Duniya Giles Gambo
It is always a challenge presenting curatorial directions, insights, or, as in this case, “motif”, when an exhibition of this nature is being put together. This is not because the Curator or his team is/are not abreast of what is being done, but because the circumstances and situations in which this kind of exhibition is being organised are always very complex and need constant shifting of ideas, plans, and approaches. This being said, the exhibition “motif” (as explained by Jari herein), remains the same…
This exhibition is yet, another solo from Mustapha Nadama, and having not had a solo exhibition for some time, means a reasonable number of diversity of his artistic genre needed to be shown. Consequently, the exhibition comprises of works that span over thirteen (13) years. Though all the works are majorly in painting, they, however, also cover a diversity of painting approaches (techniques), media, and subject matter. In the same vein, the works are in different sizes, some framed for suggestive completeness, while others are left in their original painting stretchers, for would be buyers to decide their finishing.
The works are selected from three broad spectrums that the Artist himself identified with the works. These spectrums inspired or, and guided largely the conceptualisation as well as production of the works in each of the spectrums. Hence, they point to different things, yet they are all characteristically Nadama in all their ramifications. Consequently, there are works that manifest his memories from childhood, on experiences. For instance, the environment as he remembers it, his learning from both informal and formal schools, and several personal life evolutionary experiences.
We are also presenting his artistic visions, through the prism of his Master’s and Ph.D researches. In this category therefore, the artist concerns about life came through his observations within his society and his advocacy for specific reorientations, through visual evocations that are inspired by experiencial realities. His understanding of the complexities that constitute contemporary life is visually shared for our appreciation. They range from the mundane issues of life transient nature, to the “troubling realities of living in Nigeria” of today. Also packaged for your information and deeper knowledge are a few articles. These articles are part of this catalogue, particularly because it is our conviction that appreciation comes from an informed understanding of the subject matter. Thus, experts of international repute, some of whom are Nadama’s teachers, gave some insights that will help in our holistic understanding of not just Nadama’s works, but art generally.
It is, therefore, my delight to have curated this exhibition, with the assistance of Dr. Faida Samuel, Dr Kahinde Adewumi, and a host of others, who assisted in one way or another. The alternative “motif” once more is to, as Prof Jari J. has succinctly put, quoting also from some sources, is to “fulfill our stipulation” of putting this show together. Happy viewing.