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Developing Modern Niger Delta Formalism: The Contextual and Conceptual Applications in the Stylistic Oeuvre of Edewor Nelson’s Sculptures

Developing Modern Niger Delta Formalism: The Contextual and Conceptual Applications in the... Edewor Nelson (b. 1970) is a sculptor whose works depict configurations that espouse contexts associated with inimical and exploitative tendencies of petroleum oil exploration and exploitation in the Niger Delta region. His expressions represent a new formalism that is iconic of the region’s reality in terms of environmental degradation and fundamental human rights abuses. This motivation became imperative in the seemingly failure of other artistic explorations on the subject to adequately reflect modern formal archetypes for which the region’s dilemma can be expressed. The challenge of analytic study of this effort for attaining interpretative insights into this studio practice is pertinent. To realize this, corresponding Ivri traditional art form associated with the past in the region has been studied alongside petroleum drilling–related forms. This provides the fulcrum on which this article approaches an analysis of contextual and conceptual applications attributable to the stylistic oeuvre of Edewor’s practice since 1997. It uses formalism and iconography interpretative tools for its critical discourse. Keywords modern formalism, Ivri, petroleum oil industry, synthesis, exploration art development utilized in the “Communist Manifesto.” Introduction Artists such as Kasimir Malerich, Vladimir Titlin, Autonio The artistry of Edewor Nelson (b. 1970) with a challenge of Pevsner, and Naum Gabo were part of those influenced by developing new Niger delta visuals (NDVs) spans over a mechanization of civilization. Read (1960) quotes the group decade. This new formal expression was conceived during as saying, his Masters of Fine Arts (MFA) studies at the University of Benin, Benin City, Nigeria, in 1997. Edewor has earned rec- We cannot go on inventing machines, constructing machines, ognition as a NDV art crusader from visitors to his numerous using machines, without in some degree being influenced by exhibitions. The classification “Niger Delta Visuals (NDV)” machines . . . The machine is the universal and cohesive symbol was coined by Bazunu (2012, p. 10) to distinguish works of our age. (p. 228) from the region. Edewor’s NDVs are based on the theoretical framework This perspective differs not from modern African art referred to as “Social Realism” (Edewor 1999:8).The con- experience. Ato (1976 ), Ghanaian painter writing on cept admits conceptualizing reality as a revolutionary devel- “Dilemma of the Contemporary African Artist” (p. 16), opment, which combines the task of ideological remaking affirms the complexity of working in today’s space and how and education. Read (1960) posits thus: “. . . the artist instead the artists’ work becomes a visual document that is contem- of attempting to create self-sufficient ‘pure’ work should use poraneous with his time. He opined, his talents to interpret the phenomenal world” (p. 230). This I find myself born in an environment partly westernized and quote further strengthens the concept of sociology of art as partly retaining its traditional culture. All my life I have seen discussed by Hanna (1970), which interrogates how the work of art “can live beyond their time and seem expressive and meaningful in complete different epochs and societies” Delta State University, Abraka, Nigeria (p. 3). Thus, the artist is a socio-political and environmental Corresponding Author: commentator. This ideology is instructive to this discourse. Edewor Uyoyou Nelson O, Department of Fine and Applied Arts, Delta Studio exploration of media and methods to visualize a social State University, Abraka 33061, Nigeria. phenomenal world is a product of the 20th-century European Email: nelsonedewor@gmail.com This article is distributed under the terms of the Creative Commons Attribution 3.0 License Creative Commons CC BY: (http://www.creativecommons.org/licenses/by/3.0/) which permits any use, reproduction and distribution of the work without further permission provided the original work is attributed as specified on the SAGE and Open Access page (http://www.uk.sagepub.com/aboutus/openaccess.htm). 2 SAGE Open cars, western styled buildings . . . So being a socially conscious artist, I try to express the environment, the whole physical and spiritual concept of my society in the flux of change, using both my knowledge of western and traditional concepts to make my imageries on a two dimensional surface effective and significant. This concern agrees with stylistic approaches among the first Nigerian art graduates who studied in Nigeria in the late 1950s. For this group of artists, “Natural Synthesis” concept served as ideological base for their new art strand. It is from this premise that Edewor’s studio search can be understood. They bother on the ability to visualize a new phenomenal world through the use of diverse media associated with old and new systems obtainable in the Niger delta society. In this case, both media and context are simulated for expressive purpose. In concert with the above, Edewor’s studio exploration sets to harness different frameworks of human, industrial, and artistic elements in modern Niger delta. It also focuses on developing new iconic signature that amplifies a formal identity for interpreting contemporary life in the region. This, he presumes, will invigorate other researches for fur- ther formal studies that espouse social challenges. This arti- cle therefore aims at discussing and analyzing conceptual and stylistic developments in Edewor Nelson’s practice. Attempt is also made to classify Edewor’s sculptures within the spectrum of media, technique, and style. In doing this, interpretations of some of works are attempted. Three strands can be identified as contexts for Edewor’s new configurations. These are the artistic (Ivri traditional art forms), industrial machines (pipe elements of oil explora- tion), and social human responses to petroleum oil exploitation. The Artistic: Ivri Traditional Forms The Ivri corpus (Figure 1) is a popular traditional art form among the Isoko-, Urhobo-, and Ijo-speaking cultural sub- groups in the Niger Delta (Foss, 2004; Jones, 1984; Peek, 2002). The figure symbolizes the control of the owner’s aggressive impulse. Also Ivri corpus represents personal wealth status. Formally, variations obtain as the corpus com- bines abstraction of human and animal features. The human figure(s) is(are) usually set over a rotund four legged beast representing a hippopotamus. The beasty form bears fero- cious bared teeth with well-developed canine on both sides that look like tusks. Minor, but significant, forms such as hat adore the head of the human figure(s), vertical scarifications impart the foreheads as well as protruded navel on the cylin- drical torso. A formal disposition of the composition can be analyzed with regard to pose, proportion, axis, and stasis. The figures are enhanced by a bi-symmetrical disposition of forms. African proportions of significance are also logi- cally applied. This is espoused by the large head regions of both the human and bestial forms with diminutive limbs. Figure 1. Ivri Corpus, Isoko, culture, courtesy (Peek, 2002). Nelson O 3 Human responses to these inimical conditions have been alarming and have led to fatal consequences. One of the ear- liest organized communal resistances to seemingly unwhole- some activities of oil companies, which drew international attention, is the declaration of the Ogoni Bill in rights of 1990. Since then, the region has been in the wake of news for youth restiveness, communal clashes, arson, oil theft, kid- napping, and vandalizing of oil installations resulting from organized militancy and outright lawlessness and tyranny. Figure 2. Images showing local activities around indomitable oil All these acts result from aggravated aggressive impulses of installations. Source. Courtesy George Osodi. youth pressure groups, which, due to lack of any gainful ven- ture as a result of lost local commerce, resort to eking a live- lihood through violence (Ibaba, 2011; Jike, 2004). Other facial features include drooping eyelids, vertical recti- Beyond these external indicators presented above, the linear nose forms, and mouth set at the base of the chin with major human response to these adverse activities of oil com- bared teeth. The overall composition of volumes projects panies is the seemingly internally altered psyche of the aver- abrupt transitions with cubic characters. age inhabitants of the region. Persons now associate their misfortune to oil activities, even when concrete evidences to Industrial Machines: Pipe Elements of the such claim do not exist. This trade of blame on the oil multi- national industry aggravates much of the youth restiveness Petroleum Oil Industry that eventually leads to fatal consequences. Modern economy is built around industrialization. One of A careful interrogation and systematic analysis of Ivri the wealthiest industries is that based on petroleum oil. forms, petroleum oil pipes, and human response anchors the Petroleum oil was discovered in Nigeria in 1956 at Olobiri in new formal reality on which Edewor’s studio findings are present day Balyesa state. Since then, it has progressively hinged. This fusion has become the pivot for presenting or become main earner for the Nigerian economy. Machines expressing formal tendencies that reflect the effect of oil and processes related to petroleum oil exploration (Figure 2) exploitation in the region with its attendant social and envi- reveal pipe element as its major significant part. The pipe ronmental impacts. features in the entire process of prospecting, drilling, refin- ing, storage, transportation, and dispensing of petroleum oil products. It has structural apparatus such as L, T, cross (+) Synthesizing New Niger Delta shaped junction pipes, stop corks, and valves. The nature of Formalism in Edewor’s Sculptures joint parts presents right angles at an L junction or conver- The synthesis/articulation of organic and inorganic forms gence at a T and cross (+) junctions. Its formal surface pres- (Ivri and oil pipes) to evolve a new formal realism that repre- ents ruled, single curved, double curved, concave, and sents a metaphysical structure, which succinctly represents convex contours. Also the jointing qualities of the pipe pro- today’s Niger delta crisis, is the basis of the new studio vide sectional arrangement through the joining of pipes with inquiry. Significant minor forms adopted from these two a section acting as connector. This reveals abrupt transition aspects are human navel, genitals, facial scarifications, nip- of volumes as well as accentuating threading lines. ples, pipe elbow joints, stop cork, connecting sockets, and screw threading pattern of the pipe. The vehicle of formal The Social: Human Responses to Oil Exploitation realization depended on the use of cylindrical forms and ele- ments that indulge patterns and rhythms derived from both As stated earlier, Ivri images conform to the traditional features. socio-economic society, whereas the oil petroleum pipe is As mentioned earlier, volumetric transitions in Ivri sculp- phenomenal of contemporary wealth status in the region. tures are abrupt, which makes them cubic in presentation However, the exploitative impact of oil exploitation/explora- (Fagg & Plass, 1964). Also the nature of joining pipes implies tion through abusive exploitative processes in the region as a the same cubic abrupt volumetric character. An application common feature has altered socio-economic and political of this trait in both aspects produced a formal type, which mind-set of the people. The resultant effect being environ- became robotic in the earlier sculptures in Mortar (Figure 3). mental degradation caused by oil spillages, fire outbreaks, Later works in wood were more organic in nature (Figure 4). depletion of the ozone layer due to gas flaring, soil degrada- This was due to the nature of wood and the expressivity that tion, and so on, have been scientifically canvassed by social the sculptor intended to attain. and environmental experts. They all agree that oil exploita- Onibere (2006:43) on Edewor’s practice identifies some tion is the major cause of environmental degradation and aspects that could be tenable here. In his critical analysis of deterioration in the Niger delta region (Alakpodia, 1986). 4 SAGE Open Figure 3. Edewor Nelson, a monster is strangling us, mortar, 140 cm ht, 1998. the sculptures in mortar, he observed that, when one com- pares the ratio of human elements with those of the machine parts, “. . . it is clear that the oil pipe cylindrical volume has taken over the human flavor by turning the whole images as tubular structures.” His computer derived structural drawing confirms this (Figure 5). Furthermore, he interrogated a comparative formal analysis between Ivri sculptures and Edewor’s wood and mortar sculptures (Figure 6). Typology, Media, Technique, and Interpretations of Selected Works Bazunu (2006) attempts a classification of the works into two groups. These are the drawings (two dimensional) and the sculptures (three dimensional). He posits thus: . . . the two-dimensional visuals are drawings done with charcoal Figure 4. Nelson Edewor, African scholar, mixed media, 242 cm or pencil on paper, which are characterized with dark circular, ht, 2001. semi-circular, grid, diagonal, horizontal, vertical and oblique linear formations, carefully modeled together on the background rendition of the eyes, nose, mouth, breasts, navels and toes are of the various subjects. These are employed to suggest chaos, typical . . . confusion, criticality of the atmosphere, tension, anger, furiousness e.t.c. . . . the forms are recognizably human, rendered in tubular, cylindrical and pipe-like structures. They bear The three dimensional visuals are free-standing sculptures scarifications on the foreheads, chests and trunks. Biomorphic which are rendered largely in concrete . . . wood. The recurring Nelson O 5 decimal in these three-dimensional constructions is the same as the characters mentioned above. (Bazunu, 2006, p. 56) Beyond this classification, rather than aggregating the sculptures as one category, they can further be classified into three types. These are figural creations, abstract composi- tions/constructions, and installations. Figural Creations The sculptures in this category derived their conceptualizations from human figures. As explained earlier, this was generated from the elements of traditional Ivri sculpture and pipes of the petroleum oil industry. In developing expressivity for the forms, human gestural possibilities were explored extensively. Furthermore, it became obvious that public aesthetic responses to familiar emotional gestures are germane for quick apprecia- tion. An example is “cry the beloved country” (Figure 5). The work expresses cry over a condition of great loss. Child mortal- Figure 5. Computer generated drawing to explore the ity is high and life expectancy is quite low in the region due to cylindrical structure of Edewor Nelson’s “cry the beloved country,” mortar, 131 cm ht, 1998. environmental pollution and militancy/violence in the region. The women mostly bear the consequences of these fatal conse- quences of oil exploitation. The work presents a wailing woman after a great loss of either a child or husband. Another expressive consideration is the use of objects that easily elicit understanding in relation with certain circum- stances. The use of a cutlass in “My Peoples Blood for Cake” (Figure 7) provides easy understanding. The cutlass in the region apart from being an implement for farming is associ- ated with war and personal protection. The work addresses the issue of betrayal of the people’s interest by get-rich-quick representatives with oil companies. Such behavior is akin to taking to slaying one’s own people on the altar of oil wealth. Media that easily suited these figural considerations were mortar, wood, and recently bronze. Mortar and bronze obtained their form through modeling and casting tech- niques. For the wood media, the use of teak (Tectona gran- dis) sourced in the region was greatly explored. Its vertical structure with bulging contours influenced much formal sen- sibilities, thereby making it a choice medium. Possibilities of these media extended in process and fin- ishing. Although the works in mortar were finished with wax and pigment to generate black antique finish, the wood and bronzes were subjected to burning with gas blow-touch to achieve a desired burnt antique essence. The firing and burn- ing process was aimed at drawing attention to the Jesse fire inferno of 1998 as a result of vandalized oil pipe of which thousands died. It is important to note that the development of this technique/style can be traced to that incident. The pro- cess aims to draw attention to the neglect of the environment. In this figural category, as is the case with the other figures in wood, the wood acts as ground on which different accoutre- ments are pasted. Media paraphernalia such as natural fibers, Figure 6. A comparative formal analysis of Ivri sculptures and raffia, cast copper bells, cowries, nails, horse tail, leather Edewor’s wood and mortar sculptures (cap, vertical scars, navel, hand fan, aluminum roofing sheets, acrylic paints, beads, and and elongated stomach). shells have been used as appliqué on Edewor’s sculptures. 6 SAGE Open Figure 8. Edewor Nelson, man of the people, mixed media, 260 cm, 2009. relation is achieved within the context of media limitations for structural rightness. Fourth, there are the sculpture com- Figure 7. Edewor Nelson, “My Peoples Blood for Cake,” positions, which are realized through the joining of wood to mortar, 155 cm ht, 1998. achieve figural or abstracted compositions. The work “My Hands Are Clean” (Figure 11) is a typical example. In this work, the limitation of the width of the wood would not have Abstract Compositions/Constructions made the outstretched hand possible. Another wood was Four categories of abstract compositions/constructions are joined to achieve the composition. “My Hands Are Clean” is obtained in Edewor’s works. The first is non-human figural satirical to challenge falsehood and abuse of office as well as compositions carved out of a block of wood (Figure 8); the betrayal of public trust by persons who are supposed to rep- second is the motor-saw and router machines aided design of resent the people’s interest in certain quarters of decision sliced teak wood, which are composed together (Figure 9). making. The third presents abstract constructions in large scaled architectonic structures (Figure 10). These works were pro- Installation duced during successive sessions at Agbara-Otor workshop organized by the Bruce Onobrakpeya Foundation. In the Among the works exhibited in one of Edewor’s solo exhibi- works of this category, teak poles are joined together with the tions titled “Born to Survive” in honor of Professor G. G. use of carpentry joinery methods. Here, form and space Darah’s 60th Birthday in 2008 was “Litany for the Niger Nelson O 7 Figure 9. Edewor Nelson, once upon five virgins, mixed media, 150 cm × 92 cm, 2002. Figure 11. Edewor Nelson, “My Hands Are Clean,” mixed media, 280 cm ht, 2008. Delta” (Figure 12). At that time, hostage taking, kidnapping, militancy, arson, and killings in the region were on the increase. The work as the title suggested served as a prayer Figure 10. Edewor Nelson, Ogwa, mixed media, 305 cm ht, 2007. 8 SAGE Open Declaration of Conflicting Interests The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article. Funding The author(s) received no financial support for the research and/or authorship of this article. References Alakpodia, I. J. (1986). Effects of gas flaring on the micro-climate and the adjacent vegetation in Isoko area of Bendel state (Master’s thesis). Department of Geography, University of Ibadan, Nigeria. Ato, D. (1976 ). Dilemma of the contemporary African artist. Transition, 9(50). October, 16-30 Figure 12. Edewor Nelson, litany for the Niger Delta, Bazunu, H. U. M. (2006). Edewor’s petroleum visuals: A study performance/interactive sculpture on the ground, 2008. in formal reconfiguration (Master’s dissertation). Delta State University, Abraka, Nigeria. Bazunu, H. U. M. (2012). Semiotic elements in selected artworks boulevard as advocacy for the restoration of peace and tran- on the Niger delta (Doctoral thesis). Delta State University, quility in the Niger delta. As an interactive performance Abraka, Nigeria. sculpture, the viewing audience walked through the sculp- Edewor, U. N. O. (1999). Petroleum exploitation in Isoko community ture plaques, which bore symbols related to social vices in of Delta state (Master’s thesis). University of Benin, Nigeria. the region. At the crossing of each plaque after contemplat- Fagg, W., & Plass, M. (1964). African sculpture: An anthropology. ing the signs on the plaque, the person prays, “Lord have London, England: Studio Vista. mercy.” At that exhibition, much of the audience made up of Foss, P. (2004).Where gods and mortals meet: Continuity and renewal top government functionaries walked through the sculpture in Urhobo art. New York: Museum for African Art and Snoeck. led by the artist in offering prayers and supplication for peace Hanna, D. (1970). Meaning and expression: Towards a sociology of art. Boston, MA: Beacon Press. in the state and indeed the entire Niger delta region. Ibaba, S. I. (2011). Terrorism in liberation struggles: Interrogating the engagement tactics of the movement for the emancipation of the Niger delta. Perspectives on Terrorism, 5(3-4). Available Conclusion from http://www.terrorismanalysts.com Consequent upon the thrust of this studio paper, salient issues Jike, V. T. (2004). Environmental degradation, social disequilib- have been raised. One of such is formal inventiveness rium, and the dilemma of sustainable development in the Niger delta. Journal of Black Studies, 34, 686-701. through contextual applications. In this case, though form is Jones, G. I. (1984). The art of eastern Nigeria. Cambridge, UK: sacrosanct, it derives its essence from compelling circum- Cambridge University Press. stances. One of such is that identified in this article. Also the Onibere, V. (2006). Adaptation of traditional Isoko art forms diversity of the work types evokes limitlessness of formal in Nelson Edewor’s sculptures (Master’s thesis). Obafemi expressions associated with postmodern art. The notion Awolowo University, Ile-Ife, Nigeria. being that art is dynamic in its interchanging character. Being Peek, P. M. (2002). Forms of Ivri. In Ways of the river: Arts and that as it may, Edewor’s works provide a stylistic candor, environment of the Niger delta. Anderson, M, & Peek, P. which is now associated with him. This is reflected in tubular M.Los Angeles: UCLA Flower Museum. pp. 120-125. abbreviation of form with distinct linear intersections that Read, H. (1960). The philosophy of modern art. London: Faber & Faber. bridge tradition with modernity, thus providing new thematic and conceptual insights aimed at interrogating the subject of Author Biography environmental abuse and its effect on man in the Niger delta, Dr. Edewor Uyoyou Nelson O, a Senior Lecturer with Fine and as well as deducing answers for the numerous questions that Applied Arts Department, Delta State University, Abraka is a sculp- emanate from the activities of oil exploitation and explora- tor and Art historian. He is also Post-Doctoral Associate Fellow of tion in the delicate region of the Niger delta. SOAS, UK, London. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png SAGE Open SAGE

Developing Modern Niger Delta Formalism: The Contextual and Conceptual Applications in the Stylistic Oeuvre of Edewor Nelson’s Sculptures

O, Edewor Uyoyou Nelson
SAGE Open , Volume 4 (4): 1 – Nov 4, 2014
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Abstract

Edewor Nelson (b. 1970) is a sculptor whose works depict configurations that espouse contexts associated with inimical and exploitative tendencies of petroleum oil exploration and exploitation in the Niger Delta region. His expressions represent a new formalism that is iconic of the region’s reality in terms of environmental degradation and fundamental human rights abuses. This motivation became imperative in the seemingly failure of other artistic explorations on the subject to adequately reflect modern formal archetypes for which the region’s dilemma can be expressed. The challenge of analytic study of this effort for attaining interpretative insights into this studio practice is pertinent. To realize this, corresponding Ivri traditional art form associated with the past in the region has been studied alongside petroleum drilling–related forms. This provides the fulcrum on which this article approaches an analysis of contextual and conceptual applications attributable to the stylistic oeuvre of Edewor’s practice since 1997. It uses formalism and iconography interpretative tools for its critical discourse. Keywords modern formalism, Ivri, petroleum oil industry, synthesis, exploration art development utilized in the “Communist Manifesto.” Introduction Artists such as Kasimir Malerich, Vladimir Titlin, Autonio The artistry of Edewor Nelson (b. 1970) with a challenge of Pevsner, and Naum Gabo were part of those influenced by developing new Niger delta visuals (NDVs) spans over a mechanization of civilization. Read (1960) quotes the group decade. This new formal expression was conceived during as saying, his Masters of Fine Arts (MFA) studies at the University of Benin, Benin City, Nigeria, in 1997. Edewor has earned rec- We cannot go on inventing machines, constructing machines, ognition as a NDV art crusader from visitors to his numerous using machines, without in some degree being influenced by exhibitions. The classification “Niger Delta Visuals (NDV)” machines . . . The machine is the universal and cohesive symbol was coined by Bazunu (2012, p. 10) to distinguish works of our age. (p. 228) from the region. Edewor’s NDVs are based on the theoretical framework This perspective differs not from modern African art referred to as “Social Realism” (Edewor 1999:8).The con- experience. Ato (1976 ), Ghanaian painter writing on cept admits conceptualizing reality as a revolutionary devel- “Dilemma of the Contemporary African Artist” (p. 16), opment, which combines the task of ideological remaking affirms the complexity of working in today’s space and how and education. Read (1960) posits thus: “. . . the artist instead the artists’ work becomes a visual document that is contem- of attempting to create self-sufficient ‘pure’ work should use poraneous with his time. He opined, his talents to interpret the phenomenal world” (p. 230). This I find myself born in an environment partly westernized and quote further strengthens the concept of sociology of art as partly retaining its traditional culture. All my life I have seen discussed by Hanna (1970), which interrogates how the work of art “can live beyond their time and seem expressive and meaningful in complete different epochs and societies” Delta State University, Abraka, Nigeria (p. 3). Thus, the artist is a socio-political and environmental Corresponding Author: commentator. This ideology is instructive to this discourse. Edewor Uyoyou Nelson O, Department of Fine and Applied Arts, Delta Studio exploration of media and methods to visualize a social State University, Abraka 33061, Nigeria. phenomenal world is a product of the 20th-century European Email: nelsonedewor@gmail.com This article is distributed under the terms of the Creative Commons Attribution 3.0 License Creative Commons CC BY: (http://www.creativecommons.org/licenses/by/3.0/) which permits any use, reproduction and distribution of the work without further permission provided the original work is attributed as specified on the SAGE and Open Access page (http://www.uk.sagepub.com/aboutus/openaccess.htm). 2 SAGE Open cars, western styled buildings . . . So being a socially conscious artist, I try to express the environment, the whole physical and spiritual concept of my society in the flux of change, using both my knowledge of western and traditional concepts to make my imageries on a two dimensional surface effective and significant. This concern agrees with stylistic approaches among the first Nigerian art graduates who studied in Nigeria in the late 1950s. For this group of artists, “Natural Synthesis” concept served as ideological base for their new art strand. It is from this premise that Edewor’s studio search can be understood. They bother on the ability to visualize a new phenomenal world through the use of diverse media associated with old and new systems obtainable in the Niger delta society. In this case, both media and context are simulated for expressive purpose. In concert with the above, Edewor’s studio exploration sets to harness different frameworks of human, industrial, and artistic elements in modern Niger delta. It also focuses on developing new iconic signature that amplifies a formal identity for interpreting contemporary life in the region. This, he presumes, will invigorate other researches for fur- ther formal studies that espouse social challenges. This arti- cle therefore aims at discussing and analyzing conceptual and stylistic developments in Edewor Nelson’s practice. Attempt is also made to classify Edewor’s sculptures within the spectrum of media, technique, and style. In doing this, interpretations of some of works are attempted. Three strands can be identified as contexts for Edewor’s new configurations. These are the artistic (Ivri traditional art forms), industrial machines (pipe elements of oil explora- tion), and social human responses to petroleum oil exploitation. The Artistic: Ivri Traditional Forms The Ivri corpus (Figure 1) is a popular traditional art form among the Isoko-, Urhobo-, and Ijo-speaking cultural sub- groups in the Niger Delta (Foss, 2004; Jones, 1984; Peek, 2002). The figure symbolizes the control of the owner’s aggressive impulse. Also Ivri corpus represents personal wealth status. Formally, variations obtain as the corpus com- bines abstraction of human and animal features. The human figure(s) is(are) usually set over a rotund four legged beast representing a hippopotamus. The beasty form bears fero- cious bared teeth with well-developed canine on both sides that look like tusks. Minor, but significant, forms such as hat adore the head of the human figure(s), vertical scarifications impart the foreheads as well as protruded navel on the cylin- drical torso. A formal disposition of the composition can be analyzed with regard to pose, proportion, axis, and stasis. The figures are enhanced by a bi-symmetrical disposition of forms. African proportions of significance are also logi- cally applied. This is espoused by the large head regions of both the human and bestial forms with diminutive limbs. Figure 1. Ivri Corpus, Isoko, culture, courtesy (Peek, 2002). Nelson O 3 Human responses to these inimical conditions have been alarming and have led to fatal consequences. One of the ear- liest organized communal resistances to seemingly unwhole- some activities of oil companies, which drew international attention, is the declaration of the Ogoni Bill in rights of 1990. Since then, the region has been in the wake of news for youth restiveness, communal clashes, arson, oil theft, kid- napping, and vandalizing of oil installations resulting from organized militancy and outright lawlessness and tyranny. Figure 2. Images showing local activities around indomitable oil All these acts result from aggravated aggressive impulses of installations. Source. Courtesy George Osodi. youth pressure groups, which, due to lack of any gainful ven- ture as a result of lost local commerce, resort to eking a live- lihood through violence (Ibaba, 2011; Jike, 2004). Other facial features include drooping eyelids, vertical recti- Beyond these external indicators presented above, the linear nose forms, and mouth set at the base of the chin with major human response to these adverse activities of oil com- bared teeth. The overall composition of volumes projects panies is the seemingly internally altered psyche of the aver- abrupt transitions with cubic characters. age inhabitants of the region. Persons now associate their misfortune to oil activities, even when concrete evidences to Industrial Machines: Pipe Elements of the such claim do not exist. This trade of blame on the oil multi- national industry aggravates much of the youth restiveness Petroleum Oil Industry that eventually leads to fatal consequences. Modern economy is built around industrialization. One of A careful interrogation and systematic analysis of Ivri the wealthiest industries is that based on petroleum oil. forms, petroleum oil pipes, and human response anchors the Petroleum oil was discovered in Nigeria in 1956 at Olobiri in new formal reality on which Edewor’s studio findings are present day Balyesa state. Since then, it has progressively hinged. This fusion has become the pivot for presenting or become main earner for the Nigerian economy. Machines expressing formal tendencies that reflect the effect of oil and processes related to petroleum oil exploration (Figure 2) exploitation in the region with its attendant social and envi- reveal pipe element as its major significant part. The pipe ronmental impacts. features in the entire process of prospecting, drilling, refin- ing, storage, transportation, and dispensing of petroleum oil products. It has structural apparatus such as L, T, cross (+) Synthesizing New Niger Delta shaped junction pipes, stop corks, and valves. The nature of Formalism in Edewor’s Sculptures joint parts presents right angles at an L junction or conver- The synthesis/articulation of organic and inorganic forms gence at a T and cross (+) junctions. Its formal surface pres- (Ivri and oil pipes) to evolve a new formal realism that repre- ents ruled, single curved, double curved, concave, and sents a metaphysical structure, which succinctly represents convex contours. Also the jointing qualities of the pipe pro- today’s Niger delta crisis, is the basis of the new studio vide sectional arrangement through the joining of pipes with inquiry. Significant minor forms adopted from these two a section acting as connector. This reveals abrupt transition aspects are human navel, genitals, facial scarifications, nip- of volumes as well as accentuating threading lines. ples, pipe elbow joints, stop cork, connecting sockets, and screw threading pattern of the pipe. The vehicle of formal The Social: Human Responses to Oil Exploitation realization depended on the use of cylindrical forms and ele- ments that indulge patterns and rhythms derived from both As stated earlier, Ivri images conform to the traditional features. socio-economic society, whereas the oil petroleum pipe is As mentioned earlier, volumetric transitions in Ivri sculp- phenomenal of contemporary wealth status in the region. tures are abrupt, which makes them cubic in presentation However, the exploitative impact of oil exploitation/explora- (Fagg & Plass, 1964). Also the nature of joining pipes implies tion through abusive exploitative processes in the region as a the same cubic abrupt volumetric character. An application common feature has altered socio-economic and political of this trait in both aspects produced a formal type, which mind-set of the people. The resultant effect being environ- became robotic in the earlier sculptures in Mortar (Figure 3). mental degradation caused by oil spillages, fire outbreaks, Later works in wood were more organic in nature (Figure 4). depletion of the ozone layer due to gas flaring, soil degrada- This was due to the nature of wood and the expressivity that tion, and so on, have been scientifically canvassed by social the sculptor intended to attain. and environmental experts. They all agree that oil exploita- Onibere (2006:43) on Edewor’s practice identifies some tion is the major cause of environmental degradation and aspects that could be tenable here. In his critical analysis of deterioration in the Niger delta region (Alakpodia, 1986). 4 SAGE Open Figure 3. Edewor Nelson, a monster is strangling us, mortar, 140 cm ht, 1998. the sculptures in mortar, he observed that, when one com- pares the ratio of human elements with those of the machine parts, “. . . it is clear that the oil pipe cylindrical volume has taken over the human flavor by turning the whole images as tubular structures.” His computer derived structural drawing confirms this (Figure 5). Furthermore, he interrogated a comparative formal analysis between Ivri sculptures and Edewor’s wood and mortar sculptures (Figure 6). Typology, Media, Technique, and Interpretations of Selected Works Bazunu (2006) attempts a classification of the works into two groups. These are the drawings (two dimensional) and the sculptures (three dimensional). He posits thus: . . . the two-dimensional visuals are drawings done with charcoal Figure 4. Nelson Edewor, African scholar, mixed media, 242 cm or pencil on paper, which are characterized with dark circular, ht, 2001. semi-circular, grid, diagonal, horizontal, vertical and oblique linear formations, carefully modeled together on the background rendition of the eyes, nose, mouth, breasts, navels and toes are of the various subjects. These are employed to suggest chaos, typical . . . confusion, criticality of the atmosphere, tension, anger, furiousness e.t.c. . . . the forms are recognizably human, rendered in tubular, cylindrical and pipe-like structures. They bear The three dimensional visuals are free-standing sculptures scarifications on the foreheads, chests and trunks. Biomorphic which are rendered largely in concrete . . . wood. The recurring Nelson O 5 decimal in these three-dimensional constructions is the same as the characters mentioned above. (Bazunu, 2006, p. 56) Beyond this classification, rather than aggregating the sculptures as one category, they can further be classified into three types. These are figural creations, abstract composi- tions/constructions, and installations. Figural Creations The sculptures in this category derived their conceptualizations from human figures. As explained earlier, this was generated from the elements of traditional Ivri sculpture and pipes of the petroleum oil industry. In developing expressivity for the forms, human gestural possibilities were explored extensively. Furthermore, it became obvious that public aesthetic responses to familiar emotional gestures are germane for quick apprecia- tion. An example is “cry the beloved country” (Figure 5). The work expresses cry over a condition of great loss. Child mortal- Figure 5. Computer generated drawing to explore the ity is high and life expectancy is quite low in the region due to cylindrical structure of Edewor Nelson’s “cry the beloved country,” mortar, 131 cm ht, 1998. environmental pollution and militancy/violence in the region. The women mostly bear the consequences of these fatal conse- quences of oil exploitation. The work presents a wailing woman after a great loss of either a child or husband. Another expressive consideration is the use of objects that easily elicit understanding in relation with certain circum- stances. The use of a cutlass in “My Peoples Blood for Cake” (Figure 7) provides easy understanding. The cutlass in the region apart from being an implement for farming is associ- ated with war and personal protection. The work addresses the issue of betrayal of the people’s interest by get-rich-quick representatives with oil companies. Such behavior is akin to taking to slaying one’s own people on the altar of oil wealth. Media that easily suited these figural considerations were mortar, wood, and recently bronze. Mortar and bronze obtained their form through modeling and casting tech- niques. For the wood media, the use of teak (Tectona gran- dis) sourced in the region was greatly explored. Its vertical structure with bulging contours influenced much formal sen- sibilities, thereby making it a choice medium. Possibilities of these media extended in process and fin- ishing. Although the works in mortar were finished with wax and pigment to generate black antique finish, the wood and bronzes were subjected to burning with gas blow-touch to achieve a desired burnt antique essence. The firing and burn- ing process was aimed at drawing attention to the Jesse fire inferno of 1998 as a result of vandalized oil pipe of which thousands died. It is important to note that the development of this technique/style can be traced to that incident. The pro- cess aims to draw attention to the neglect of the environment. In this figural category, as is the case with the other figures in wood, the wood acts as ground on which different accoutre- ments are pasted. Media paraphernalia such as natural fibers, Figure 6. A comparative formal analysis of Ivri sculptures and raffia, cast copper bells, cowries, nails, horse tail, leather Edewor’s wood and mortar sculptures (cap, vertical scars, navel, hand fan, aluminum roofing sheets, acrylic paints, beads, and and elongated stomach). shells have been used as appliqué on Edewor’s sculptures. 6 SAGE Open Figure 8. Edewor Nelson, man of the people, mixed media, 260 cm, 2009. relation is achieved within the context of media limitations for structural rightness. Fourth, there are the sculpture com- Figure 7. Edewor Nelson, “My Peoples Blood for Cake,” positions, which are realized through the joining of wood to mortar, 155 cm ht, 1998. achieve figural or abstracted compositions. The work “My Hands Are Clean” (Figure 11) is a typical example. In this work, the limitation of the width of the wood would not have Abstract Compositions/Constructions made the outstretched hand possible. Another wood was Four categories of abstract compositions/constructions are joined to achieve the composition. “My Hands Are Clean” is obtained in Edewor’s works. The first is non-human figural satirical to challenge falsehood and abuse of office as well as compositions carved out of a block of wood (Figure 8); the betrayal of public trust by persons who are supposed to rep- second is the motor-saw and router machines aided design of resent the people’s interest in certain quarters of decision sliced teak wood, which are composed together (Figure 9). making. The third presents abstract constructions in large scaled architectonic structures (Figure 10). These works were pro- Installation duced during successive sessions at Agbara-Otor workshop organized by the Bruce Onobrakpeya Foundation. In the Among the works exhibited in one of Edewor’s solo exhibi- works of this category, teak poles are joined together with the tions titled “Born to Survive” in honor of Professor G. G. use of carpentry joinery methods. Here, form and space Darah’s 60th Birthday in 2008 was “Litany for the Niger Nelson O 7 Figure 9. Edewor Nelson, once upon five virgins, mixed media, 150 cm × 92 cm, 2002. Figure 11. Edewor Nelson, “My Hands Are Clean,” mixed media, 280 cm ht, 2008. Delta” (Figure 12). At that time, hostage taking, kidnapping, militancy, arson, and killings in the region were on the increase. The work as the title suggested served as a prayer Figure 10. Edewor Nelson, Ogwa, mixed media, 305 cm ht, 2007. 8 SAGE Open Declaration of Conflicting Interests The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article. Funding The author(s) received no financial support for the research and/or authorship of this article. References Alakpodia, I. J. (1986). Effects of gas flaring on the micro-climate and the adjacent vegetation in Isoko area of Bendel state (Master’s thesis). Department of Geography, University of Ibadan, Nigeria. Ato, D. (1976 ). Dilemma of the contemporary African artist. Transition, 9(50). October, 16-30 Figure 12. Edewor Nelson, litany for the Niger Delta, Bazunu, H. U. M. (2006). Edewor’s petroleum visuals: A study performance/interactive sculpture on the ground, 2008. in formal reconfiguration (Master’s dissertation). Delta State University, Abraka, Nigeria. Bazunu, H. U. M. (2012). Semiotic elements in selected artworks boulevard as advocacy for the restoration of peace and tran- on the Niger delta (Doctoral thesis). Delta State University, quility in the Niger delta. As an interactive performance Abraka, Nigeria. sculpture, the viewing audience walked through the sculp- Edewor, U. N. O. (1999). Petroleum exploitation in Isoko community ture plaques, which bore symbols related to social vices in of Delta state (Master’s thesis). University of Benin, Nigeria. the region. At the crossing of each plaque after contemplat- Fagg, W., & Plass, M. (1964). African sculpture: An anthropology. ing the signs on the plaque, the person prays, “Lord have London, England: Studio Vista. mercy.” At that exhibition, much of the audience made up of Foss, P. (2004).Where gods and mortals meet: Continuity and renewal top government functionaries walked through the sculpture in Urhobo art. New York: Museum for African Art and Snoeck. led by the artist in offering prayers and supplication for peace Hanna, D. (1970). Meaning and expression: Towards a sociology of art. Boston, MA: Beacon Press. in the state and indeed the entire Niger delta region. Ibaba, S. I. (2011). Terrorism in liberation struggles: Interrogating the engagement tactics of the movement for the emancipation of the Niger delta. Perspectives on Terrorism, 5(3-4). Available Conclusion from http://www.terrorismanalysts.com Consequent upon the thrust of this studio paper, salient issues Jike, V. T. (2004). Environmental degradation, social disequilib- have been raised. One of such is formal inventiveness rium, and the dilemma of sustainable development in the Niger delta. Journal of Black Studies, 34, 686-701. through contextual applications. In this case, though form is Jones, G. I. (1984). The art of eastern Nigeria. Cambridge, UK: sacrosanct, it derives its essence from compelling circum- Cambridge University Press. stances. One of such is that identified in this article. Also the Onibere, V. (2006). Adaptation of traditional Isoko art forms diversity of the work types evokes limitlessness of formal in Nelson Edewor’s sculptures (Master’s thesis). Obafemi expressions associated with postmodern art. The notion Awolowo University, Ile-Ife, Nigeria. being that art is dynamic in its interchanging character. Being Peek, P. M. (2002). Forms of Ivri. In Ways of the river: Arts and that as it may, Edewor’s works provide a stylistic candor, environment of the Niger delta. Anderson, M, & Peek, P. which is now associated with him. This is reflected in tubular M.Los Angeles: UCLA Flower Museum. pp. 120-125. abbreviation of form with distinct linear intersections that Read, H. (1960). The philosophy of modern art. London: Faber & Faber. bridge tradition with modernity, thus providing new thematic and conceptual insights aimed at interrogating the subject of Author Biography environmental abuse and its effect on man in the Niger delta, Dr. Edewor Uyoyou Nelson O, a Senior Lecturer with Fine and as well as deducing answers for the numerous questions that Applied Arts Department, Delta State University, Abraka is a sculp- emanate from the activities of oil exploitation and explora- tor and Art historian. He is also Post-Doctoral Associate Fellow of tion in the delicate region of the Niger delta. SOAS, UK, London.

Journal

SAGE Open – SAGE

Published: Nov 4, 2014

Keywords: modern formalism; Ivri; petroleum oil industry; synthesis; exploration

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