OSI AUDU in ArtDaily

Exhibition of recent drawings by Osi Audu opens at Skoto Gallery

Self-Portrait No 1, 2016, graphite and pastel on paper mounted on canvas, 56 x 72 ins. Courtesy Skoto Gallery. 8

NEW YORK, NY.- Skoto Gallery presents New Portraits: Self in the Global Age, an exhibition of recent drawings by Osi Audu. Born in Nigeria, the artist was educated in that country and the United States. For over two decades now, he has maintained a strong professional presence in Korea, Japan, Great Britain, United States, Italy, Germany, Austria and Africa through highly acclaimed exhibitions of his paintings. His work is in several private and public collections including The British Museum; The Horniman Museum, London; Schmidt Bank, Bayreuth, Germany; The Iwalewa House, Germany, The Wellcome Trust Collection, London, The National Museum of African Art, Smithsonian Institution, Washington DC and Newark Museum, Newark, New Jersey. His work was included in the recently concluded 2015 Venice Biennale, in the collateral event exhibition – Frontiers Re-imagined at the Palazzo Grimani Museum in Venice. This is his third solo exhibition at the gallery. The reception is on Thursday, January 14th, 6-8pm. The artist will be present. Of Selfies and Shadow play: Osi Audu’s Self-Portrait Osi Audu has the astute ability to break down complex ideas into simplified, visually appealing compositions. He has developed a unique vocabulary that emphasizes geometry, volume, tactility, and quality of the tromp l’oeil, in a career that spans nearly thirty years. Though on flat surface, his work appears three-dimensional. Solid black forms dominate the center of the picture plane. Some cast reverent shadows that taper to the edges of the paper or canvas. With voluminous architectural shapes composed of different parts but bound seamlessly by slick white lines in the new Self-Portrait series, Audu stretches the boundaries of abstraction, teasing the imagination. There is clarity of form that immediately casts a spell on the viewer. Yet Audu’s work does not give in to pedestrian interpretation. One must first acquaint oneself with the philosophy that informs his creative disposition in order to have a more meaningful encounter with the body of work. Though minimalist abstraction is a principal motivation, it is not abstraction for mere sake nor is the dualism (solids and shadows, black and grey) that is apparent in his oeuvre a mere visual device or creative flair. Both are conceptual armatures that help to advance an artistic position and the culturally-derived epistemology that grounds his work. Audu’s aesthetics draws specifically upon the Yoruba ontology of dual consciousness centered on the human head. The head (ori) is a bifurcated ensemble that best represents the intertwining of spirit and matter, mind and body. Orí inú (invisible or inner head) is the locus of consciousness, an a priori that gives substance to being. Orí òde (outer or tangible head), the physical manifestation of consciousness, is a vehicle of perception, identity, and interaction with reality. It is this dialogic imagining of beingness, of the human self, that Audu translates on white paper and canvas, using black pastel, graphite, primary colors, wool, among other media. His use of black monochrome holds pertinent symbolic value. It ramifies the cultural vicissitudes of blackness as well as outlines Audu’s position of engagement in an art world that is burdened by a historical legacy of excluding or de-legitimizing black artists who claim the arcane language of abstraction. In previous solo exhibitions at Skoto Gallery such as Osi Audu: Ile Ori/Ori Ile (House of the Head/Head of the House) in 2006, the head is addressed as a metaphor of collective consciousness. Audu explores the head as a cognitive altar that dictates the cycle of life and human responses to existential conditions. Conversely, the current exhibition titled New Portraits: Self in the Global Age focuses on the autonomous self, shifting emphasis from collective consciousness to the singular being as unit of sensation. It comprises of eighteen works from the ongoing Self-Portrait series. They push Audu’s fastidious formalism, complex forms, and geometric abstraction further albeit in a different direction. Conceptually, one might speak of them as selfies, those totems that feed the narcissist cult of the individual, very symptomatic of our contemporary world. Yet we are admonished not to think of the works as portraits in a physiognomic sense. Instead, they are reflections on the ways in which the individual negotiates his/her being in the world. Following Maurice Merleau-Ponty, they are the artist’s attempts to distill perception, by relating and piecing together the spectacles of his own world in relation to the world at large. It is the interior-self that forms the basis of rootedness; the source of identity and personhood. As such, Audu casts his gaze inward, to his Orí inú, the seat of consciousness where memories also reside; reconciling it with his Orí òde, the vessel that bears out his past and present experiences, of growing up and studying in Nigeria, living in the United Kingdom, and current domicile in New York. Altogether, the works capture Audu’s attempt to find himself in a teleological world that is mediated by relations. Ultimately, what lies at the core of this new body of work is a phenomenological awareness of being part of a globalized reality, marked by changing conditions, cultural exchanges on a planetary scale, and a network of disjunctive and constitutive references. Ugochukwu-Smooth C. Nzewi Artist, Art Historian, and Curator of African Art Hood Museum of Art Dartmouth College, Hanover, New Hampshire

“Auto – Graphics : Work by VICTOR EKPUK” opens at the Hood Museum of Art, Dartmouth

Please contact Morton Fine Art for available artworks by VICTOR EKPUK.

Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009

(202) 628-2787, mortonfineart@gmail.com, http://www.mortonfineart.com

 

AUTO-GRAPHICS

   

Works by Victor Ekpuk

April 18–August 2, 2015

Nigerian-born artist Victor Ekpuk is best known for his improvisational use of nsibidi, a form of writing with symbols associated with the powerful Ekpe men’s association of southeastern Nigeria. Ekpuk’s aesthetic engagement with nsibidi emerged during his fine art studies at Obafemi Awolowo University in Ife, Nigeria, where students were encouraged to explore the logics of pattern and design in indigenous African art forms. His fascination with nsibidi during these years—its economy of line and encoded meanings—led to his broader explorations of drawing as writing, and to the invention of his own fluid letterforms. As a mature artist, Ekpuk has so internalized the rhythm and contours of his “script” that it flows from his hand like the outpouring of a personal archive.

This exhibition was organized by Krannert Art Museum, University of Illinois at Urbana-Champaign, and curated by Allyson Purpura. It was partially supported by a grant from the Illinois Arts Council Agency. The exhibition’s presentation at the Hood Museum of Art, Dartmouth College, was generously supported by the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund and the Cissy Patterson Fund.

Hood Museum of Art
Dartmouth College
Hanover, NH 03755
603.646.2808
hood.museum@dartmouth.edu

RELATED EVENTS

23 April, Thursday, 12:30 p.m.
MEMBER EXCLUSIVE
Tour and Lunch with Artist Victor Ekpuk
Join artist Victor Ekpuk and Curator of African Art Smooth Nzewi for an intimate look at the artist’s installation in Lathrop Gallery, followed by lunch and discussion in the conference room. Registration is required. $25.00 per person. Open to current members. To register, call (603) 646-0414 or email Julie.Ann.I.Otis@dartmouth.edu. Space is limited.

24 April, Friday, 4:30 p.m.
ARTIST LECTURE
“Excavating Memories”
Victor Ekpuk, artist
Ekpuk will discuss how he mines historical, cultural, and social memories to shape his aesthetics.

25 April, Saturday, 11:00 a.m.
Second-floor galleries
SPECIAL TOUR
Auto-Graphics: Works by Victor Ekpuk
Allyson Purpura, Curator of African Arts at the Krannert Art Museum, University of Illinois, Urbana-Champaign, and curator of Auto-Graphics, will lead a tour exploring the works on view and ideas behind the exhibition.

25 April, Saturday, 1:00–2:30 p.m.
FAMILY WORKSHOP
Experimenting with Line
Explore the expressive power of Victor Ekpuk’s line in his collages, digital prints, and supersized drawings. In the studio, make large drawings filled with your own symbols and line designs. For children ages 7–12 and their adult companions. Enrollment is free, but limited. Please register through the museum’s online calendar by April 23.

29 April, Wednesday, 6:00–8:00 p.m.
ADULT WORKSHOP
The Hand-Drawn Line: Works by Victor Ekpuk
Join this discussion-based workshop to explore how Ekpuk uses rhythm, pattern, scale, composition, and the hand-drawn line to create works that are at once bold and restrained. In the studio, experiment with materials to create your own work inspired by the exhibition. No previous art experience necessary. Participation is limited. Please register through the museum’s online calendar by April 27.

16 May, Saturday, 2:00 p.m.
INTRODUCTORY TOUR
Auto-Graphics: Works by Victor Ekpuk

26 May, Tuesday, 12:30 p.m.
LUNCHTIME GALLERY TALK
“Marks and Mark-Making in Afro-diasporic Art”
Michael Chaney, Associate Professor, Vice Chair, English Department, Dartmouth College
This informal presentation links both the contemporary artwork of Victor Ekpuk and traditional ukara cloths to an unlikely analog in the hybrid production of nineteenth-century slave artisan Dave the Potter. As with the strange writing inscribed on the sides of Dave the Potter’s jars, the coded writing system known as nsibidi opens up our understanding of diasporic art and the principles of communication embodied in it.

13 June, Saturday, 2:00 p.m.
SPECIAL TOUR
Auto-Graphics: Works by Victor Ekpuk
Smooth Nzewi, Curator of African Art

16 June, Tuesday, 12:30 p.m.
LUNCHTIME GALLERY TALK
“Memory and Victor Ekpuk’s Wall Drawings”
Smooth Nzewi, Curator of African Art