mirror, wood, dye
Dimension: 80 x 92cm
Year: 1995
Source: Ndidi Dike
Plate 21
62
The next relief work titled Chequer Board Series (Plate 22) is a
sculptural relief produced in 2003. It is carved with Gmelina wood and
decorated with bones and acrylic paint. The dimension of the work is 71 x
71cm. Structurally it is rectangular in shape with plain background and
beautifully designed edges. The inner part of the relief is segmented into
sixteen smaller rectangles alternating between carved and elevated plain white
surfaces stringed with found objects which help to harmonize the whole work
to give it an aesthetic appeal. Only one square surface is painted deep red.
Title: Chequer Board Series
Medium: Gmalaina wood, bone, acrylic, etc
Dimension: 71x51 cm
Year: 2003
Source: Ndidi Dike
Plate 22
63
Dike‟s relief sculpture titled The Elders Meeting (Plate 23) produced
with Iroko and acrylic paint has a dimension of 46x92cm. It was produced in
2001, and consists of ten heads and carved traditional patterns. The beauty lies
in the variation of contrasting colours and intricate African designs which
cover the entire surface. Only one head, which is more naturalistic and
unAfrican, appears above the nine Africa heads below as though intruding,
uninvited. The work has been singly carved and then merged into a composite
whole which could function as an aesthetic room divider in public buildings
and palaces.
Title: The Elders Meeting
Medium: Iroko wood, acrylic paint
Dimension: 46x92 cm
Year: 2001
Source: Ndidi Dike
Plate 23
64
The concept of Mahogany Cloth (Plate 24) oscillates between conflicting themes
of beautiful traditional Adire cloth and an aesthetically designed wooden gate on a
geometric structure. The entire work consists of brass objects built into intricate
beautiful design with vertical arrangement. The lower part of the work remains
plain dark red which has been used as a compositional tool to balance the
multicolored patterns and designs on the upper part of the work.
Title: Mahogany Cloth
Medium: African paduka wood, brass objects, etc
Dimension: 84x71
Year: 1990
Source: Relief (2005). Available at www.ndididike.com/relief.html
Plate 24
65
In the next sculptural relief which is Untitled (Plate 25) two separate
planes of unequal dimensions are used to create a vertical structure which
consist of two types of woods (Ebony and Apa) with delicate designs
accompanied with clay beads and bones. The surface of the work has
occasional burnt marks at strategies areas. The entire designs flow down
vertically, beautifully blocked by the lower part of the wood which remain
plain, but aesthetically form a unitary whole with the upper part. This work
was produced in 2001 and measures 84x71cm is size.
Title: Untitled
Medium: Apa wood, clay/coloured beads, ebony, bone, etc
Dimension: 84x71 cm
Year: 2001
Source : Relief (2005). Available at www.ndididike.com/relief.html
Plate 25
66
Cultural Heritage (Plate 26) consists of a combination of techniques of
carving, burning and application of wood dyes and ink stains to enhance the
natural colours of the wood used.
There are also images and designs in diverse colours – white, siennas ,
ochres and browns. Vertical designs that run down the panel are arranged in
different patterns of delicate and bold carvings. Below the panel, natural
colours of different woods used remain untouched but are accentuated with
the same type of texture made with chisel. The whole arrangement is designed
to portray the multicultural nature of our country Nigeria. The sculptural relief
produced in 1999 could be used to decorate the offices of government officials
like the president of Nigeria, governors, and Ministers among others.
Title: Cultural Heritage
Medium: Mixed wood, wood dye, brass objects.
Dimension: 71x60 cm
Year: 1999
Source: Ndidi Dike
Plate 26
67
Full Moon on Camwood (Plate 27) is a rectangular or sculptural relief
produced with mahogany wood, clay beads and acrylics in 2001. Structurally,
it consists of a big dark circular or moonlike shape at the lower part of the
structure, five rectangular carved shapes containing clay beads at their centers
respectively are placed vertically on the structure. It also contains five carved
ozo stools, elegantly carved wavy lines on both sides, burnt linear holes,
textured lower part and beautiful designs arranged in strategic positions.
White, yellow and dark colours are sparingly used to harmonize with the
natural colour of mahogany. This relief sculpture also has beautifully designed
edges and could serve as a room divider in public buildings.
Title: Full Moon on Camwood
Medium: Mahogany wood, clay beads,acrylic.
Dimension: 84x71 cm
Year: 2001
Source: Ndidi Dike
Plate 27
68
TOTEM POLES
Ndidi Dike draws inspiration for production of her totem poles from
house post which is the hallmarks of the Oba house of the Ohafia-Bende-
Abriba belt (her paternal source): an elongated version of the Ikenga from her
maternal source in the Awka; the Yoruba verandah post with its naturalistic
aspects; and the ancestral staff that is common to Benin, Igala and Ijebu11
. The
totem poles are sculpted in varying sizes and forms.
.
Title: Delegates To The African Union
Medium: Mahogany wood, acrylic and metal
Dimension: 183x15 cm
Year: 2002 Source:Totem Pole (2005)Available at www.ndididike.com/totempoles.html
Plate 28
69
One of the totem poles titled Delegates To The African Union (Plate 28)
are sculptural installations produced in 2002 with mahogany, acrylic and
metal. They are stylized African imageries elongated in structure and with
circular metal bases possibly for support, all enhanced with white, deepgreen,
sky blue and yellow colours.
Title: Delegates To The African Union
Medium: Mahogany wood, acrylic and metal
Dimension: 183x15 cm Year: 2002
Source:Totem Pole (2005)Available at www.ndididike.com/totempoles.html
Plate 28b
70
The totem poles actually stand in group as the elected representatives for an
all Africa conference. The aesthetic appeal here lies in the contract between
the deep and light colours used.
Title: African Passage Participants
Medium: Apa wood, metal
Dimension: 183x15 cm
Year: 2003 Source Totem Pole (2005)Available at www.ndididike.com/totempoles.html
Plate 29
71
In African Passage Participants (Plates 29) the structure has intricate
delicately chiseled designs and contrasting bold ones which make them unique
as they stand on their metal base.
Title: African Passage Participants (Side View)
Medium: Apa wood, metal
Dimension: 183x15 cm
Year: 2003 Source: Totem Pole (2005)Available at www.ndididike.com/totempoles.html
Plate 29 b
72
The uniqueness and beauty of the abstract figures also lie in the sameness of
colour of woods used in production of the work. The images stand dignified as
people united by one purpose and destiny. It is a rare work where Ndidi has
expressed a profound concept using sculpture in the round.
Source: Totem Pole (2005)Available at www.ndididike.com/totempoles.html
Title: African Passage Participants
Medium: Apa wood, metal
Dimension: 183x15 cm
Year: 2003
Plate 29c
73
INSTALLATION
In installation Dike liberated her relief sculpture from the wall and
moved some of them into the round. One of these is Offering For a Child
(Plate 30) which depicts a doll with akuabalike features and comblike legs
mounted vertically on the upper part of the work. The doll is hanging at the
middle of steplike openings facing each other. This installation is produced
with mixture of pine and camwood darkened at strategic places with ink while
the base on which it stands has very light colour. This work makes an allusion
to sacrifices associated with families seeking for fruit of the womb. This is a
common phenomenon in Africa where children are highly valued in family
life.
Plate 30
Title: Offering for a Child
Medium: Pine wood, camwood, ink
Dimension: 183x122 cm
Year: 1995
Source: Ndidi Dike
74
Akwete (Plate 31) is an installation with a plane and smooth base but the
background is half covered with beautifully incised textures in form of small
squares. These squares are coated with red, ochre and black pigments while
the structure of masonia and camwood used have general vertical orientation
in hues of brown. There are a few clusters of the square textures also at the
left top corner of the work which harmonizes with the ones below to create a
beautiful contrast on the entire surface. This work is one of the simulations of
fabric that looks like Akwete Cloth from eastern part of Nigeria.
Plate 31
Title: Akwete
Medium: Masonia/camwood
Dimension: 158x152 cm
Year: 1988
Source: Ndidi Dike
75
Similarly Akaraka (destiny) (Plate 32) is an exploration of the word
destiny, which can be explained from different points of view. Different
people are endowed with different gifts and talents by God. The artist used
solid semi abstract figures and forms, positive and negative spaces to convey
her meaning. The use of palms in this work is connected to the Igbo belief that
one‟s destiny is written on his palm. The medium used here is Iroko tree
which is believed to be important and is the tallest tree in Igbo land.
Rationalizing its use in the creation of Akaraka could mean that one‟s destiny
is important and cannot be changed or exchanged.
Title: Akaraka (destiny)
Medium: Iroko wood
Dimension: 178x152 cm
Year: 1989
Source: Ndidi Dike
Plate 32
76
In the refreshingly free-standing work titled Pennies and Palms (Plate
33), Dike addresses the theme of slavery, depicting a convoy of kidnapped
women and men bound in ropes of bondage. Slave trade occurred as a result
of greed and vanity of many African rulers who were in turn rewarded with
mirrors, gun powder and alcohol in exchange for their people. The people
were taken to America and were forced to work in plantations under
subhuman conditions. There are textures used on the base of the work, then
body of the slaves to indicate clothes. The works are covered with green,
orange, white and hues of brown. The human figures portrayed in this work
are generally stylized.
Plate 33
Title: Pennies and Palms
Medium: Iroko wood, rope
Dimension: 168X152 cm
Year: 1987
Source: Ndidi Dike
77
Another work titled Duality (Plate 33) paints a literal and metaphoric
picture of struggle for supremacy. It depicts two hefty figures in victory and
loser stance. The victor raises his hands in victory while the loser bends his
head in shame of defeat. Duality could be interpreted as the struggle between
political opponents during elections. It has global implications. The figures
and background are treated in varying colours of brown, little white, orange,
blue and hues of purple. The back view has a vertical line broken by a large
hole at the centre. It is produced with cedar wood and rope. Both figures have
robes tied across their waist.
Title: Duality (Back View)
Medium: Cedar wood, rope
Dimension: 176x152 cm
Year: 1987
Source: Ndidi Dike
Plate 34
78
The Couple (Plate 35) constructed with cedar wood, rope and found
objects consists of an abstract structure probably a chair on which sits the
husband while the wife brings some refreshments to him. The couple
depicted here are a modern couple.
Title: Duality (Front View)
Medium: Cedar wood, rope
Dimension: 176x152 cm
Year: 1987
Source: Ndidi Dike
Plate 34b
79
The background is treated with ochre and white while the actual composition
is treated with brown, red, black and white. Next, A Drop in the Ocean (Plate
36) are two installations inform of white canoes filled with sugar and blood-
like liquid dangling from the ceiling.
Title: The Couple
Medium: Cedar wood, rope, etc
Dimension: 183x122 cm
Year: 1987
Source: Ndidi Dike
Plate 35
80
The bloodlike liquid represents blood shed during and after transatlantic slave
trade while sugar represents rewards received by the African chiefs for sale of
their people to the white man. These rewards are in form of snuff, gun
powder, hot drinks and other items imported by the white man. The two
canoes ironically represent and remind one of the modes of such tragic
voyages. Dike‟s visits to Badagry in 2002 and 2007 were the catalyst for
Waka-into-Bondage12
.
Title: A Drop in the Ocean.
Medium: Pine wood, iron shell, bloodlike liquid, acrylic
Dimension: 366x 122cm
Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at
www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html
Plate 36
81
Dwellings Doors and Windows (Plate 37) is a recent wood panel produced in
2008. Pine wood, mirrors, old coins wire mesh and other found objects were
deployed in its production.
Title: A Drop in the Ocean.
Medium: Pine wood, iron shell, bloodlike liquid, acrylic
Dimension: 366x 122cm
Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at
www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html
Plate36b
82
The type of wood used for panel is a reminder of the wooden ships in which
the slaves were transported to the new land.
Title: A Drop in the Ocean.
Medium: Pine wood, iron shell, hot drinks, sugar, acrylic
Dimension: 366x 122cm
Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at
www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html
Plate36c
83
Their dwelling places and cabins were also made out of wood. Structurally,
the work is an assemblage of pine planks whose smooth and white nature acts
as a counter balance to the rough and black charred areas and found objects
located at strategic places. There is evidence of use of motifs on the base of
the planks and other parts of the panels.
Title: A Drop in the Ocean.
Medium: Pine wood, iron shell, hot drinks, sugar, acrylic
Dimension: 366x 122cm
Year: 2008 Source:Arts talk(2008)Ndidi Dike & Bisi Silva. Available at
www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html
Plate36d
84
Voyage (Plate 38) is one of the slavery images of Waka-into Bondage exhibited
by Ndidi Dike at the Centre for Contemporary Art (CCA) Lagos. It presents the
picture of somber rectangular structure consisting of a paddle placed horizontally
across the top part of the work.
Title: A Drop in the Ocean.
Medium: Pine wood, iron shell, hot drinks, sugar, acrylic
Dimension: 366x 122cm
Year: 2008 Source: Arts talk(2008)Ndidi Dike & Bisi Silva. Available at
www.wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html
Plate36e
85
Different colours of woods-dark ochre and brown were used in combination
with found objects, acrylic and other attachment to achieve stunning effect on
the observer. Within the wooden composition is a dark rectangular window
encased within half-oval, half- rectangular shape crossed vertically by a long
ash coloured plank with brown patches of the lower part.
Title: Dwellings Doors and Windows.
Medium: Pinewood, mirror, iron.
Dimension:122 x 91 cm
Year: 2008
Source: Ndidi Dike
Plate37
86
The paddle placed across the upper part of the work symbolically
reminds one of the means of such tragic voyage. Here Dike creates work that
explores Igbo and Nsukka styles with uncommon insight.
Title: Voyage.
Medium: Medium wood, acrylic, iron.
Dimension: 109 x 127 cm
Year: 2008
Source: Ndidi Dike
Plate 38
87
Another slavery image produced by Dike is No Easy Walk to Freedom (plate
39). The characteristic use of geometric design and colour distribution
observed in Voyage recurs in No Easy Walk to freedom with some degrees of
variation. The rectangular structure consists of ringed moonlike shape at the
upper part beside three staff with carved lower parts placed at varying lengths
at the right side of the structure. At the upper part too cutting across the three
staff is a graceful curved shape with designed edges. Placed vertically at the
left edge of the panel is an elongated plank which bears Dike‟s characteristic
carvings at strategic places highlighted with dark ink and acrylic.
Title: No Easy Walk to Freedom
Medium: Wood, ink,
iron,acrylic.
Dimension: 109x 127 cm
Year: 2008
Source: Ndidi Dike
Plate 39
88
Below the structure are three horizontal planks welded together with some
planks. The dark circle at the centre has dark burns and patches around it and
seem to represent the unknown and uncertainty future of slaves who have left
their homes for a strange land full of insecurity. The colour combination here
is cool with patches of white at strategic places signaling hope at a distance.
Title: Ndigbo Tradition Delegates.
Medium: Wood.
Dimension: 109x 383cm
Year: 2008
Source: Ndidi Dike
Plate 40
89
Ndigbo Traditional Delegates(Plate 40) is a group of colourful totem-
poles with an aura of magnificency around them. The colours vary from
white, yellow, ochre, orange, dirty-green, light brown, dark brown and dark
colours evenly and beautifully distributed to awake a sensation of pleasant
feelings on the observer.
Title: Ndigbo Tradition Delegates.
Medium: Mixed wood/found object, acrylic.
Dimension: 109x 383cm
Year: 2008
Source: Ndidi Dike
Plate40b
90
The geometric shapes of the poles, at their varying length present the
magnificence of the multiplicity of Igbo cultures. The spatial orientation of the
work reminds one of Dike‟s similarly arranged Pantheon of Gods. This panel
could serve as the traditional panel for Ofala festivals in Igbo land. Even the
negative spaces created by the arrangement of the wooden poles has its own
stunning effect on the observer.
FINAL ASSESSMENT OF HER WORKS
Dike has explored the techniques of drawing, painting, moulding,
mixed media carving and wood burning extensively in the production of her
works, but there are limitations. First of all, her method of production,
particularly her relief sculptures, is more of incision than carving with her
power tools. Looking through her works, one notices prominently the
combination of techniques and materials like ink stains with burnt chisel
marks, chisel marks with found objects or colour stains on wood. Largely,
exploring the mixed media or combination techniques, Dike has not pushed a
singular technique or material to a logical conclusion.
However, she is very good at exploring materials provided by nature in
her works. Compositionally, Dike uses multiple figures and crowd formations.
She also uses masks, faces, geometric design, textures, symbols, lines,
colours, and motifs. With these pictorial elements she attempts to elicit the
91
feeling of mystery and exhilaration in the observers of her work. The visual
symbols and motifs she employs range from uli, nsibidi and akwete. Her
colours are red, white, umber, sienna, ochre, yellow, black and green mostly
derived from wood colour, pigments, dyes and acrylics. Her colour is mostly
restricted to the traditional colours. The introduction of colour on her
sculptural works may have been influenced by the fact that she is trained as a
painter.
Ndidi Dike‟s works combine and reflects the relationships between the
modern and the traditional in contemporary Nigeria art as well as the politics
of “Natural Synthesis” developed by the Zaria Art Society, in Nigeria. Dike‟s
wood panels are seen as a successful synthesis in which “objects from Akan,
Fulani and Igbo material cultures are fused together to create arts that reflect
African origin and are at once dispassionately contemporary. Chika Okeke
highlights the critical relationship of her work to traditional art forms, which
is characteristic of Dike‟s work and its modernity; while also suggesting that
this different relationships may be as a result of her different lived
experience13
. How can we characterize this experience: as African, as
specifically Nigerian, as female, as an artist? One can only say that Dike has
curved out an unusual creative space of her own for her contemporaries.
92
REFERENCES
1 Kunle Filiani (2004) The Art of Ndidi Dike as a Poetic Projection of
Culture. Available at w.w.w.kunlefiliani.com (Accessed 10 August
2008)
2. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka
Journal of Contemporary African Art. Available from
http://web.ukonline.co.uk (accessed 10 August 2008)
3. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka
Journal of Contemporary African Art. Available from
http://web.ukonline.co.uk (accessed 10 August 2008)
4. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka
Journal of Contemporary African Art. Available from
http://web.ukonline.co.uk (accessed 10 August 2008)
5. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka
Journal of Contemporary African Art. Available from
http://web.ukonline.co.uk (accessed 10 August 2008)
6. Marcia Kure “Ndidi Dike and Omolara Ige: Two Contemporary
Nigerian Artists”, B.A. Thesis University of Nigeria, Nsukka, 1993.
p.65
7. Chika Okeke ,Exhibition Catalogue titled Seven Stories About Modern
Art in Africa. September 23 – November 27: White Chapel Art Gallery,
London, England, 1995
8. Katy Deepwell (1996) Reading in Detail the Work of Ndidi Dike: Nka
Journal of Contemporary African Art. Available from
http://web.ukonline.co.uk (accessed 10 August 2008)
9. Ndidi Dike (2005) Mixed Media. Available at
www.ndididike.com/mixedmedia.html (Accessed 8 August 2009)
10. Ndidi Dike (2005) Uli Suits of Painting. Available at
www.ndididike.com/ulisuite.html (Accessed 8 August 2009
93
11. Frank Aig-Imokhuede (2005) Totem Poles. Available at
www.ndididike.com/totempoles.html (Accessed 8 August 2009)
12. Arts talk (2008) Ndidi Dike & Bisi Silva. Available at
htt://wordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html
(Accessed 8 August 2009)
13. Chika Okeke Exhibition Catalogue titled Seven Stories About Modern
Art in Africa. September 23 – November 27: White Chapel Art Gallery,
London, England, 1995
94
CHAPTER FIVE
NDIDI DIKE: CONTRIBUTIONS TO THE DEVELOPMENT OF
MODERN NIGERIAN ART
Ndidi Dike has been active in the art scene for over two decades
promoting the image of modern Nigerian art both nationally and
internationally by her worthy contributions in various quarters. She has
represented Nigeria severally during art exhibitions and competitions, winning
many awards among which are; the award of best female artist in 2001,
presented by Pan African Broadcasting Heritage and Achievement Awards
(PABHA) 1
and one of the winners selected for three months international visit
programme, state tour and one month Artist in Residency Foundation for the
Arts Fellowship in Lake Forest at the Ragdale Forest, Illinois, Chicago,
U.S.A.2
Dike is also one of the artists that represented Nigeria at Senegal and
Yorkshire in England respectively during international exhibitions.3
The artist
has served as member of exhibition jury for art competition titled women and
war, sponsored by the International Committee of the of the Red Cross in
2001.4 She served also as member of Artist Mentorship Project for women and
children art work in 2003.5
95
As an executive member cum publicity secretary of Nigerian Society of
Artists (NSA) between 1993 and 1996, Dike promoted the society art
exhibitions by initiating public enlightment programmes in televisions, radio
and newspapers thereby creating and arousing public interests and patronage
of modern Nigerian Arts.6 One of the artist contributions worth of emulation is
the donation of her works to public cause. Dike donated her works at
Yorkshire Sculpture Park, England, in 1992, Senegal in 1995, National
Gallery of Arts and Culture, Abuja. At Agbaraotor specifically in 2010 the
artist worked for more than two weeks and produced a sculpture piece titled
Tribute to the Master Printmaker which she donated to the gallery of Bruce
Onobrakpeya, a famous printmaker.7
The Artist has also involved some young student artists, about six of
them, from Yaba College of Technology in an interactive session during her
waka-into-bondage exhibition in 2008. They worked with her helping in
completion of sugar in canoe project, filling the canoe with sugar and other
materials and getting them ready for exhibition.8
This in essence is an indirect
way of teaching the younger generation of Nigerian artists and development
of future professionals in our society.8
She has served as role model in the
capacity of an adviser to young female and many male artists.9
Then in the
capacity of a professional and art promoter, she has given art talk in America,
96
on radios and televisions, among which is “The Art House” covered by BBC
African Features in 1995.10
It is therefore an undisputable fact that Ndidi
Dike, through her art, has contributed immensely to the development and
promotion of the image of modern Nigerian Art far and beyond Nigerian
borders.
97
REFERENCE
1. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com
/aboutndidi.html (accessed 20 August 2008).
2. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com
/aboutndidi.html (accessed 20 August 2008).
3. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com
/aboutndidi.html (accessed 20 August 2008).
4. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com
/aboutndidi.html (accessed 20 August 2008).
5. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com
/aboutndidi.html (accessed 20 August 2008).
6. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,
2010, Lagos.
7. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,
2010, Lagos.
8. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,
2010, Lagos.
9. Interview with Ndidi Dike, 45 Raymond Njoku Street. 11th November,
2010, Lagos.
10. Ndidi Dike (2004). Artistic Profile. Available from www.ndididike.com
/aboutndidi.html (accessed 20 August 2008).
98
CHAPTER SIX
CONCLUSION
To Ndidi Dike, gender is not a barrier to reaching her goal. She is an
inspiration and role model to many modern Nigerian artists, particularly the
women folk. She is versatile, an explorer, and a symbol of female artists who
work to overcome challenges .Ndidi believes in versatility; that is, she can be
viewed from men‟s dominated art, as a sculptor, a painter, mixed media artist
even as a postmodernist artist. Dike is energetic and always on the move. She
is even into furniture making as a versatile artist and her success lies in her
determination to succeed. Most of her compositions are based on traditional
themes and African mythology. Her works can be found in many parts of the
world where she has exhibited. She advocates hardwork and self confidence
especially in women artists from Nigeria.
Ndidi has produced uncountable works and she has also taken part in
many art exhibitions and competitions all over the world and won many
prizes. She has contributed immensely to the development of modern Nigerian
art. Dike has and is still promoting the image of Nigeria through her
exhibition and art works. Her commissions, both private and public, are
numerous. Perhaps Ndidi Dike is one Nigerian woman artist who has tried to
bridge the gender gap by demystifying “gender holes” in terms of art mode
99
(sculpture) as seen in her profound and prolific output. She has shown that
what men can do a woman and do it better.
100
BIBLIOGRAPHY
Books
Ikwuemesi, Krydz C. and Agbayi, Emeka. The Rediscovery of tradition: Uli
and the politics of Culture. Lagos: Pendulum Art Gallery, 2005.
Kennedy, Jean. New Currents Ancient Rivers: Contemporary African Artist in
a generation of change. Washington D.C. Smithsonian Institute Press 1992.
Koju, Fosu. 20th
Century Art of Africa, Vol. 1. Zaria: Gaskiya Corporation
Ltd, 1986.
Oyelola, Pat. Everyman’s Guide to Nigerian Art: 2nd
Edition, Lagos: Nigeria
Magazine, 1980.
Unpublished Works
Ene-Orji, Kingsley, “Postmodern Tendencies and Affirmations in Modern
Nigeria Art 1985- 2005. M.A. Thesis, University of Nigeria Nsukka, 2007.
Kure, Marcia. “ Ndidi Dike and Omolara Ige: Two Contemporary Female
Nigerian Artists”. B.A. Thesis, University of Nigeria, Nsukka, 1993.
Onuora, Chijioke. “Historical and Stylistic Trends of Wood Burning Sculpture
Techniques Among Nsukka Artists 1975-2007.” M.A Thesis, University of
Nigeria, Nsukka, 2008.
Magazines
Aig-Imoukhuede, Frank. “Art of Ndidi Dike” Position International Art
Review, Vol. 2.
Allogoa, Lawrence “Exhibition Centres New Home” Nigeria Magazine,
N.O.93, 1967.
Okeke, Chika.; “Nigerian Women Artists : Amazons of a New Order”, Classic
Magazine, October 5, 1992.
Taiwo, Funso. “Contemporary Nigeria Artists: A betrayal of Masters?”
Expression Magazine, Aprils 3, 1992.
101
Exhibition Cataloques and Journals
Aniakor, Chike, “Crossing Bondaries Gender Transmogrification of African
Art History” in Nigeria women in Visual Art” Nigeria National Gallery of Art,
2004.
Aniakor, Chike, “ The Ijele mask” African Arts, Vol. xi. No. 4, 1978 .
Artgrads, UNN Exhibition Catalogue Titled Homage March, 20-23:
Continuing Education Centre, University of Nigeria, Nsukka 1991.
Buhari, Jerry “The Changing Female Calender”, In Nigeria Women in Visual
Art. Nigeria: National Gallery of Art, 2004.
Dike, Ndidi, Exhibition Catalogue titled Mixed Media Expose, 86. June 22-27:
Multipuropose Hall, Owerri, 1986
Idiong, Stella, “Challengs of Nigerian Women‟s Art,” in Nigeria Women in
Visual Art. Nigeria: National Gallery of Art, 2004.
Ikwuemesi, Krydz, “Between Nkiru Nzegwu and the politic of Gender
Transmogrification” in Nigerian Women in Visual Art” Nigerian: National
Gallery of Art, 2004.
KABASA Exhibition Cataloque, Gasworks Studio and Gallery, London,
England. September 23 November 6 1995.
Oloidi, Ola. “Introduction. Art Patronage and Professionalism: Towards a
Golden Era in Nigeria” Guinness Nigeria Exhibition Catalogue. Lagos: 1990.
Oloidi, Ola “ Philosophical and Ideological Triumvirate: Schools, Discourse
and Styles in Modern Nigeria Art” in Styles, Schools, Movements in Modern
Nigeria Art: National Gallery of Art, 2008 .
Okeke Chika Exhibition Cataloque titled Seven Stories About Modern Art in
Africa. September 23 – November 27: White Chapel Art Gallery, London,
England, 1995
PAMOJO International Workshop/Exhibition, Yorkshine Sculpture Part,
England, September 1995 – February 96
102
TENQ/Articulations Workshop. St Louis Du Senegal September 15-30 1994
Internet
Arts Talk (2008) Ndidi Dike & Bisi Silva. Available at
http:llwordsbody.blogspot.com/2008/02/waka-into-bondage-talk.html
(accessed 8 August 2009)
Bisi Silva (2005) Ndidi Dike – A leading Female Contemporary Visual from
Nigeria. Available from http://www.ndidike.com (Accessed 10 August 2008)
Bisi Silva (2008) Waka-into-Bondage. Available from http:llartspeakafrica.
blotspot.com (Accessed 10 August 2008)
Frank Aig-Imokhuede (2005) Totem Poles. Available at www.ndididike.com
/totem poles. Html (Accessed 8 August 2009)
Jess Castellote (2008) Ndidi Dike at CCA, Lagos: A view from my corner.
Available from http:ll jesscastellote.wordpress.com (Accessed 20 August
2008).
Katy Deepwell (1996) Reading in Details the Work of Ndidi Dike: Nka
Journal of Contemporary African Art. Available from
http://web.ukonline.co.uk (Accessed 10 August 2008)
Kunle Filiani (2004) The Art of Ndidi Dike as a Poetic Project of Culture.
Available at www.kunlefiliani.com (Accessed 10 August 2008)
Ndidi Dike (2005) A Conversation with Bisi Silva. Available from
http://www.com (Accessed 10 August 2008)
Ndidi Dike (2004) Artistic Profile. Available from www.ndididike.com/ about
ndidi (Accessed 20 August 2008)
Ndidi Dike (2005) Mixed Media. Available at
www.ndididike.com/mixedmedia.html (Accessed 8 August 2009)
Ndidi Dike (2005) Uli Suits of Painting. Available at
www.ndididike.com/ulisuit.html (Accessed 8 August 2009)
103
Interviews
Odike, Felicia Interview with Ndidi Dike, 45 Raymond Njoku Street, 10th
November 2008, Lagos
Odike, Felicia, personal Discussion with Ndidi dike at 45 Raymond Njoku
Street, Lagos, March 2009.
Odike, Felicia, personal Discussion with Ndidi dike at 45 Raymond Njoku
Street, Lagos, December 2009.
Odike, Felicia Interview with Ndidi Dike, 45 Raymond Njoku Street, 11th
November 2010, Lagos
104
APPENDIX
INTERVIEW WITH NDIDI DIKE BY FELICIA ODIKE, ON THE 10TH
OF NOVEMBER 2008, IKOYI, LAGOS.
Felicia: What is the name of your town?
Ndidi: Amokwe Item, Bende Local Government Area, Abia State.
F: Who and what are your inspirations in your professional career as
studio artist?
N: I draw my inspirations from Igbo culture with regard to traditional colours
such as red, yellow Ochre, White, earth hues and additional blues; with regard
to style also I indulge a lot in stylization and abstraction. My parents when
they were alive were encouraging and supportive. My mother in particular is
instrumental to my becoming a successful artist. You should also note that I
am Nsukka creation.
F: How does belonging to professional bodies help you in your career?
N: It fosters team spirit and creates opportunities for working together.
F: Who are your role models
N: Please note that I admire people like Bisi Silva, a curator; Nnenna Okorie,
a sculptor, Macia Okeke-Agulu, a painter and Ben Osagie Oluwa.
F: It seems you are expanding towards sculptural installations, which
manifested in your “Waka-into-Bondage”. What is the reason for this?
105
N: “Waka-into-Bondage” is about slavery and the concept could only be
adequately expressed in installation and sculptural relief
F: What is your advice to art students
N: They should show positive attitude to work, work hard, show commitment
and intiate research in their works.
F: What are you words of advice to those aspiring to professionalize
especially female artists?
N: Women should work extra hard, it is not easy and they should also have
self-confidence
F: What is the title and place of your recently concluded exhibition?
N: Tapestry of life, new beginnings at National Museum Lagos, 26th April
2008.
F: May I please know the personality who opened the exhibition?
N: It was open by Chief Ojo Maduekwe CFR. It was a solo show
predominantly paintings and a few sculptures.
F: What lessons have you learnt from being artist?
N: Dedication, hardwork, sincerity, because art of nowadays leaves a lot to be
desired.
F: What keeps you going in a field (art) where many women have failed
to be consistent?
106
N: It is something within you that you cannot control. If you are really an
artist, no one can control you. You just have to create; sometimes you have to
make sacrifices
F: Being a woman in the contemporary art scene, don‟t you think it is to
your advantage?
N: When comparing women to woman it is to my advantage because we are
few.
F: Which female artist inspire you?
N: None but I admire Nnenna Okorie and Macia Okeke Agulu.
F: What about the male artists?
N: El Anatsui, Ben Enwonwu and Ray Soko
F: What is your reaction to the fact that there are few women in the
contemporary Nigeria art scenes
N: I don‟t think there is anything wrong about it. Anybody should do what he
or she wants to do. The thing about arts is to be a sincere artists. There are
different levels in being an artist. Some go in because of money, others
because they have natural creative inclination.
F: How do you cope with professional male colleagues?
N: I relate very well with them, even better than most women since men
dominate this profession.
107
F: Most of your works are not naturalistic
N: Yes
F: Why
N: Naturalism is fixed and boring, it is not very interesting. It doesn‟t put you
to the test.
F: What element in uli attracts you?
N: It is very spontaneous and free. It is not rigid
F: So you are uli explorer.
N: Yes
F: How?
N: Because I incorporate it into my work
F: Do you believe in the theory of natural synthesis
N: Yes I believe, that is the blending of modern and traditional styles or
techniques
F: How have you applied it to your work?
N: At times I have dealth with traditional things by giving them modern
interpretation
F: Did you have any contact with sculpture when you were in school?
N: Not at all, it was only painting
F: Was El Anatsui your teacher?
108
N: No
F: Did you ever seel El Anatsui working while you were in school?
N: When I was in school I have never saw him working but it was after I left
school
F: Have you come in contact with his work before you started using
power tools?
N: I think I saw his carving, but never saw him in his studio when I was in
school.
F: Do you see yourself as a sculptor
N: Yes, I sculpt, sometimes I sculpt in clay
F: Why are you attracted to sculpture
N: It is challenging and intensive. A lot of physical work is involved in
creating sculptural forms. There are a lot of things I can express in wood,
definitely, not in painting.
F: Why do you use wood mostly as your medium of expression
N: If you are working with wood something keeps you. I don‟t really have a
background or even any education in handling wood. I just go on exploring,
experimenting, and satisfying that inner urge to create.
F: What will be the future orientation of your work?
N: It is unpredictable
109
F: What more would you like to say about your work, something you
have not been given the opportunity to say and say and you want people
to know about?
N: My works speak for themselves . if my works are admired and respected,
what more do I want? Sometimes you don‟t have any message but your works
are visually pleasing, they are fine to look at, you don‟t have to keep taking
and explaining. Art is more of visual experience.
INTERVIEW WITH NDIDI DIKE BY FELICIA ODIKE, ON THE 11TH
0F NOVEMBER 2010, IKOYI, LAGOS.
Felicia: As a member (exco) of Nigerian Society of Artists (NSA), what
role did you play towards the development of Nigerian Arts?
Ndidi: As publicity Secretary, I carried out public enlightment programmes on
television, radio, and press. Then as Financial Secretary, I am incharge of
collection of dues.
F: How many exhibitions have you sponsored for young artists?
N: None.
F: Where and where have you served in the Jury of Art Competition?
N: If you refer to my CV you can see many.
F: Have you served as a role model to young female and other artists?
N: Yes, in the capacity of adviser to female artists and many male artists.
F: Have you written any book on Art?
N: No.
F: How many artists have you mentored in your studio (industrial
attachment)?
110
N: I invited six student artists from Yaba College of Technology to watch and
work with me in the studio. It is a kind of interactive session, not actually
industrial attachment. This happened during waka-into-bondage exhibition.
They are involved in choosing the media too and filling the sugar in canoe
project with the appropriate materials and getting them ready for exhibition
which is an indirect way of teaching the younger generation of Nigerian
artists.
F: How many works have you donated to public cause?
N: Many, I donated works at Yorkshire, England, Senegal, National Gallery
of Arts and Culture, Abuja,then at Agbaraotor where I stayed for more than
two weeks this year working, I donated a work titled Tribute to the Master
Printer to the gallery there.
F: where and where have you given art talk?
N: At America, you can refer to CV.
F: What is your post and role within Guild of Fine Artists of Nigeria
(GFAN)?
N: I am not an executive member of GFAN, just an ordinary member.
111
EXHIBITION PROFILE
SOLO EXHIBITION
1. Tapestry of Life: Predomonantly paintings and a few sculptures,
National Museum Lagos, 18th- 26
th April 2008.
2. Waka-Into-Bondage: Centre for contemporary art, Lagos 26th
February 2008.
3. Toterns and Signposts: Exhibition of sculptures and multi-media
Goeth-Institute Internations, Lagos, 23rd
November – 6th
December
2002.
4. Cultural Caravan: An exhibition of sculptural relief with multi-media,
Maison de France, Ikoyi, Lagos, Nigeria, 27th January – 26
th February
2002.
5. Textural Dialogue on Wood: An exhibition of sculptural reliefs
Gallaria Romana, Ikoly, Lagos, Nigeria, 27th January – 14
th February
2000.
6. Rhythms in Wood: An exhibition of mixed media, sculpture and
contemporary furniture, National Commission for Museums and
Monuments, Lagos.
112
7. African Serendipity: An exhibit of multi-media sculptural reliefs
invited by Chevron Nigeria, Limited, Lekki, Lagos, Nigeria, 3rd
– 30th
May 1997.
8. Nigerian Contemporary Art: A woman‟s perspective, Ragdale
Foundation for the Arts, Lake Forest lllinois, Chicago, USA, October
1992.
9. Out of the Wood: An exhibition of totem poles, sculptural relief and
ceramic pieces, Soviet Cultural Centre, Lagos, 1st – 4
th July 1991.
10. Form in Festivity: A sculptural mimesis of forms and appliqué from
masquerades of Southeastern Nigeria, Italian Cultural Centre, Lagos,
26th May – 9
th June 1990.
11. Exploration into Nature: Mix media paintings and sculptural pieces,
Goethe Institute, Lagos, 1st – 31
st July 1987.
12. Mixed Media Expo ‟86: Mixed media paintings, Multi Purpose Hall,
Owerri, 22nd
– 27th June 1986.
JOINT EXHIBITIONS
13. Kabasa Exhibits: With two Zambian sculptors, Gasworks Studio and
Gallery, London, England, 29th September – 18
th October 1995.
14. Creative Sorority ‟86: Mixed media paintings, textiles and tapestry,
Multi Purpose Hall, Owerri 1986.
113
GROUP EXHIBITIONS (SELECT)
15. The Rediscovery of Tradition: Uli and challenges of modernity. Jean
Welz Gallery, South Africa 2nd
– 22nd
March, 2005. Alliance Franchise,
Enugu, 16th
– 20th
Februrary 2005. Pendulum Centre for Culture and
Development, Lagos, 22nd
– 29th
January 2005.
16. Painters, Potters and Patchers: Gallery Romana, Lagos, 11th
– 25th
November 2004.
17. Black Culture: In honour of Leo Sarkistan (VOA), National Museum
Onikan, Lagos, 8th
April 2004.
18. Strokes of Value: Exhibition of drawings, paintings and sculptures,
Nigerian Institute of International Affairs, Lagos, 10th March, 2004.
19. Contemporay Nigeria: An exhibition in honour of the president of the
World Bank, Mr. James Wolfesohn, Nicon Hilton, Abuja, 18th – 19
th
March 2004.
20. Journey Through Nigerian Art: Exhibition in commemoration of the
Common Wealth Heads of Government Meeting (CHOEM) Musa Yar‟
Adua Centre, Abuja 9th
– 13th December 2003.
21. Visual Art Exhibition “Ancient and Modern” (500BC – 2003AD):
Anniversary exhibition, Muson Centre, Onikan, Lagos, 17th – 26
th
October 2003.
114
22. African Passage: Six Nigerian Artists at the Air Gallery, 32, Dover
Street Picadily, London, England, 16th – 27
th September 2003.
23. Homage to Asele: An exhibition in honour of Uche Okeke, National
24. Transportale: Crossing-knotting at Nordahnhof Station in Berlin,
Germany, 12th
April – 11th
May 2003.
25. Klein Karoo National Arts Festival: 18 Women African Artists,
Oudtshoom, South Africa, 29th March- 5
th March – 5
th April.
26. Tribute Songs: Multimedia exhibit, shell club, Rumukoroshe, Port
Harcourt, 14th
– 20th
March 2003.
27. Nigerian Women in Art 1960- 2000: Organized by the National
Gallery of Art as part of the 41st Independent Celebrations, Abuja
Council for Arts and Culture 20th September – 20
th October 2001.
28. Reflection of Yester Years: National Gallery of Craft and Design,
25th July- 25
th August 2001.
29. Setting a New Standard: Vivs Gallery of Masterpiece, Ikoyi, Lagos,
August 2001.
30. Women to Women: Weaving Culture Shaping History: Table Art
Centre, Eastern lllinois University, Chicago, 19th
January – 25th
February 2001.Hearst Art Gallery of Saint Mary College, California, 9th
– 15th
September 2001.
115
31. L‟ Africa Che Verra Mostra: Maggio, Italy, 2000.
32. 50 Years of Contemporary Nigerian Art: Muson Centre, Onikan,
Lagos, 13th- 27
th May 2000.
33. L‟ Art Dans Le Monde 2000, Les Musees De la Ville De Paris (by
Beaux Arts Magazine) 9th
September - 8
34. Women to Women: Weaving Culture Shaping History: Indiana
State University, University Art Gallery 2nd
– 3rd
November 2000
35. “Le Temps des Livres” (Time for Books) Exposition Collective
Sculptures- Peintures- Photographies, Maison de France, Lagos-
Nigeria – 14th
– 31st October 1997.
36. 7th Organization of African UNITY/African Economic Community.
African Trade and Tourism Fair, titled Nigerian Art Exhibition, 1997
37. Five Artists Exhibition Contemporary Nigerian Art: Abraka Turf
Club, International Polo Tournament, Abraka, Delta State, April 1996.
38. “Seven Stories about Modern Art in African” Malmo Sweden, 27th
January – 17th
March, 1996.
39. “Looking at Ourselves”: Face/Mask Identity, Etowa Gallery,
Carterville Georgia, USA, 1996.
116
40. “Contemporary Nigerian Art (102 piece exhibit) at the World
Intellectual property (WIPO) Headquarters, Geneva, Switzerland, 25th-
28th September 1995.
41. PAMOJA International Sculpture Workshop/Exhibit: Access
Sculpture Park, England, September 1995 – February 1996.
42. “Seven Stories about Modern Art in African”: Whitechapel Art Gallery,
London, England, 23rd
September – 27th
November 1995
43. Contemporary Art of the Non-Aligned Countries (5 artists
represented Nigeria) Gedung Pameran Department endidikan and
Kabadayan, Jarkata, Indonesia, 28th April – 30
th June 1995.
44. “Dimensions of Harmony”: 28th April – 30
th June 1995.
45. Nigeria Exhibit: (6 artists) African Cup of Nations‟ 94, Lycee EI
Hadj Oumar Foutouyou Tall (ex-Lycee Faidherbe). Saint-Louis du
Senegal. September 1994
46. “Eight African Women Artists”: 181 Gallery, London 1993.
47. “Eight African Women Artists” Greenwich Town Hall, London.
(Black History Week), February 1993.
48. “Uche Okeke 60th
Birthday Retrospective Exhibition”: Goethe
Institute, Lagos, 28th April –14
th May 1993.
117
49. Eight African Women Artists:, Centrum at Ac Cadier en Keer,
Netherland, 2nd
-30th
March 1993. Indiana State University, University
Art Gallery, 2nd
-30th November 1993.
50. “Happy Christmas Africa”: Savannah Gallery London, 19th
December 1992-12th
January 1993.
51. “Uli Different Hands Different Times”: Exhibit of paintings,
drawings, textiles, ceramics, sculptures by 8 women artists,
Continuing Education Centre, University of Nigeria Nsukka, 14th
–17th
July 1992.
52. “Art for Want: Savannah Gallery, London, 18th
– 24th
December 1992.
53. “An Exhibition of Visual Artists”: Organized by the Nigerian
Copyright Council in Collaboration with the Goethe Institute, National
Theatre, Iganmu, Lagos, 27th April 1992.
54. International Federation of Business and Professional Women, xx
Congress:‟ 6th
–9th
November 1992.
55. “Creative Relay SNA” (Society of Nigerian Artists Exhibition:,
National Gallery for Crafts and Design, Iganmu, Lagos. 28th
November – 9th
December 1992.
56. “Nigerian”: (An exhibition of 6 Nigeria artists) Nigerian High
Commission, Accra, Ghana, 14th
– 21st November 1990.
118
57. “Images of the Nigerian Nations”: by the Society of Nigerian
Artists, National Theatre, Iganmu, Lagos, 29th September – 12
th
October 1990.
58. “Unity Through Art”: National Commission for Museum and
Monuments (Sponsored by Guinness Nigeria Limited) Lagos, 21st –
28th July 1990.
59. “Onira Arts Africa”: An exhibition of 11 Nigerian Artists, Canada, 5th
– 18th
April 1990.
60. Nigerian/German Workshop and Exhibit” Painting/mixed
techniques, Goethe Institute, Lagos, 13th – 18
th January 1989.
61. “3rd
Biennale Exhibition”: Wilfedo Lam Centre, Havna Cuba, 1989.
62. “Silver Jubilee Anniversary”: Exhibition of the society of Nigerian Artists
(SNA) National Theatre, Iganmu, Lagos 30th
November – 10th
December 1989.
63. Original Prints from the 3rd
Nsukka Workshop”: Goethe Institute,
Lagos, University of Bayreut, West Germany, Ana Gallery University of Nigeria,
Nsukka. 29th
October – 2nd
November 1987, Franco German Auditorium 4th
– 8th
November 1987.
119
ARTS ADVISORY AND CONSULTANCY ASSIGNMENTS
2003 One of several Arts Consultancy/Advisers to A passage to Africa – A
documentary by (CCTV) China Hong China Hong Central Television
and Phoxenix Satellite TV, Hong Kong. April
2002 Art Consultant for the Development of Digital Communications and
Exchange Network for Artists in Africa, to Gasworks Studios London.
2002 Art Consultant to David Stevens Partner of British Council on
developing future strategies for taking Arts Activities forward in
Nigeria. December
1992-1995 One of Several Art Consultant Advisers to Dr. Clement Deliss,
Artistic Director of Africa ‟95 on the visual arts programme involving
Nigeria‟s participation, seven stories about modern art in Africa,
Whitechapel art Gallery, London.
1995 Art Consultant/Adviser to Mr. Clive Adam on the 1st Kwanju Biennale
in South Korea on Nigeria Art. (Beyond borders Catalogue)
1995 Art Consultant/Facilitator to Contemporary Nigerian Art (102 piece
exhibition of sculptures/painting and Multi-media) at the
headquarters of World Intellectual Property Organization (WIPO),
Geneva, Switzerland. – 25th
– 29th September.
JURY EXHIBITION/COMPETITIONS:
Cate/Pendulum School health And Environment
Awareness Competition Using the Creative Arts (JSS3
SEED Year 2004 Greeting Card Artwork Competition
Organized by Schlumberger and Pendulum Art gallery Olokoto…Songs
of Chime Exhibit, A circle of Onitsha Ado Artists, Pendulum Gallery,
Lagos.11 February, 2003 (4 man jury)
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International Association of Lion Clubs
(Lions District 404 Governor 1997/98
Lions Year (Secondary School Exhibition)
President of a five man Jury for the Art
Competition “Woman and War” by the International Committee of
the Red Cross (ICRC) Lagos May 2001
AWARDS
2001 PABHA (Pan African Broadcasting, Heritage and Achievement
Awards) Culture and Sports for Exceptional Personality in Arts as
Best Female Artists.
2001 PABHA (Pan African Broadcasting, Heritage and Achievement
Awards)
Regional Winner, English Speaking West Africa. Best Artist (Female)
1998 18th Solidra Award for the Art.
WORK IN MAJOR COLLECTIONS/COLLECTORS/PATRONS
(SELECT)
PRIVATE:
General I. B. Babangida, (Rtd.) Former President and Commander-in-
Chief of the Armed Force of the Federal Republic of Nigeria.
Chief (Dr.) A. I. Ekwueme, Former Vice President of the Federal
Republic of Nigeria
Madame Theresa Houphet Boigny )Wife of the Late President of Cote
d‟Ivoire)
121
Hon. Prince Bola Ajibola SAN, KBE.
Mr. & Mrs. E. Odigbo
Dr. Myma Belo-Osagie
Chief Ojo Maduekwe
Mrs. Sylvia Bello.
Chief & Mrs. J. Ovia
Mr. & Mrs. F. Otedola
Captain Usman Muazu
Prof. & Mrs. O. O. Akinyanju
Bashorun J. K. Randle
Chief E. O. S. Olisambu
Chief E. A. Ukpabi
Chief & Mrs. B. Etete
Chief Rasheed Gbadamosi
Mrs. U. Ajukwu
Mr. & Mrs. Robert Mbonu
Mrs. Claudia Anyanso (USIA)
Professor Uche Okeke, Asele Institute Nimo, Anambra State
Mr. F. Imoukhuede, Federal Director of Culture (Rtd.)
Engr. Yemisi Shyllon
Dr. Adhiambo Dagan – Regional Representative Ford Foundation
Office, West Africa
Prof. Anya O. Anya
Ms. Susan Beresford – President of Ford Foundation
Mr. Henry Schmatt – Chairman board of trustees Ford Foundation
Dr. Voumard – Ex UNICEF Representative in Nigeria.
122
Chief Olu Falaye
Major General Ike Nwachukwu (Rtd.)
PUBLIC:
The Presidency Aso Villa Collection Vol. 1
Nigerian High Commission, Jamaica
National Council for Arts and Culture, Lagos.
Lagos State Council for Arts and Culture
British Council, Senegal.
Yorkshire Sculpture Park, England
First Class International VIP Lounge, Murtala Mohammed International
Airport, Lagos – Nigeria.
MAJOR COMMISSIONS (SELECT)
A mixed media painting and a mixed wood traditional reclining wooden
chair executed for the President and Commander-in-Chief of the
Nigerian Armed Forces – General I. B. Babangida, both commissioned
and presented by the Imo State Government during his official visit in
December, 1987.
Privately commission to decorate some designated areas with Igbo
cultural themes at Modotel Limited in Oko, Anambra state, Enugu State
and Owerri in Imo State 1 986.
Abia State Universityv (former Imo State University) students/multi-
purpose hall 1989.
Four traditional reclining chairs and centre table titled “Dabarinze”
commissioned and presented by the Imo/Abia States Government and a
sculpture relief title “Ikenga series 1” also by Bende Local Government
Area to Vice President Augustus Aikhomy during his official Visit to
the State. May 1991.
123
HONOURARY PRESENTATION:
A sculpture relief titled “Dusk” presented by Cadbury Nigeria Plc. To
the President and Commander in Chief of the Armed Forces of the
Federal Republic of Nigeria on his 50th Birthday. Saturday 17
th August
1999. General I. B. Babangida.
COMPETITIONS/FELLOWSHIPS/INTERNATIONAL WORKSHOPS
RESIDENCES:
2004 Goethe Institute/Quintessence Ceramic Workshop/slide presentation
by Inger Sodergren November 3rd
.
2004 National Business Incubation Association 18th International
Conference on Business Incubation April 25th – 28
th Atlanta Georgia
2002 Chronophotographic/chronophotography workshop Centre Culture
Fracaise, Lagos, Nigeria
1995 As part of the Africa ‟95 season. One of the 26 Artists Who participated
in the TENQ/Articulations in St Louis, Senegal. Also one of the 21
Sculptors (from 11 African Countries, U.K. and the USA) who
participated in PAMOJA International Workshop/Exhibit held at the
Yorkshire Sculptor Park, England.
1992 Participated in an international Visual Arts Competition organized by
the Mid-America Arts Alliance Programme, Kansas City. One of 15
winners selected from all over world (one among 3 from Africa) for an
9n International Visit Programme for 3 months, state tour and a 1
month‟s Artists in Residency at the Ragdale Foundation for the Arts
Fellowship in Lake Forest, Illinois, Chicago, USA.
124
MEMBERSHIP OF PROFESSIONAL BODIES (SELECT)
1. National Directory of Arts and Culture – Central Working
Committee Member under the Presidency
2. Committee for Relevant Art (CORA).
3. Society of Nigerian Artists (SNA). (National Member) Executive
member, Assistant Secretary 1989, Financial Secretary 1990,1991,
1992, Publicity Secretary 1993, 1994, 1995, and 1996.
4. MESOMA AFRICA Foundation for the Arts, Executive member: Fine
Arts Programme (one of the three foundation members).
5. Sculptor guild of Nigeria
6. ACASA (The Arts council of the African Studies Association)
Washington D. C.
7. International Sculpture Centre, Washington D. C (Former member)
8. National Museum of Women in the Arts, Washington D.C. (former
member).
9. International Federation of Business and Professional Women
(Young Career Women)
10. Artgrads (Alumni Association of Fine & Applied Art, UNN)
11. Ahiajoku Planning Committee Lecture Series, 1988/1989/1990/1991.
12. Africa ‟95 Nigeria Committee 1995 – 1996
13. former Chairman, Living Earth Nigeria (Environmental NGO)
14. Ozurimo Festival Planning committee 1987.
15. GFAN (Guild of Fine Artists Nigeria)
16. CAABWA (Canadian and African Business Women‟s Alliance)
17. International Association for Volunteer Effort (IAVE) Nigeria.
2001.
18. Imo State Technical Sub Committee for NAFEST, 1990
125
19. NAFEST 90-sponsorship committee. Lagos. NCAC
SEMINARS/SYMPOSIA/INTERNATIONAL WORKSHOPS AND
LECTURE (SELECT)
2004 A Round table discussion On Cultural Networking, Goethe Institute,
Lagos. 26th
June.
2004 Approaching Germany through the Internet, a one day seminar
Goethe Institute, Lagos. 23 June
2004 2nd
Seminar on Art Practice in Nigeria organized by USA (Universal
Studios of Art), National Center for Crafts and Design, Lagos. 26th
February
2004 1st Ben Enwonwu MBE Annual lecture, The place of creative in the
history of man by Chief Rasheed A. Gbadamosi OFC. NIIA (Nigeria
Institute of International Affairs) 25th February
2004 A performance of live literature by Dr. Benjamin Zephaniah. British
Council, Lagos. 21st February
2003 One of several speakers at the Artist Forum for Uche Okeke, O‟Jez
Club, Yaba.
2003 “Earth Day 2003” Public Affairs Sections American Embassy
2003 Women History 2003, Women Leadership and Political
Empowerment, American Consul Generals Residence, Lagos, Public
Affairs Section of the American Consulate. Tuesday 18th
March.
2003 Bridging Culture and Commerce, a round table discussion, Nigerian
German Business Council, Goethe Institute Lagos. 7th March.
2003 Woman Cooperative in Production and Export (One Day Seminar)
organized by Friedrich Nauman Stiftung. Lagos. 4th
March.
126
2003 The Role of Galleries and Museums in Lagos an Societal Impacts.
Goethe Institute, Lagos. 8th
February
2002 African Art or Art from Africa? Contemporary African Art and new
identities round table discussion Goethe Institute Lagos. 11th
November
2002 Dance meets Dance, Le Centre Francaise de Lagos. February 21 – 24
2000 IVAC Lecture Series (Institute 0f Visual Arts and Culture) Lagos.
1995 African American History Month lecture and slide presentation. Uli
Art; a Continuing tradition by Chika Okeke & Sarah Adams U.S.
Information Services, Lagos.
1995 International Sculpture Workshop/Exhibit Yorkshire Sculpture Park,
England.
1995 African Artists: School Studio and Society. The Centre of African
Studies, School of Oriental and African Studies (SOAS) University of
London, England
1996 Becoming a Sculptor … one of the three Artists Shown in the Video
Documentary Presentation. – 23rd
– 24th
.
1995 Mediums of Change: The Arts in Africa ‟95. The Royal African
Society, Brunie Gallery, (SOAS) London, England. – 29th
Sept. – 1st
Oct.
1994 TENQ Workshop International Des Arts Plastiques. – 15th
– 30th
September. St Louis Du Senegal. Participants.
1993 2nd
International Symposia on Contemporary Nigeria Art
LagosUniversity Auditorium April 27th
– May 1st.
1991 “The Black woman and the Problem of Gender: Her Trials,
Triuphs and Challenges”. (Guardian. Lecture) dekivered by Professor
Ali Mazrui, Nigerian Institute of International Affairs. – July 4th
.
127
1990 Seminar on “Nigerian Woman and the Arts”, Arts Theatre,
University of Lagos, Lagos, Nigeria. – July 20th
.
1990 “Thirty years of the Nigerian Woman” Organized by Women
Concerned, Commerce House, Victoria Island, Lagos. – 4th
– 6th
October.
1990 First Annual Copyright Forum, Nigerian Institute of International
Affairs, Lagos, Nigeria, - 6th
– 7th
, November.
1990 World Decade for Culture Development. (Observer Status), National
Theatre, Iganmu, Lagos. Nigeria. – 25th
– 28th
November
TELEVISION APPEARANCES/FILM AND VIDEO DOCUMENTARY
PRODUCTIONS:
April 2003 Interview and Commentator on Art in Africa and Contemporary
Nigerian art the younger generation for „A Passage to Africa‟ –
a documentary series by (CCTV) China Central Television and
Phoenix Satellite TV Hong Kong.
Jan. 2003 Life and Style Nigeria Television Authority (NTA 2) Channel 5
Nov. 2002 Interview on Totems and Signposts exhibition by NTA
network news. Goethe Institute, Lagos.
Jan. 2001 Reuters (African Journal) Interview at the French Cultural
Centre, Lagos on the cultural caravan exhibition by Ndidi Dike
also aired on CNN, BBC, SABC, etc.
Oct. 2001 „A Small world‟ French Television documentary contributions
from Ndidi Dike‟s Sculpture and multi-media reliefs. For Token
Productions by Veronika Petit.
2000 Women to Woman; Weaving cultures shaping history exhibition
documentary by Prof. Dele Jegede, Indiana USA
128
1995 Artist Video Documentary, Pavillion Gallery. – Sept. 18th –
Oct. 29th
. Produced by Zuleika Kingdom for the International
Sculpture Workshop/Exhibit, Yorkshire Sculpture Park, England.
1995 Worldwide international Television Programme Produced by Jo
Shinna for UK TODAY, on the International Sculpture/Exhibit.
1995 Seven Stories about Modern Art in Africa Video
Documentary, Artists talk about their work. Produced by Leo
Smith for the Whitechapel Art Gallery, London
1992 „Profile‟ Channel 10 Lagos. Women in Art. – April 11th
.
1991 Guest Artist, Channel 10 Lagos - July 4th
“The Sunday Show”
Arts Section.
1987 “Feminine World” NTA Channel 10, Lagos
1987 “Young Talents” Channel 6, Aba. Women Forum and Kiddies
Club Corner.
1986 Channel 5, Owerri, Imo State. Nigerian Television Authority
(NTA) has covered all solo exhibits till date.
RADIO INTERVIEWS;
1995 BBC African Features: “The Art House” produced by Fiona
Ledger. – September.
1995 BBC World Service, Features and Arts, Meridian Documentary
Africa ‟95 produced by Penny Boreham, September.
1995 German Service, Live interview at the Whitechapel Arts
Gallery by Arnne Macfenter. - September.
1995 BBC African Service, Live interview at the Whitechapel Art
Gallery by Vicky Ntetema. – September
129
1990 Radio Ghana interview on “Nigeriana‟ an exhibition mounted in
Accra, Ghana. – November 14th
.
1987 Interview on Exploration into Nature – by Federal Radio
corporation of Nigeria. July
PROFESSIONAL LECTURE SLIDE AND PAPER PRESENTATIONS:
Lecture and slide presentation on my work evolving around Nigerian
and Igbo themes on my multi-media and sculptural reliefs. University
of Mississippi, USA. – August 1992 during my International Visitor
programme.
Slide and Professional paper presentation (on my behalf by Prof. Nkiru
Nzegwu) college of art Association Conference in San Antonio, Texas.
Critique and Creativity; Women Art Contemporary Africa and the
Diaspora titled „My Art, My Life, My Heritage”. – January 25th
–
28th
1995. Organised by the African American Studies Programme,
University of Arizona, USA.
UNPUBLISHED PAPERS:
Excess Babbage: The Dilemma of the African Artist
Critique and Creativity: Women Arts Contemporary Africa and the
Diaspora titled „My Art, My Life, My Heritage”.