Why sculptors struggle in Nigeria – Iloanya

Onyekachukwu Anthony Iloanya is a sculptor from Anaku in Ayamelum Local Government Area of Anambra State. He is currently doing his Ph.D. in the Department of Fine and Applied Arts (Sculpture) University of Benin, Benin City. In this interview, he gives tips on what makes a successful sculptor, while advising government to make art courses […]

Onyekachukwu Anthony Iloanya is a sculptor from Anaku in Ayamelum Local Government Area of Anambra State. He is currently doing his Ph.D. in the Department of Fine and Applied Arts (Sculpture) University of Benin, Benin City. In this interview, he gives tips on what makes a successful sculptor, while advising government to make art courses compulsory in primary and secondary schools.

 

How have you evolved as a sculptor?

After my first degree in 2013 and being determined to practice what I read in school, I started looking for where will be suitable for me. At that time, the two places I had in mind were Lagos and Abuja. I chose Abuja and relocated in 2014. I was determined to practice my course but I delved into painting, out of fear of not getting enough clients. Though I did well in painting, I still felt some emptiness because I am a sculptor but not practicing it.

That desire to practice pushed me into going for my Master’s Degree in 2017 so that I can perfect my skills. I chose the University of Benin for my Masters and when I returned to Abuja, I went squarely into sculpture. And I must confess I was not disappointed practicing sculpture when I came back. In fact, it is the light I am seeing at the end of the tunnel in the area of sculpture that motivated me to go for my Ph.D. in that same area, hoping that one day I will be an authority in sculpture particularly, and Fine Art in general.

When did you know you have what it takes to be a sculptor?

It was actually in 2011 during my second year as an undergraduate student of Education/Fine and Applied Arts. Our sculptural lecturers I must say are good at what they are doing and that attracted me to them. Going closer to them was one of the greatest steps I took. Then, because of the love I had developed for sculpture, in my third year during our Industrial Training, I decided to do it in Benin, under Palmond Art Centre, where I learned the art of bronze casting. That move was a giant stride; it was there that my love for sculpture got flamed.

Why do you think sculptors are relevant to society?

Sculptors are very relevant in every society because they contribute aesthetically to the development of every society. They contribute immensely to the GDP and economic growth of the society because their works normally serve as the core of tourist attraction. They help in environmental hygiene and sanitation, most of them in other to create wealth from waste engage into recycling of waste, the recycling, in turn, leads to the cleanliness of our environment. For instance, my Master’s project work was executed with waste metal which was converted into the medium. I did not just create an aesthetic piece; I also contributed to saving our people from environmental pollution and other environmental hazards.

Why are sculptors are not well recognized in Nigeria?

Nigeria has no interest in tourism. Our attention as a country is focused more on oil and gas. Another reason is that it is an elitist thing, it is when one must have satisfied the basic necessities of life such as clothing, food, and shelter that one can start thinking of appreciating art. As you know, a majority of our people are poor and because of that, most people do not put their interest there.

Another reason is that Nigerians have this mentality that some courses are superior to others and they encourage their wards to leave such courses as Fine and Applied Arts and go for Medicine, Law, Pharmacy, Engineering, etc. So, the neglect for vocational and technical courses in the university and other institutions of learning is part of the reason sculptors are not recognized.

Tell us about your biggest project

My biggest project is my Master’s Degree final project at the University of Benin. A metal junk sculpture of a bull, of about 14 feet in length and 7 feet in height then 4 feet in weight. This project took a period of 12 months to be completed. It is the biggest single-handed project I have ever executed.

You are doing your Ph.D., how do you transfer your knowledge into your works considering there are several self-taught sculptors that are also doing well?

I am doing my Ph.D. not to compete with self-taught sculptors who are already doing well, I decided to pursue my PhD because I felt the need to become an authority in my profession and also my biggest desire is to go back into the classroom as a lecturer to impart knowledge into the upcoming generation. I do not plan to compete or to strive in money-making, but rather to leave my footprints in the sands of time.

Sculpting is not well received in Nigeria as painting. Don’t you think it is not possible to make a living from sculpting alone in Nigeria?

Well, it depends on the area an artist/sculptor finds himself. In some areas in the southern part of the country, some sculptors are appreciated more than painters. As a sculptor, you can receive commissions from churches to erect statues of their saints and all that. People who want to immortalize themselves or their loved ones commission sculptors to do it for them. In schools also, statues are erected as a way of immortalizing individuals or beautifying the environment and sculptors are responsible for doing so. But in the Northern part of the country, the reverse is the case. It is painters majorly that receive more patronage than sculptors. Another reason why it seems as if sculptors receive low patronage in Nigeria is because of the bulkiness of sculpture. Many are tourists, so they consider the weight of the item they intend to travel with. If you are opportune to be in any of our exhibitions, you will hear them say ‘I love this work but unfortunately I cannot afford the traveling expenses’.

 

What is that thing you owe to sculpting?

I owe it my time, concentration, dedication, energy and above all expertise, for they are the things that sculpture requires and demands. Another thing that I owe it is evangelization – that is talking and making it attractive for the upcoming artists.

How are you inspired?

My first major source of inspiration is God Almighty who whispers ideas to me even when I am sleeping or walking on the road.  Another source of inspiration is Nigeria’s rich culture and traditions. Also, schooling in the land of Benin City has been a great source of inspiration.

Kindly explain a typical day in your studio.

I have my studio in my house, so it has been challenging, battling with space, which affects the size and number of works I would want to produce. Aside from that, every day is a day I anticipate seeing, eager to finish a pending art piece and then start another one.

What do you think makes a successful sculptor?

There is no benchmark to what makes a successful sculptor. Success, I believe is on how one has been able to achieve his God’s given vision. So, to a sculptor, I will say, when you are able to make that type of sculpture that gives you joy and makes your clients happy, puts some pieces of gold and silver in your pocket, and helps you live that type of life you desire for yourself, aside from the societal pressure. That is when I will say a sculptor is successful.

Why are sculptors struggling in Nigeria?

Everything boils down to our government; we need to create a working system where citizens can have an enabling environment to thrive in their career.

What do you think should be done to create a better atmosphere for sculpting to thrive in the country?

To start with, the economy must be made to be stable. This will enable the people take care of their basic necessities; because there is a saying that ‘he that can eat bread cannot talk of meat’. One has to eat first before appreciating art. Nigerian government should create more tourist sites, where the beautiful statues will be exhibited for tourists that are around for site seeing. Again, art courses should be made compulsory in our primary and post-primary schools. Government should see to it that museums are established in every state of the federation because it will help in boosting the national economy through the money generated from tourists and at the same time empower sculptors. Grants and support should be made ready for sculptors.