I like it when my art sparks debates – Chike Emembo
You have been heavily involved in the Plates and Pallets Art Exhibition over the years. Could you share with our readers what the idea behind the exhibition is? The Plates and Palettes project was borne out of a growing need-the need for residents of the FCT to see more art. The project is implemented by […]
You have been heavily involved in the Plates and Pallets Art Exhibition over the years. Could you share with our readers what the idea behind the exhibition is?
The Plates and Palettes project was borne out of a growing need-the need for residents of the FCT to see more art. The project is implemented by ARTASTE, a band of artists that comprises of myself, and two other artists I select to join me. The other artists are changed annually to keep the show fresh and exciting. The show aims to bring people together on something they share in common: food and art. A travelling art exhibition that moves from one prime select relaxation facility to another. The objective is to create a cluster of alternative art spaces that will be featuring quality artworks that will be at stand at par with formal art galleries.
We also seek to create dialogues between the guests and the artworks, the artworks ask questions that feed his mind while the restaurant feeds his body. It presents an opportunity to bridge the gap between emerging artists/fully emerged artists and folks who want to see art but can’t see enough given the small number of art spaces in Abuja.
It is fascinating to note that the show has become fully anticipated annually as there is always something new to show. I say a big thank you to all who have supported the project in one way or the other.
For the season four, you are exhibiting with two other artists. Can you tell us what informs the choice of artists that participate in the project?
The Plates and Palettes Project Season 4 features artists Amarachi Odimba, Obi Nwaegbe and Chike Emembo. For starters, the show is gender sensitive, therefore I strive to have at least one female in the mix. The second criteria borders on clear and consistent narrative across the prospective artist’s body of work. Once this trajectory is established, then next is to make sure that the said narrative is remarkably different from those of the other artists, the reason being that we want to create a cocktail of art that cuts across a wide audience. It will also help if the artist is serious with his/her career growth. Incidentally 85% of artists shown in the different seasons of the Plates and Palettes project have all shown their works outside the shores of this country. We have previously shown artists Millicent Osumuo, Micheal Ikoyi, Addis Okoli, Ezekwesili Nnam and photographer Chike Okoye.
Four years into the project, how would you say the reactions have been to the works you and your colleagues have showcased?
It has been fantastic as some of the artworks have received critical acclaim. For instance, an artwork by Chike Emembo titled “The Great Debate,” a Nigerian inspired last supper reflecting the state of the nation, actually created a great debate when it was shown at the Missouri Boutique Hotel in season 2. The debate was so heated amongst some guests that it was temporarily brought down to calm frayed nerves.
Aside the debates, we have had decent successes with local and international collectors who happen to be passing through the locations. Last year, the project ended with a wine tasting event at the Harrows Park Mini Golf Resort, CBD, Abuja as some Italian wine distillers invited us to merge our show with their wine tasting event.
However our greatest response lies in the fact that one of our most regular collectors Mr Rotimi Williams, last year in the Season 3 was so fascinated by the artworks of one of the artists that he not only bought but had the work adapted to some of his apparels. Still not satisfied, he was so inspired that he picked up a brush, bought some colours and started painting professionally!
How fascinating. I hear there are plans to extend the Plates and Pallets project to Lagos. Is that still in the works?
Yes. Lagos very nearly happened this year but “based on logistics” it was moved to next year.
Through your art you have Africanised religious figures like Jesus and the angels. What message are you trying to send with these images?
I utilize the incredible power of visual communication to anchor abstract biblical truths. Faith comes by hearing. What you heard ought to create a picture in your mind if it gets into your mouth repeatedly. This is how that picture comes to reality. I interpret these truths in ways that Nigerians can relate to, this makes it easier for them to form their own pictures in their minds. If Peter is painted as a Tiv man walking on water, it becomes easier as it quickly resonates with our reality and actually makes walking on water an achievable feat in the audience’s mind if he is exposed to that picture long enough. That’s the incredible power of visual communication. It is employed by advertising agencies to condition behaviours for centuries.
Furthermore, the folks that played out the biblical stories were actually more black than white. I have had people tell me it doesn’t matter if Jesus was black or white, I say the fact that a black Jesus is unsettling you to the point of saying this shows that it does matter.
How important would you say religion is to your art?
I will say spirituality and not religion. Oftentimes when I get an understanding regarding some biblical truths, say from a songs, sermon or studying the Bible, the residue from this understanding comes as an artwork. So beyond the notes which every other person takes, I am simply fortunate to be able to give it form and bring it to reality visually.
For me the technique (which is very important) is not as important as the subject. I strive to have that spiritual truth clearly communicated with minimal interference from the technique. I just present the works and allow the audience connect to it at their individual level.
This is what forms the basis of most of my works.
As I just discovered, you are also fascinated by depicting water and rocks. Can you tell us where this obsession comes from?
[Laugh] I think I had an early influence from the work of Scottish artist John Todd as regards transparent water. I am also drawn to coarse, jagged looks of rocky surfaces and the gentle serene feel of transparent water. Furthermore, I particularly realise a peace which doesn’t make sense comes when I am faced with the challenge of depicting the various sizes of the pebbles in the river bed showing through the transparent water. I notice a lot of people are drawn to them too, guess we are all seeking that tranquillity at different levels.
Other than paint, you have also used granites in some of your works. What informs the material you choose to work for in each project?
I love optical illusion and trompe-l’oeil. In effect those things you call granite are actually oil on canvass. I enjoy creating 3-dimensional effects on 2-dimensional surfaces; consequently I have a body of work that explores concrete surfaces. I predominantly work with oils, draw with charcoals and sculpt with resin. I choose the one that will best convey the message with clarity.
If you are to choose a favourite among your works, which one would it be and why?
The latest work on the easel is usually my favourite because I am all revved up and excited to make something new. However when the work is done and adrenaline has dropped, if after say a year or two of putting the work out of sight it still gives me the kicks, then it enters my archival artwork hall of fame.
When did you discover you are going to be an artist? What was the defining moment for you?
It was after the first semester 100 level studying Fine and Applied Art (NCE) at the then Anambra State College of Education, Nsugbe. At the time I had planned to write JAMB to study petrochemical Engineering as I was actually a science student. At the end of that semester, I was exposed to art on a whole new level. There was a creative satisfaction that money can’t buy and I was so at peace with myself and am like wait a minute, this is what I ought to be doing! That school’s standard library (which I must say is way more equipped than that of some universities) literally made me who I am today. The times spent there studying the masters were my defining moments.