'Social Purgatory' by Nicholas Odhiambo at Alliance Francaise
By
Margaretta wa Gacheru (posted 17 December 2018)
Nicholas
Odhiambo’s exhibition at Alliance Francaise, ‘Pedagogy of Oppression’ is one of
the most thought provoking shows of 2018. All drawn in subtle shades of black
and white graphite, the 29 artworks could require a bit of background to
decipher the artist’s figurative imagery.
It might
help knowing the title of his show correlates with that of the brilliant
Brazilian philosopher Paulo Friere’s classic text, ‘Pedagogy of the Oppressed.’
“Yes, I read
his book but I was already working on this series before I did so,” says Niko
whose art is surprisingly illustrative of some of Friere’s most profound
concepts related to oppression, socialization and education.
Yet in every
way, Niko’s drawings reflect his own critical perspective on Kenyan society.
For instance, a work like ‘Watch men 1’ illustrates the way Kenyans can stand
by passively and simply watch as their fellow Kenyan is beaten by cops.
Frankly
speaking, Niko seems to be more preoccupied with individuals and the various
ways they are oppressed, ways they often are not even aware of. The most
explicit illustration of that perspective is the work he calls ‘Manipulation’.
In it, there’s a man whose limbs are attached to strings being controlled from
above, by hands of someone we cannot see.
Across the
room at Alliance Francaise are two drawings of men who appear to be the Big Men
in charge. Each in a separate drawing, they both look dominant and dangerous.
They easily pass for the Oppressor while the one being manipulated represents
the Oppressed.
Yet what
Niko explores in many of his drawings are the ways individuals internalize
their own oppression. He has one series of five drawings revealing one person
growing from toddler to pre-teen to student and then into a businessman dressed
in a Western suit. Each stage of that person’s life, Niko says, is programmed
to conform to restrictive social conventions, That programmed conformity is why
the fifth fellow in the series has removed his clothes, symbolizing the
artist’s desire to be free from that oppressive mentality and lifestyle.
Whether one
understands or even agrees with Niko’s point of view, what also makes this
exhibition exceptional is the meticulous manner of his drawing human forms.
They come alive despite their all wearing gas masks.
Niko says
the masks are meant to reflect the anonymity of his characters, all of whom
apparently represent concepts and types rather than specific characters. For
example, one of his works entitled ‘Resentment’ conveys the impact that such a
negative emotion has on one’s psyche. The one resented is virtually implanted
in the resentful one’s head like a tick or parasite.
The
psychological nature of oppression is implicit in most of Niko’s drawings. It
can be seen in works like ‘In the Box’, ‘Behind Bars’, ‘Human Beam’ and
‘Bondage of Will’ although all of his art challenges the viewer to grasp the
meaning of every work. For indeed, all of the drawings make statements about
Niko’s perspective on life, humanity and the ways we’re entrapped even though
we’re mostly unaware of how we’re confined.
Of the four
works just mentioned, probably ‘In the box’ is most transparent. There’s a
slovenly-looking guy sprawled in a chair beside a TV that’s got another guy
locked inside behind bars.
‘Behind
bars’ seems to have a double meaning as the two guys are also behind [prison]
bars, but the same bars resemble lines of a bar code which seems to symbolize
their being trapped in a consumerist lifestyle.
‘Bondage of
Will’ is more obtuse. Yet if you see the man seated in front of a sand clock
showing the time running out and the man’s brains are being pulled out on
either side of his head by more torso-less hands, you might ‘know the feeling’.
He could be struggling to make a decision while his deadline is looming large.
Finally,
‘Human Beam’ is, for me, the most provocative of all. It’s got two men boxed in
frames. One’s tied up like a hostage. The other’s holding a gun and looking
like the hijacker. But no, Niko says. The two represent the subconscious and
conscious mind ever in conflict although the conscious mind (the gunman) is
dominant. The soul, he says, is trapped inside the vessel, (representing the
body) at the centre of the painting.
Finally,
Niko’s ‘Social Purgatory’ speaks volumes about men’s aspirations and desires
which are literally represented in their eyes.
In all,
Niko’s show requires a bit of thought, but it is well worth the effort.
Peterson Kamwathi, Margaretta, Evans Mbugua and exhibiting artist Niko Odhiambo at Alliance Francaise December 2018
No comments:
Post a Comment