The exhibition marking the artist’s 30th studio practice anniversary showcased sculptures that blend the raw beauty of metal with beautiful storytelling, creating a symphony of form and narrative that resonates with profound depth and meaning.
SCULPTOR Muraina Akeem waited 12 years between his first solo exhibition, ‘The Eden Before Us’, and the second, ‘Metalphysics’, which closed on Saturday, May 4, at Signature Beyond Art Gallery, Ikoyi, Lagos.
But it was well worth the wait, as ‘Metalphysics’, with three sub-themes ‘The cows, The Pastures, and The Tenants’, also marked his 30th studio practice anniversary.
In the well-received show that opened on April 27, the ex-vice chair of the Society of Nigerian Artists (SNA), Lagos, showcased 28 works that blend the raw beauty of metal with beautiful storytelling, creating a symphony of form and narrative that resonates with profound depth and meaning. The 4-dimensional narrative sculptures serve as a portal into a world where reality intertwines with myth; the mundane is transformed into the extraordinary, and the past, present, and future converge in a timeless dance of creation.
The artist also uses the scriptural analogy to present an exhibition that champions resource management. “I am an environmental artist; I work with nature. The titles are satirical to redirect our mind,” Akeem explained.
Environmental artists, naturally, are also often activists, championing conservation and reflecting history.
The viewer sees this in Akeem’s sculptures like ‘Akin b’ogunlo’ (The Martyr) made from plastic car fuel, tank, shock, steel, nut and bolt commenting about oil exploration, refining, fuel subsidy and the killing of the late Ken Saro-Wiwa, who died trying to protect his beloved Niger Delta.
‘IgiOwo’ also calls for a return to agriculture. The work features manila, the old form of money spent in the country’s pre-colonial era, with several sprouting roots.
“We need to return to agriculture, the source of our wealth. You see the roots coming out; no matter how often you cut the shoot, the root will bring fresh energy and wealth. So, we need to return to agriculture, but I’m not saying to forget the oil; we need to strategise on oil and maximise its impact. It speaks to ongoing developments: fuel subsidy removal, refurbishing the refineries and injecting fresh energy into the economy,” the artist offered by explanation.
‘Olowogbogboro’ centres on justice. The work comments on racial and political killings globally. It features the names of some victims and the countries of their murders.
In ‘Abefe’, the artist also advocates for the protection and education of girls. “We need to protect the girls. They are the goose laying the golden eggs; they are the ones nurturing the world’s leaders tomorrow, and if you don’t take care of them, they will raise bastards and vagabonds,” Akeem said.
The artist, who prefers titling his works in his native Yoruba language, explained why this way: “It’s only through your local tongue that you can access your ancestors’ philosophy. Your ancestors will be the ones to tell you your story; you will relate with them.”
Commenting further on the exhibition’s significance, Akeem said, “The Metalphysics Alliance is a landmark of my 30th year of sojourning in the creative sphere. Newly added materials to my constructive and creative works of art on steel, like newspapers, electrical panels, keys, padlocks, etc., have been purposefully used in alliances to create unique and symbolic thought-provoking visual experiences.”
He added the essence of the sub-themes, ‘The Cows, The Pastures and The Tenants’: “The seven cows represent the famous scriptural Joseph’s interpretation of the then-king of Egypt’s dream about a buoyant economy. The cows in this context were created from discarded plastic fuel tanks of motor vehicles and related to oil, the current mainstay of Nigeria’s economy and one of the cardinal focus of the exhibition.
“The Pastures here represent all of the endowed natural resources, not limited to oil but agricultural products, gold, and some of the other relatives. The Tenants are the entrusted managers of earth, which in this case is man.”
Happily, collectors and lovers of Akeem’s works won’t have to wait 12 years for his third solo exhibition as he disclosed that he is hard at work on ‘Metalphysics 2: The Self, The Soul and The Shadow.’
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