- Ernest Agoba
- May 28, 2021
- 2:23 am
Art: Fighting With Forms and Colours
Protest Art Exhibition by Ernest Obukx Agoba in MOTNA, Jos, Nigeria
Today, a strong spirit of guilt welled up inside of me. I am probably not doing enough to express the anguish of people in my country. Things were going terribly wrong. I should have done something to either prevent this or assuage it. I could not understand how such a strange nagging thought would come occupying and eating me up from the depth of my mind. What could I have done to prevent it? I wasn’t one of the leaders in the land. Neither was I in the position of authority to know when the crises were coming. It took a period of one week before I could come to terms with these creepy thoughts. I was a metaphor that reflected every single person in my society or country.
“A Thin Long Thread” Oil Painting on Canvas – 70 inches (177 cm) x 24 inches (61cm). This work expresses the pressures our burdens and troubles put on the threads that sustain us from falling
“A Thought Too Long” Oil on Canvas – 70 inches (177 cm) x 24 inches (61cm). Rendered in blues, it reflects the thought into which man is daily immersed.
Confronting the Double-faced Enemy
If everyone understands the precepts of peacekeeping and leadership, it will be easy to understand why I carried this nagging thought for a while. What did I do on my own to mitigate it, or completely avoid it? Did I publish articles to educate people on the evils of war? Did I hold any workshops to sensitize people on the need for peace? I couldn’t do any of those. Then another rather rebuffing question popped up: As an artist, a lawyer, a teacher, or engineer, what did we do collectively to ensure we live peaceably? Reflecting on these thoughts, it immediately occurred to me that if one does not use his profession to protect the world and sensitize people to the need for lasting peace, one may be wasting his time on earth over inconsequential matters. I had no peace until I carried my brushes and paints and began to paint experimentally. Trying different styles, I painted and made photography depicting the pains of evil leadership and of the agonies of war. This is what informed the need for me to address myself as the emergency room artist. I am particularly pained that Nigerians are not courageous enough say the truth, face the truth, and fight the enemies even in the face of truth. Today, this exhibition is titled “What Have We Done” to both denote the cry of helplessness, anguish, and protest, and to connote the accusatory question of inaction and complacency that we so often put up whenever actions are required to be taken. “What Have We Done” is a fresh body of work that populates the work series titled, “A Cry for Help” in my website and body of work. This exhibition, therefore, is a consequence of the needed response to the evils of bad leadership and of crises and hunger that are its products. A number of the works subtly address the problem of the Boko Haram terrorists in our midst. These works do more than mere aesthetic expression by going further to mention names in both poetic and direct manners. Prominent amongst these are the ones titled, “Shadows of Shakau”, “Madness and Sheriff ” and, “The Face of Kashim”. “Madness and Sheriff ” expresses my anger with the one I belief has been responsible for the continuous strength presently carried by one of the sponsors of the religious Nigerian crises. Ali Modu Sheriff, the former governor of Borno State may be one of the ones funding the violent Boko Haram militancy in the Northeast. “The Face of Kashim” is a splurge of colors that carries the hate and fear generated by the personality of another suspected sponsor of Muslim fundamentalism and regional violence, Kashim Ibrahim. While the works themselves may not fully express these subject matters, the paper and physical explanations that come with them did a lot to explain these.
Artworks in Exhibition
“The Face of Kashim” is an oil painting on canvas that captures Ernest Agoba’s dilemma on whether to, or whether not to make it realistic for fear of possible apprehension.
I had a really hard time making works that expressed the evils of the time in our little town of Joss’s and its environs and expressing this in my usual style as may be seen in my former works. I love the synthesis of realism and abstractionism in the styles portrayed in Surrealism and its corollaries. But making a real face of a real antagonist would both betray that style and invite the wrath of that person. I fought relentlessly in this painting to move away from verisimilitude. While doing that, I risked the possibility of the work losing its impact if no one knew the one to whom the attack was directed. After much efforts to reduce the look alike, I realized the painting still looked like Kashim Shetima, a patron of the dreaded Boko Haram.
“The Pawn God” is an oil painting on canvas. It measures 72″ inches x 54″ inches. This painting illustrates the paradox of life that sees us all as pawns and as gods.
“Dark and Lonely” is a digital photographic art that portrays the dingy uncertain world of women who are often captured and raped by militant terrorists
“Gritty”. In this work, I portrayed light as symbolizing hope and strength in times of fear. It measures 2 ft. x 3 ft.
“Shame” As depicted in “Dark and Lonely”, “Shame” is an extension of the problem of violence against the female gender
Metaphor of Tunnel and the Symbol of Light
“Light in the Tunnel” is a 5 ft. x 7 ft. oil painting equally featured in the exhibition, “Dangerous Times” It connotes the search by man for light and a panacea to the perianal troubles in his world. In the course of this search, the beginnings are occasioned by anxieties and circumspection.
