How contest turned me into mosaic artist in 3 days – Ameh Odachi

Ameh Odachi is an artist with a passion for mosaic art. She was one of ten artists who recently exhibited at the Kaduna Book and Arts Festival (KABAFEST). Here, the graduate of Building Engineering talks about how she came to work with beads, and more. Excerpts: You enjoy making art with beads. What is the […]

Ameh Odachi is an artist with a passion for mosaic art. She was one of ten artists who recently exhibited at the Kaduna Book and Arts Festival (KABAFEST). Here, the graduate of Building Engineering talks about how she came to work with beads, and more. Excerpts:

You enjoy making art with beads. What is the story behind this?

The beads’ making story began sometime in September 2017 when I was waiting for the ASSU strike to end and I saw a tweet from Sterling Bank inviting artists who use only recyclable materials to create artworks. I joined the contest barely four days to submission and decided to use broken glass as my medium.

I didn’t study Fine Art in secondary school or in the university and was clueless. My younger sister, Diana, quickly pointed out that using glass will be labour intensive and suggested I try beads instead. She educated me on the different art mediums taught by her Fine Art teacher. She said using beads on a medium like paper is called Mosaic art. This brilliant suggestion in 2017 gave birth to the LoogiiArt of 2019.

I began to learn fast because I wanted to be among the top three. I purchased numerous colours of size one beads. I ended up using all my pocket money to purchase beads, a fishing line, needles and white cotton material popularly known as trouser length.

On getting to my work space late that night I realised I didn’t know what to do with all the materials I got. At about 3am, I started to draw the map of Nigeria. By dawn I realised I needed new materials to go with my beads. I got papers, gum and a skewer stick from my sister’s belongs. It took me over forty-two hours to come up with an art piece I have in my archive which is exclusive for family members and art enthusiasts to view. I worked tirelessly for over three days to complete the artwork in time to beat the submission date and my family encouraged me.

In the end, I didn’t get into the shortlist for the contest, but I knew I had found the missing piece of something I tried to bury. I found my passion for creating detailed artworks within those three unending days. I knew what I wanted to see when I view an artwork and I was ready to be a creator. So, from September 2017 till date I haven’t stopped creating art with beads.

Your piece, ‘Atlasfricana,’ depicts a woman’s face with her hair shaped like the map of Africa. What triggered it and what were you trying to communicate?

My first trigger was a picture of a lady with a really big earring. I thought to myself, if this earring could be as big as a map, only the map of Africa can comfortably fit that position. So midway through ‘Serenity,’ an art piece I was working on at that time, I sketched down ‘Atlasfricana.’ The name was largely influenced by Diana, my younger sister. We got talking about Greek mythology and felt the woman in the artwork should carry the weight of Africa on her head like a curse, just like Atlas was cursed by the Greek gods to carry the world on his shoulders.

You run a blog where you seem to pour out your heart about a variety of issues. Do you see yourself delving more seriously into writing?

(Laughs) I don’t run a blog. I have posted some awkward writing in about three websites. I really didn’t pay attention to what I wrote as an energetic writer would. It was just me trying to be a writer. I can’t categorically say yes or no. I just hope to be at the right place at the right time. If that includes me being a writer, I will be enthusiastically grateful to take up my pen and write to the glory of God.

Do you have plans for an art series anytime soon?

I haven’t started lumping my art into groups. They are really independent of each other. The details about the art is in the making. I may have a rough sketch, on getting to my table I see that sketch in ways I never

imagined, as if the art is birthing itself and I am just it’s puppet. I move with the art and listen to what it’s trying to tell me.

There is an increase in the number of people going into visual arts these days. How lucrative has it been for you so far and what future do you see for artists generally?

I will be frank as regards it being lucrative. Visual art is as lucrative as the artist wants it to be. But if all the artist sees is the money, it becomes dangerous to the art, to the artist and to the enthusiast. For me, parting with an artwork is not easy. Sometimes people just lash at you to receive what you are being given for the piece, but deep inside you there is unrest, especially when the buyer is bitterly complaining about the price. Owning an art piece is a luxury. It is not a necessity and as such buyers should see what they pay as a token to the artist. I first understood this principle from my favourite Italian customer whenever I sold to him. He was impressed that I could mirror some thought he had but couldn’t necessarily articulate. I love seeing my work end up in good hands.

I am not inclined to look at the number of youths going into visual arts. The sky is large enough to accommodate every bird. There is enough space for each bird to fly. At the end of the day, what fuels ones passion is what takes one from point A to B.  As an artist money should never be a motivation because there are seasons where no patronage will occur. See the money as a token because no one can pay for art. It is invaluable.

When you aren’t making art, what are you usually found doing?

If I am not on my table, I could be found studying my Bible, reading articles from desiringgod.org, drinking tea, chatting with my ever-joyful sisters, mum and brother. I could be found reading an ebook too or visiting friends.