To paint, I time-travelled listening to music – Doofan Kwaghool

Doofan Kwaghool is an artist, art teacher and textile designer. She was one of the women selected for ‘Go woman Go!’ a collaboration between British Artist Laura Aldridge and women in Abuja organised by the British Council in Nigeria with the aim of empowering women with new skills and capacities in textile and printmaking. Here, […]

Doofan Kwaghool is an artist, art teacher and textile designer. She was one of the women selected for ‘Go woman Go!’ a collaboration between British Artist Laura Aldridge and women in Abuja organised by the British Council in Nigeria with the aim of empowering women with new skills and capacities in textile and printmaking. Here, she talks about her solo exhibition, textile, teaching and more. Excerpts:

This year you had your first solo art exhibition themed ‘Collecting Moments’, at the Thought Pyramid Art Centre. How would you describe the experience?

The experience was very professional, worthwhile, and engaging. Last year I had a joint show with a lady called Amarachi titled ‘Demeanour’. So, I reviewed specific moments in people’s lives that we experience. I kept thinking in moments. I started with the theme, ‘Aftermath’ and had done over fifteen paintings for that, and then I had this conversation with a friend about thinking deep and making better decisions. We talked about music. That was how I started listening to old songs, because music too is a documentation of history. Most times, singers are inspired by particular events in the society, be it apartheid or racism. They talk about something serious in a way that makes it enjoyable. That was when I decided to review moments using such songs, because they bring back memories. This is why I called it ‘Collecting Moments’. Songs helped me think and address issues through my work by trying to take a peep into the minds of the artists and unravel what they experienced.

What kind of songs did you review?

I reviewed Bob Marley’s ‘Natural Mystic’, Fela’s ‘Shakara’ and ‘Wahallah’, Malian singer, Oumou Sangare, Aretha Franklin, Dan Maraya Jos, Tiv’s Swange songs and several more. Nina Simon’s ‘Four Women’ talked about four African American women. It taught me about what women faced in those times. Some get raped and eventually become pregnant for their masters and give birth to interracial children. But most times, because they are gang-raped, the father isn’t easily identified. The children end up being seen as blacks only and they too, because they are good looking, end up facing what their mothers experienced. So, that particular song brought that to my notice. Before then, I had never read anything relating to it. So, I titled the painting, ‘Our Story’. It was like I was walking in those times and it took me two years to finish the whole work. I was still teaching during the period, working on commissioned jobs and doing group shows. At some point I had to face it squarely.

What does art mean to you?

My art isn’t solely about making money. I want to make positive statements that can make a change. This is why I also engage in public art. I paint highway codes on my canvas and take them to high foot areas and invite people to write their meanings. I have done this in front of Wuse Market, Utako Motor Park and also in Delta State. I use art to get Nigerians to understand highway codes. Yes, money is important, but I want to say some strong things about life. We need organisations in Nigeria that provide grants to artists, be it visual art or music.

Aside painting, you are also into textile designs and part-time teaching. How do you juggle these?

I teach arts twice a week. In between I find time to design my fabrics. Sometimes I have private art classes because my studio is registered. Sometimes again I teach children professionally in homes, just like adults. After they finish painting, I make a profile and organise an exhibition for them. Parents get to appreciate what their children do. We had an exhibition of a fantastic student of mine who made very beautiful works and I wrote her biography, snapped the works and made a catalogue. The mum was very supportive. She made small chops and invited her friends. So, I curated the show. I framed the works beautifully and you wouldn’t know it was a child that made it. We were able to sell works up to eighty thousand naira and the girl, her mum and I were so happy. I like to end the private lessons with an exhibition.

How did painting begin for you?

I would describe myself as a born artist. Right from childhood I used to scribble on the wall and draw in my elder brother’s textbook. Anywhere I find a pencil I always drew. All my secondary and primary school friends knew this. So, as soon as I got the opportunity, I applied for Fine Arts in the college of education. In secondary school, I was the only one doing Fine Arts as a subject. My art teacher, Mrs. Gimbiya was getting tired at some point because I was the only student. There was a senior boy in senior class who was also doing arts.

So, how did textile design encroach on your passion for painting?

When I was in college, I did Fine and Applied Arts and you had to specialise in one fine arts course and applied arts. So, I did painting and textile. When I finished, I found out that a lot of people still liked Ajire and batik, so I continued. At some point I was encouraged to look deeper by an art workshop I attended that involved the British Council. It was meant to empower women. Some came without experience, while some had the experience. I intend to expand my textile business. But mainly, I really love painting because I get to express myself. Textile wears and tears when someone buys it, but this isn’t the case with painting.

This year you were one of the women selected for the ‘Go Woman Go!’ workshop, a collaboration between British Artist Laura Aldridge and women in Abuja organised by the British Council in Nigeria with the aim of empowering women with new skills and capacities in textile and printmaking. What was the experience like and what did you take away?

It was a really nice experience because they provided all the materials we used and there were wonderful women to work with. There was also that interchange conversations. We benefitted from the exchange, because Laura Aldridge does have her own experience. Nike Okundayo was also there. It was very professional and Nike is efficient in the Nigerians fabric, the Adire and batik. She personally taught us skills, like handling the wax.

What was the height of that workshop for you?

The height of it was knowing I could do the business big time and make good fabrics. I never thought of looking into that area because I got busy with other things.