Footnotes

Provenance
A private collection, UK.

Literature
O. Oguibe, Uzo Egonu: An African Artist in the West, (Kala, London: 1995), p. 77. (illustrated).

In its auction debut, Coffee House at Bad Orb is an exemplary example of the artists' key tropes that distinguish him as phenomenal Nigerian Modernist. In line with his cultural awareness, the dualism of palette, and content emotes the artists commitment to his stylised philosophy adopted by the artist the mid 1960's:

The principles of dualism and complementarity, the belief that nothing is complete of itself and all existence manifests in association, are very central to Igbo life and philosophy. (O. Oguibe, p. 74.)

The cyclical view evokes a balanced synchronism amongst contrasts. The work is characterised by pre-empted line against decorative and textural geometric patterns. These juxtapositions are further presented in the opposing moods of both central characters, one appearing downcast, the other joyous. Therefore not only are we presented with aesthetic, but also emotionally representative contrasts encapsulated within one painting.

This is a demonstration of the artist's philosophical commitments when imbuing his own lived experiences. During the time of the present work's execution, Egonu was experiencing partial blindness. The anguish of his personal health was only further accentuated through Nigeria's farcical experiment in democracy which led to chaos in his country. These coinciding periods of time prompted a sense of despair, shame, and melancholia consistent within the characters portrayed produced by the artists in this period, a period for the artists termed 'stateless people'. Coffee House at Bad Orb is unusual in his context given the contrasting emotions. Indeed joyfulness is not often represented by the artist within his works. However this counter emotion serves to intensify the solitude of the opposing figure. The thematic pluralism which therefore resides in this work sustains a duality in the human experience, emotions and history.

The history of Egonu is presented through his use of decorative Igbo symbolism. In a 1970 essay called 'On Myself and my work', Egonu stated:

"My aim was to utilise the decorative symbols which I was used to as a child in Igbo-land, to express myself and to communicate my thoughts to others." (Egonu, 'About Myself and My Work' (1970), ed. Egonu, 22 Prints (Catalogue of Exhibition, 1985)

This statement encapsulates Egonu's aesthetic in it is private and introspective as well as widely social enabling his work to be viewed with both a private and public lens.