Footnotes

Exhibited
Bayreuth, Iwalewahaus, We will now go to Kapaza. Transitions and journeys through Uche Okeke's work, May-October 2022.

Recently shown in an exhibition at Iwalewahaus of the University of Bayreuth that focused solely on the work of Uche Okeke and his influence in formulating the direction of Nigerian Modernism, this work holds a highly significant position in the artist's oeuvre. Furthermore, this exhibition emphasises the artist's importance not only as an artist, but as an educator, activist, and philosopher.

In the late 1950s, a group of young artists studying at the Nigerian College of Arts, Science and Technology in Zaria formed a society in opposition to the dominance of Western European artistic traditions that were being privileged by the university. These students were Uche Okeke, Demas Nwoko, Bruce Onobrakpeya and Yusuf Grillo among others.

During this period of national struggle for independence. The Zaria 'rebels', as the Society came to be known, were part of this movement to shed colonial constraints. The Society committed themselves to establishing an aesthetic that expressed Nigeria's distinct identity, rather than "posturing as a colonial transplant" (Uche Okeke, August 31 1997).

Uche Okeke was a founding member of the group, and a passionate advocate of the Society's core principle - 'Natural Synthesis'. This synthesis referred to a fusion of traditional Nigerian ideas and artistic motifs with new forms of expression. Okeke later described this as the Society's "major contribution":

"We envisioned a kind of synthesis that would bring art from our 'tribal' enclaves or ethnic cleavages and put them on the platform of national significance." (Okeke, August 31 1997)

Okeke was very interested in Igbo culture. Much of his work draws on themes from its folklore and mythology, but it also shows a stylistic influence. This depiction of the Madonna and Child is executed in fluid curvilinear brushstrokes, similar to the sweeping Uli designs traditionally applied as body adornments. The scene uses little perspective, also typical of Uli motifs. The flat plane brings an intense immediacy to the work; the viewer is pulled in close to witness this intimate moment between mother and child.

Bibliography
P.C. Dike, ed. The Zaria Art Society: A New Consciousness, 'Uche Okeke: Interview by Chika Okeke'. (Lagos, 1998) p.51.