{"id":224,"date":"2026-07-22T14:18:06","date_gmt":"2026-07-22T14:18:06","guid":{"rendered":"https:\/\/kartdiskuss.com\/blog\/?p=224"},"modified":"2026-07-22T14:36:46","modified_gmt":"2026-07-22T14:36:46","slug":"beyond-the-discarded-jacob-jat-jari-on-art-philosophy-and-the-future-of-the-zaria-art-school","status":"publish","type":"post","link":"https:\/\/kartdiskuss.com\/blog\/index.php\/2026\/07\/22\/beyond-the-discarded-jacob-jat-jari-on-art-philosophy-and-the-future-of-the-zaria-art-school\/","title":{"rendered":"Beyond the Discarded: Jacob Jat Jari on Art, Philosophy, and the Future of the Zaria Art School"},"content":{"rendered":"
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Introduction<\/p>\n\n\n\n


Few contemporary Nigerian artists have remained as consistent in their artistic philosophy as Professor Jacob Jat Jari. A distinguished painter, curator, scholar, and one of the leading voices of the Zaria Art School, Jari has spent nearly four decades transforming discarded materials into powerful works of art. His practice challenges conventional ideas about artistic media while demonstrating that objects often considered worthless can become meaningful expressions of creativity, resilience, and identity. Throughout his career, Jari has worked with unconventional materials such as cornstalks, fabric offcuts, paper, and other discarded objects. Beyond their physical qualities, these materials have become symbols of renewal, human experience, and the overlooked value that exists within people and society. His work reflects a deep commitment to experimentation, philosophical inquiry, and the belief that art should encourage reflection rather than provide easy answers.
In this conversation with Kontemporary Art and Diskuss (KAD), Professor Jari reflects on the origins of his unconventional practice, the influence of the late Gani Odutokun, the evolution of his Bullet Hole Series, and the responsibilities of artists in contemporary society. He also shares his thoughts on the changing fortunes of the Zaria Art School, the importance of developing an individual artistic vision, and why he now believes that artists should focus first on creating beauty before attempting to change the world. Rich with personal experiences and thoughtful reflections, this interview offers valuable insights into the mind of one of Nigeria’s most respected contemporary artists.<\/p>\n\n\n\n

KAD<\/strong>: Almost throughout your career, you have transformed unconventional materials such as corn stalks and fabric offcuts into compelling works of art. What first attracted you to these discarded materials, and how have they shaped your artistic identity?<\/p>\n\n\n\n


Jacob Jat Jari<\/strong>: There’s a work that I would wish to show you. I think that the work may be behind here. Yes, this is the very first work I’ve done in cornstalk. In 1986 the Pankshin Local Government Education Zonal Officer organized an exhibition where he encouraged secondary schools and teachers\u2019 colleges, (then we had teachers\u2019 colleges, and I was teaching in one of them) to produce teaching aids for exhibition. Each school was encouraged to bring something to exhibit, so at the time I thought, why don’t I use ccornstalk to imitate tesserae for mosaic and see if they give something interesting. So that was the very first time I tried a non-conventional medium with students. The work I just showed you is the very first attempt. Consequently I’ve continued to use cornstalk, and I’ve also used other materials like paper and fabric. Non-conventional materials have defined my expression to the extent that I’m not sure now whether it’s not more than 40 years since I produced anything conventional. Everything that I’ve done so far is non-conventional.<\/p>\n\n\n\n


KAD<\/strong>: You once said:
\u201cI find that I have a strong affiliation to rejects, things that have no use and are discarded. I see myself in them, knowing that they and I suffer the same fate as we are misunderstood by society.”
This is a deeply personal statement. Could you elaborate on how this philosophy influences both your creative process and your understanding of the role of the artist in society?<\/p>\n\n\n\n


Jacob Jat Jari<\/strong>: It’s personal to me, but it’s also, I think, a societal problem. If you remember, iconoclasm is something that is topical. People use religion as a reason to frown at artworks; not just representational works but also non-representational works. An example is Ekong Mfon\u2019s work. Ekong was one time President of AFAS while at school in Zaria. By 1999 his sculpture stood by the NITEL Office in Jos near the General Post Office. The same year, the Director of the Jos Metropolitan Development Board claimed that he dreamt and in the dream, he saw evil spirits meeting in the sculptural piece. As a result, he directed that the sculpture be demolished and it was. You will also recall that some years ago, Timipre Silva, then the Governor of Bayelsa State, proscribed the teaching of art in primary schools in his State. I think Kolade Oshinowo was then President of the Society of Nigerian Artists. He went back and forth on this issue until finally the teaching of art in the primary schools was reinstated. So, this iconoclasm has spilled over to the point where you find that if you are an artist, you are not sure how people receive you, and that can be very disturbing. That is why I said I don’t see myself any different from things that have been discarded.<\/p>\n\n\n\n


KAD: <\/strong>Your artistic philosophy consistently embraces discarded materials and gives them renewed meaning. Beyond their environmental value, what conceptual or symbolic significance do these materials hold within your work?<\/p>\n\n\n\n


Jacob Jat Jari<\/strong>: My recent works explore the meaning of motif. I have adapted the meaning Chess gives it: the fulfillment of a stipulation. I stipulate then I fulfill. Let’s say, for example, I’m using fabric, I want to create some patterns, that is, I have given myself a task. So, how do I achieve these patterns? I manipulate the fabric to achieve the patterns: I have fulfilled. I find that unconventional materials are able to make me work in such a manner that I really see the fulfillment of the stipulations that I have set for myself, so I’m pleased with that.<\/p>\n\n\n\n


KAD<\/strong>: Your body of works, Bullet Hole Series marks another important phase in your practice. What inspired this body of works, and how does it respond to the social, political, or psychological realities of contemporary Nigeria?<\/p>\n\n\n\n


Jacob Jat Jari<\/strong>: I started this bullet hole series around 1997. At that time we were under a military regime. You may have heard stories about how dire our society was during military regimes, particularly around that time. I, as a citizen, could suddenly wake up and see a very long queue. I better join the queue even if I did not know what was going on in front. Whatever was happening in front was potentially beneficial. It was possible that it was a queue to buy salt, sugar, tea, detergent, rice, toothpaste, etc. All these things disappeared at a certain time of our lives in this country. They were referred to as essential commodities. One could have money to buy them at any price but they were hoarded. Imagine life without them! One had to queue for everything. That was the kind of life we were living, and at some point it was so frustrating. I named the works I created at this time bullet hole series, because of course at that time and even now except for the bandits who seem to have a license to carry guns, only the military would carry guns. Bullet hole series was a reflection of that time in our lives when things were dire, but I didn’t lose hope because I thought that if the common man and the likes of him come together they would be able to rescue the situation. I didn’t call it democracy, because even then I didn’t understand the nature of democracy, in the sense that we seem to be practicing a different kind of democracy, where votes are cast but nobody’s counting. I create holes, meaning defacing the support, causing chaos on the support, but I reclaim the holes by putting beautiful pieces of fabric to seal them. The pieces of fabric that I use are those thrown out by tailors. They symbolically represent all of us who visit the tailors, which is why I think they metaphorically allude to the common man. So, whenever we come together as symbolized by the coming together of the pieces of fabric, we can rescue a terrible situation.<\/p>\n\n\n\n


KAD<\/strong>: You have exhibited extensively within Nigeria and internationally. How have audiences from different cultural backgrounds interpreted your work, and have these encounters influenced the way you approach your artistic practice?<\/p>\n\n\n\n


Jacob Jat Jari<\/strong>: I think that the comments I have received abroad have been very generous. They have been very kind. They were quite receptive of my works but in terms of Europe influencing my art making, two issues are important to clarify. I travelled to Europe more to participate at workshops, conferences and curatorial matters than to exhibit. I also started visiting Europe when I was 35. I consider that an old age when compared to those who were either born there or began to visit much earlier. My visits were therefore not celebrative to the extent that I might find something interesting to ape. It is worth noting that I began using discarded materials about ten years before my first visit to Europe. The journey that I would however, say has influenced me and continues to influence me, is the journey that I make inwards to discover myself. I think at some point artists need to stop and ask themselves what constitutes their being? It is pretty much like the course, Individual Vision, which we teach students at 400 Level. What is my individual vision and how do I realize it? This is the question I ask myself now. You find that the works that I make presently are very drastically different from what I have been doing in the past years as a consequence of this search for my purpose. I realise that there are some things that I need to resolve within myself to enjoy life, even as it plays out negatively sometimes.<\/p>\n\n\n\n


KAD:<\/strong> You have described the late Gani Odutokun as “one of the most influential artists and greatest treasures of the Zaria Art School.” In what ways did Odutokun shape your artistic philosophy, and what aspects of his legacy continue to guide your work today?<\/p>\n\n\n\n


Jacob Jat Jari<\/strong>: Well, I think I need to be careful here. If not, we will spend the whole day talking about this very passionately, but I will try to keep it simple. This thing I have discussed just now concerning the refocusing of my interests has to do with an influence from him. His philosophy, \u201caccident and design\u201d imitates a flowing river. A river, as powerful as it is, when it encounters an obstacle, will meander around it and continue to flow. I have learnt that swimming against the current is not useful. Flowing with the current and picking up experiences to manage the bumps caused by flowing with the current is better. Gani didn’t say much, but from what little he had said and had done in his work, I could see that if I had imbibed his philosophy earlier than I did, I would have been a better person. While he was alive, I took a lot for granted. I was very confident of my immunity to withstand any challenge, which was why his death was so traumatic to me. We don’t choose when to die although it appears that some people die at a certain time to give the docile a wake up call. His death woke me up. Since he suddenly left us, one had to learn to survive without him, one had to imitate a flowing river.<\/p>\n\n\n\n


KAD:<\/strong> As a distinguished painter from the Zaria Art School, how do you perceive the evolution of the school’s philosophy from the generation of your teachers to the present day? What elements of its legacy should contemporary artists preserve, and where do you see the need for innovation?
Jacob Jat Jari: The answer can be encapsulated in one experience. There was an exhibition that was held from October 2025 to May 2026 at the Tate Modern in London. It had to do with Nigerian modernism. At that exhibition, not a single work from Zaria outside those of the members of the Zaria Art Society was shown. In contrast, present works from Nsukka and Oshogbo were, however, shown. Imagine the audacity of the curator. I guess that we are to blame because we have allowed this loud noise about the Zaria Art Society to overwhelm everybody and to give the impression as if, after the members left, nothing again had happened in Zaria. There was a critique written by Ayo Akinwande. He is not an alumnus of Zaria, but he was shocked that such a thing can happen. He mentioned names of artists who are working very hard presently in Zaria and wondered why none of their works were featured. Opportunistic curators want the world to believe that the natural synthesis propounded by members of the Zaria Art Society is the only good thing that has ever come out of Zaria.<\/p>\n\n\n\n


KAD<\/strong>: Sir, having mentioned all these issues above, what do you think is the way forward?<\/p>\n\n\n\n


Jacob Jat Jari<\/strong>: Well, we haven’t stopped trying to correct this falsehood. If you have seen my publications recently, I have been very vicious against the idea that Zaria Art Society is the only good thing that has ever come out of Zaria. Ko Gallery recently showed works by Jimo Akolo. I made a contribution of an essay to the catalogue. That essay reflects my thinking on this subject. A lot of work had always been going on in Zaria, even at the time of the Zaria Art Society, by those who were not members. I’m not the only one saying this. T. A. Fasuyi said it, Jimo Akolo said it, Daniel Babalola said it. It’s not as if everything ended with Zaria Art Society, after all how long did they operate? Less than a year from their own documents. So, the more we present the insider account of the Zaria Art School, the better for us, so that we can correct some of these atrocious narratives.<\/p>\n\n\n\n


KAD<\/strong>: Looking ahead, what new ideas, materials, or themes are you interested in exploring, and what message would you like your body of work to leave for future generations of Nigerian and African artists?<\/p>\n\n\n\n


Jacob Jat Jari:<\/strong> I think that there is need for society to quickly acknowledge the limitations of artists. We are only designers. All we do is design. We cannot dramatically fix the problems of this world by displaying works that succinctly depict the problems. Ours is to create aesthetics. If by beholding an aesthetically pleasing work deviants in society are reformed then wonderful but artists should not be held liable if they do not reform because we primarily simply wanted to design. The advice I will give young artists is to therefore, pay attention to the elements and principles of design.<\/p>\n","protected":false},"excerpt":{"rendered":"

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