In Fakeye's World of Forms
Encounter
By Ayodele Ufine

It was a cool breezy evening. The ambience was friendly. Olabisi Fakeye regarded his visitor with his characteristic warmth. His keen eyes briefly appraised the latter for a while. Then with a nod of approval, he extended a hand to his visitor.

advertisement

He was soon leading the way to a corner under a lemon tree on the left side of the Universal Studios of Arts entrance. The shabby complex is rightly beside the Aina Onabolu Gallery, National Arts Theatre, Iganmu Lagos.

One fact about the studio, it has refined, as well as housed known names in the Nigeria Art scene today. Such names include Biodun Olaku, Segun Adejumo, Bunmi Babatunde, Monday Akhiduie, Olu Ajayi and Fakeye himself, who happens to be the most senior artist among the occupants. "Though some of them have left for better spaces, they are still part of us. We still come together to see to the progress of the studio," Fakeye explained. " Here we also train artists, and over the years, we have been doing that, free of charge".

The studio used to serve as a store to the Federal Department of Culture (FDC) before it was later appropriated for its present use. After one of Fakeye's extraordinary outing in 1981, he was invited by one Sina Yusuf , a senior Cultural Officer, to start the National Studio.

But a sad event nearly marred the endeavour. All the artists using the studio were ordered by the Federal Government to quit the place in 1995, in order to secure a space for the construction of Aina Onabolu Gallery. But when the decision was later reversed, the studio's initial name was substituted for Universal Studios of Art (USA).

The road since then has been rather rough. Many nevertheless lingered in the premises. How they have so far survived defies logic and human calculations. "We are supposed to be given an enabling environment," Fakeye lamented. "Though people have been coming to pick our works but still we are underpaid.Half bread is better than none. But we appreciate those who come to collect our works."

Besides being well respected among his fellow artists, Fakeye is a household name. He hails from a well-known family of traditional artists. Many an art connoisseur will easily remember the exploits of his uncle Lamidi Fakeye. Little wonder he has come to consider art as not only an inheritance, but also something he must pass on to his descendants. " I came from a family of sculptors, and I am a sixth generation artist. I started carving at the age of 10 and I need to keep the fire burning".

In his early 60s, the celebrated sculpture still remains agile. Giving up his art practice for something else is something he would never want to imagine. And that certainly, he assumes, will harm his spirit. " I am an artist to the core. Art is part of me and it is something I enjoy doing. The studio is my home and I also see my home as my studio. You see, there are times when I don't need coming down here from home each time new ideas and inspirations pour in."

And, of course, he had found solitude a useful ally in his creativity as he is most productive working overnight. The Lagos-based carver is of the view that come sun or rain, visual artists must express some significant features in their works. According to him, it must be a combination of idea, good philosophy, creative expression and so on. "If I see a good painting, I can tell how good or bad it is," he asserted.

The Ila-Orogun-born artist was, in his early years of art practice, conservative in his expressions. He was the still a stranger to the stylised art forms he has come to be associated with. But, as he argued, such a background is not useless. He buttressed his point with the assertion that even schools of art find their existence rooted in the traditional Art. "Art", he said, "is not from school. I can say that I am a school of art myself. You see art is individualistic. It is a personal thing."

But one fact for him remains a certainty. And that is that art hasnot only improved but will also contine to get better. There is need to break rules at times if an artist needed to overcome the challenges of this volatile world. "But if care is not taken contemporary art will be misunderstood. That is , when you still do old things."

He still relives and relishes his previous efforts at improving on his sculpture. "When I saw the need for a new form of creativity I worked so hard". And eventually such effort carved a niche for him in the profession, so that his worked were - and still are - highly appreciated .

Fakeye is gratified by the fact that art is serving humanity. One of his works was donated to the Cuban government. And his satisfaction comes from the knowledge that the work is now a logo in the Cuban-based African art house. "Though I didn't know initially the president of African Art limited hinted me. She purposely travelled down to tell me that my work has been adopted as the logo. I am happy it is making Nigerians proud."

He puts it all down to the aphorism that nothing good comes easily. In order to upgrade himself with western education, he took the pain to attend Teachers Training College, Ife, in 1963. Then, he had he first one-man exhibition. "Why I went to the training school is to enhance my artistic career."

Having taught only for one year after graduation, he lunged into his career with all the energy he could muster.

He participated in the last December's CHOGM exhibitions in Abuja. He represented the western zone together with representatives from other six geo-political zones. The two-week exhibition was formerly opened by Queen Elizabeth II.

Fakeye affirmed that he so cherished all his works featured in that exhibition more than the financial proceeds. According to him, their meanings remain valid even though some of them appear mysterious. Hence his reference to Mafowurosere: one of his sculptures that takes a swipe at those who play away their youth. It is an imitation of an aged man slaving in a farm. The artist is of the view that such a man must have whiled away the days of his youth. Could that possibly be the price of indolence in the days of one's youth?. "The youths need to learn from this, instead of wasting there time.This is the way I reason. [For] art is all about life and living."

Now at his studio, the artist lunged into discourses on his works. "You see, I hate to be stereotyped. That is why I make efforts to do something different. And I am careful so that the background is not lost".

Another work, Hope for the World Peace, became the subject of his discourse. It is also one of his exhibits in CHOGM. Indisputably, it evokes the image of an African woman. She bows while on her feet. The sympathetic mood she expresses is an eloquent testimony of the artist's intentions.

Womanhood is one of the artist's favourite theme. Hence he considers the woman an important subject for his work. As he argued the fairer sex suffers torments more than anyone, especially in Africa. "Do you know that it is only a woman who suffers most when her husband or child dies. She is the one who suffers from sexual harassment."

The artist was present to interprete one of his cryptic works Ese loju. Otherwise, what would a viewer make of an effigy featuring a human foot possessing a human face ? "It is a work that I sold in CHOGM. But the one you now see here is incomplete..You see, art could be mysterious sometimes."

In June 12, the artist depicts the late Chief MKO Abiola with a wide-eyed visage. His jaw drops in awe, obviously exaggerated. "He simply exclaimed 'Yee!' following the annulled results." Another work titled Hospitality echoes the artist's esteem for the African woman. This time around, her symbolism of the black continent is the issue. The image shows a woman on her knees, the back of her ankles are obviously feeling her weight. Her front view dovetails into a bowl. "The bowl means that Africans are hospitable.". Fakeye delights in passing down his skills to his circle of accolytes. His joy is that they often take after him. He pointed to a work done by one of them. Incidentally it was the work done by his one of his sons. " He is of the seventh generation of artists," he offered.