BONDING A
IBE ANANABA
F A M I LY
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V I S U A L
ADA ONYEJIKE-ANANABA
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E X P E R I M E N T
CHIDIEBUBE ANANABA
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JOSH ANANABA
BONDING A
F A M I LY
Catalogue design: Ibe Ananaba Front Cover art: A Wonderful World 2 (detail) Back Cover Art: Action Packed Artist: Chidiebube Ananaba
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Š Ibeabuchi Ananaba
Adaobi Onyejike-Ananaba Chidiebube Ananaba Josh Ananaba 2018 All rights reserved..
V I S U A L
E X P E R I M E N T
bond /bÉ’nd/
verb present participle:
bonding; noun: bonding
the formation of a family’s closer relationship via a visual experiment. This is through indulgence in art making, in order to understand more about life, with regards to love, joy, togetherness, growth, strength, pain, hope, patience, tolerance, anger, disappointments, merriments and an array of other things life generally has to offer.
THE FAMILY SHOW It is much easier to understand an artist when one has some background knowledge of the artist’s history. The artist works from his conscious and unconscious states, both pulling at him/her to recollect memory. Reading Ibe Ananaba as an artist importantly includes his years in advertising. Recently, the artist resigned to work more fully as a painter. He also is a family man, with a wife and two children. This is what Bonding: A Family Visual Experiment is- an exhibition of an artist’s works alongside those of his family members. Becoming a ‘full-time studio artist’ is a tough call when one has a wife and two children to provide for. The artist must balance it out with other aspects of being human- interacting with the pressures of engaging in society, of being a lover, etc. In Ibe Ananaba’s case, he includes the pleasures of having a wife and two children and the ties to an extended nuclear family. Staying alive in the rigorous Lagos society is a big enough ‘job’. This art exhibition visually presents the family unit sharing the artist’s studio, creating together. His wife Ada Onyejike-Ananaba also studied Fine and Applied Arts and majored in painting. Ibe was two years ahead of her in Institute of Management and Technology, (IMT) Enugu, and they were friends back then. She put the degree aside to get involved in social work. Since early 2000, she runs the Girl Child Art Foundation, an NGO that intervenes in pushing for a better life for the girl child. In this exhibition, her paintings are about blossoms, of the floral, as though looking at the petals of butterflies for inspiration to soar. Interestingly, her work seems to summarize her passion for activism for the girl child, like a flower that must be nurtured as the mother of tomorrow. In these times, the family unit must continue bonding through thick and thin. As the keeper of the homestead, Ada shares visually the iridescent visions of her passion for family. The two children are Chidiebube (who is 6 years and in primary school) and Josh (4 years, still in Nursery School). One can envision them running into dad’s studio to hug him, and being startled by the dizzying colours of works. They would instantly pounce on the colours to create their impressions, trying to follow in their father’s steps.
But Chidiebube seems more likely to follow in her f a t h e r ’s a t t e n t i o n t o d e t a i l . S h e m a k e s expressionistic paintings that deal with the simple expressions of living, referencing from her daily experience of life. She lays out the colour in flat deliberate strokes, putting in the tiny details with the shaky hands of a child. She patiently finishes each painting, reveling in the very act of painting. Josh, her younger brother does what boys do best, and that is to play. He splatters colours with the restless energy of childhood and cares only for the general impression. The details do not stop him, and will only appear to enforce the very passion of painting. Josh exhibits a primal love for colour as the reason to paint. He wants to wear Dad’s big shoes but in his own way. Being surrounded by a family who shares an interest in Fine Arts is not new for Ibe. He and his elder brother - Ugo studied Fine and Applied Arts in IMT about the same period. It is not surprising that Ibe Ananaba has chosen to create an exhibition of a family collaboration. He believes in the brotherhood of man. Connecting and communicating with people is important for the man. Ibe Ananaba is quite loyal to keeping friendships. Humanity is his subject, living out the passions. His preferred tool these days is the palette knife. His skilled hands weave a masterly realism with shards of colour balanced coherently to communicate form. Colours dance like the petals of butterflies across the canvas, sometimes swallowing the figurative intentions that reveal a master draughtsman suggesting, obscuring. One can stop in wonder at the prowess, but this is not a one-man show. There are the kaleidoscopic images of tight patterns by Ada, the organized expressive realism of Chidiebube, and the fiery paintings of Josh, a boy painting without a care. Ibe shares all these attributes by being one with them. As space he finds himself, so is the artist. He brings it all together. More recently, it is a rare privilege to see an artist living as a well-adjusted family man. His secret weapon for doing it- the entire family must be involved. A meeting with the man shows that infectious lightheartedness that suggests how he manages it.
The strength of the exhibition points toward a sociological bend, putting the family unit in the spotlight. Bonding is not just a visual experiment. It is the reality of a cohesive married life. His mastery of the human form has made Ibe a subject of study for drawing classes in my alma mater, University of Nigeria, Nsukka. The lecturer Dr. Chijioke Onuorah, himself a great draughtsman from the Nsukka School, uses Ibe Ananaba as a case study for teaching undergraduate students. In 2015 my work was exhibited alongside Ibe Ananaba’s at Temple Muse. His sense of form contrasted my total disavowal of its importance in bringing meaning. The artist has left the flowery works that flowed out relentlessly from working as an Art Director. After 15yrs working in advertising (for two with BluSeal and thirteen years with Insight Publicis). Bonding comes at the heels of Long Drawn Shadows, his solo exhibition at Art Twenty-One, Lagos. That exhibition made some political statements (Ibe loves the outspoken Fela Kuti). The subjects were mostly well dressed, and the organized palette made the exhibition hall look like a fashion runway. The fashionably dressed people are absent in these new works. He recently resigned from his advertising job and acquired an art studio space near his residence. Now we are drawn into Ibe Ananaba’s family circle, to the colourist, minimalist, and child’s play to the complex patterns of his spouse. We see into the artist’s home, as though peeping through the window. But we are invited, guests. The exhibition is open to the public. Welcome to Bonding, the various branches of the artist’s family. As a unit, it works. The variety created by the different levels of competence and characters makes for an amusing, yet engaging exhibition. Such bold public statements can be made when one is reassured by the support and commitment of family, to the vision to keep working creatively. This is that one-of-akind show that you see maybe once in a lifetime. The notion of an artist as a family guy is bang in your face. As social animals, Bonding is Man’s aspiration.
The show Bonding: A Family Visual Experiment may make one wonder at how Ada keeps the homestead; holding man and children close to heart, at the joy of Chidiebube and Josh playing with their father’s tools. Marriage is more than an experiment- it is an ongoing process full of hills and valleys of recollecting and transforming each other’s lives. As an institution, marriage happens as different entities work at keeping the unit. The man has chosen a path. His family is in the program. They get with the program. This could be a lesson on making Art with passion and continuing that passion in a relationship. For Ibe, it means to open the doors of his studio to the rest of the family. If he is to stay preoccupied in the work as a creative person, then the extra hours must allow for interactions in the workspace. Some of the works here include Ibe Ananaba’s watercolour paintings from 2018 FIFA World Cup, Russia. Great football players are shown in resplendent splays of colour like the Phoenix in the sun, glorying after scoring goals. Human passion is important for Ibe. Visually expressing outbursts seem to energize and inspire his muse. In other artworks, he returns to the popular theme of Fela, this time rendering the subject in violent scarlet. The artist suggests the new life that fans of Fela feel while listening to his (Fela’s) songs. Some of the late musician’s criticisms of the government and sociopolitical chants still apply to the moment, to present-day Nigeria. Then there are the sketches of family members, and people at rest. The reds introduced in the recent work point to a new energy, like blood splattering from a fresh bullet wound. There are a newfound aggression and verve in his work being presented here. The visual experiment is really about bonding in marriage, and rubs against the popularly vouched advice to not take your work home. Home is work too. Anthony Nsofor Lagos, 2018
IBE ANANABA
ANOTHER ANOTHERLEVEL LEVEL (detail) Oil on Board 12 (H)x 24 (W) inches 2001
ANOTHER LEVEL Oil on Board 12 (H)x 24 (W) inches 2001
IN SEARCH OF NEW MEANING Acrylics on Canvas 48 x 60 inches IN SEARCH OF NEW MEANING 2018 Acrylics on Canvas 60 (H) x 48 (w) inches 2018
SOUL TO SOUL Charcoal and Acrylics on paper 44 (H) x 50 (W) inches 2018
SOUL TO SOUL (detail)
MOMENT OF BLISS Charcoal and Acrylics on paper 44 (H) x 50 (W) inches 2018
MOMENT OF BLISS (detail) Â
IN THE HEARTS OF MANY 1 Acrylics on canvas 72 (H)x 48 (W) inches 2018
IN THE HEARTS OF MANY 2 Acrylics on canvas 72 (H)x 48 (W) inches 2018
IN THE HEARTS OF MANY 3 Acrylics on canvas 72 (H)x 48 (W) inches 2018
IN THE HEARTS OF MANY 4 Acrylics on canvas 72 (H)x 48 (W) inches 2018
TALES OF RUSSIA 2018 (AHMED MUSA) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 This is my take on Russia 2018 WorldCup- a documentation from an artist’s lens done in watercolour. It’s a personal reflection on the role of soccer as global unifier regardless of age, race, tribe, belief, sex etc. The tournament was a great tool for bonding as I enjoyed watching it with family and friends and getting to know more about the players. Freezing epic moments in the life of each painted player made the game worth enjoying.
TALES OF RUSSIA 2018 (AHMED MUSA) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (LIONEL MESSI) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (KYLIAN MBAPE) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (HARRY KANE) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (WILLIAM EKONG) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (CRISTIANO RONALDO) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (ROMELU LUKAKU) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (LUIS SUAREZ) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (NEYMAR JNR) Watercolour 18 (H)x 24 (W) inches 2018
TALES OF RUSSIA 2018 (MIKEL OBI) Watercolour 18 (H)x 24 (W) inches 2018
TRUNCATED DREAMS 1 Oil on Canvas 40 (H)x 50 (W) inches 2018
TRUNCATED DREAMS 1 (Detail)
TRUNCATED DREAMS 2 Oil on Canvas 40 (H)x 50 (W) inches 2018
TRUNCATED DREAMS 2 Oil on Canvas 40 (H)x 50 (W) inches 2018
TRUNCATED DREAMS 3 Oil on Canvas 40 (H)x 50 (W) inches 2018
VOICES OF THE MISFITS 1 Acrylic & Oil on Canvas 48 (H)x 60 (W) inches 2018
VOICES OF THE MISFITS 2 Acrylic & Oil on Canvas 48 (H)x 60 (W) inches 2018
VOICES OF THE MISFITS 2 Acrylic & Oil on Canvas 48 (H)x 60 (W) inches 2018
ONE AMONGST MANY Acrylic & Oil on Canvas 40 (H)x 50 (W) inches 2018
YOUR TEAM AGAINST MINE Acrylic & Oil on Canvas 40 (H)x 50 (W) inches 2018
WHO GOES FIRST? 1 Oil on Canvas 30 (H)x 30 (W) inches 2018
WHO GOES FIRST? 2 Oil on Canvas 30 (H)x 30 (W) inches 2018
TRANSIT 1 Oil on Canvas 36 (H)x 36 (W) inches 2018
TRANSIT 2 Oil on Canvas 36 (H)x 42 (W) inches 2018
TRANSIT 3 Oil on Canvas 36 (H)x 42 (W) inches 2018
A STUDY OF MY DAUGHTER Oil on Canvas 36 (H)x 24 (W) inches 2018
MY DAUGHTER’S PINK TOP Oil on Canvas 42 (H)x 36 (W) inches 2018
IBEABUCHI ANANABA (BIOGRAPHY) Born in Belgium in 1976, Ibe was raised in Aba – a commercial city in eastern part of Nigeria. Growing up seeing his elder brother recreate comic characters from old comic books and magazines got his interest at an early age. This immediately led to his early love for drawing human figures, graphic designing and calligraphy. Ibe would later proceed to study Fine and Applied Arts at the Institute of Management and Technology, Enugu, Nigeria where he majored in Painting and graduated with Distinction in 1999. In his quest to find a new expression while addressing social issues, Ibe constantly experiments with endearing ways to birth fresh ideas in engaging forms. This he does by fusing traditional and non-traditional media in ways that make his pieces interactive, leaving room for audience to participate. By so doing, Ibe believes the participatory part for the audience helps etch the idea into their hearts as well as warm up their consciousness. Ibe worked in advertising for 15 years while practicing art alongside till 2017. He later became a fulltime studio artist. He also operates as Chief Art Consultant / Coordinator of Studio programs for Girl Child Art Foundation and Banye Art Centre – both non-profit community art projects. Ibe is listed in the Smithsonian Institution Libraries Collections. He has exhibited in Nigeria, South Africa, Israel, United States and London. He has his major public collections at the National Assembly, Abuja, Nigeria. In 2016, he collaborated with the Canadian High Commission, Abuja, Nigeria on the African Child Advocacy Campaign. Asides a couple of publications about him, he is among the artists published in FASHION ILLUSTRATION AFRICA – A NEW GENERATION (Shoko Press. -2016) and ARTISTS OF NIGERIA (5 Continents Editions. – 2012) to mention a few. Ibe lives and works in Lagos, Nigeria.
IBEABUCHI ANANABA (CV)
+234-803-723-0548 | ibeananaba@yahoo.com | www.ibeananabart.com
EDUCATION:
1999: Institute of Management and Technology, Enugu, Nigeria, Fine and Applied Arts (Painting major Distinction), Higher National Diploma. 1996: Institute of Management and Technology, Enugu, Nigeria, Fine and Applied Arts, Ordinary National Diploma (Upper Class).
WORK EXPERIENCE:
2004 till 2017: Senior Art Group Head, Insight Publicis, Lagos, Nigeria. 2009 till date: Art Consultant, GirlChild Art Foundation Lagos, Nigeria. 2007 till date: Executive Creative Director, Peculiar Instincts, Lagos, Nigeria 2002 – 2004: Art Director, Blue Seal Advertising, Lagos, Nigeria. 2000-2001: National Youth Service Corps, Imo State, Nigeria. 1997: Graphic Artist (Internship), Dolphin Studios, Lagos, Nigeria.
SOLO EXHIBITIONS: 2018 – Art Twenty One, LONG-DRAWN SHADOWS, Lagos, Nigeria. 2016 - Rele Gallery, SÉLÉNSÉ, Lagos, Nigeria. 2012 - Alexis Gallery, IDENTITY CHECK, Lagos, Nigeria. 2009 - Goethe Institut, AGAINST ALL ODDS, Lagos, Nigeria. 2007 - Ice House, ED'STRAVAGANZA, Fayetteville, Arkansas, U. S. A.
SELECTED GROUP EXHIBITIONS:
2018 – OM’s Place, BONDING: A FAMILY VISUAL EXPERIMENT, Lagos, Nigeria 2018 – Chorleywood, PORTRAIT OF A WOMAN, Hertfordshire, England. 2017 - TerraKulture, AWAKEN THE DAWN, Lagos, Nigeria. 2016 - September Gray Fine Art Gallery, THE VERNISSAGE, Atlanta, U. S. A. 2016 - Aso Villa, CONVERSATION, Abuja, Nigeria. 2016 - Nordic Hotel, AFROSPECTIVE, Abuja, Nigeria. 2016 - Wheatbaker Hotel, ARTHOUSE AUCTION EXHIBITION, Lagos, Nigeria. 2015 - Rele Gallery, STRIP, Lagos, Nigeria. 2015 - Intercontinental Hotel, TKMG ART AUCTION EXHIBITION, Lagos, Nigeria. 2015 - Temple Muse, JOINT EXHIBITION (with Tony Nsofor), Lagos, Nigeria. 2014 - Constant Capital, JOINT EXHIBITION (with Segun Aiyesan), Lagos, Nigeria. 2011 - Alexis Gallery, GALLERY OPENING EXHIBITION, Lagos, Nigeria. 2009 - National Museum, ART EXPO, Lagos, Nigeria. 2009 – Alliance Francais, ESSENCE, Lagos, Nigeria. 2008 - International Conference Centre, ARESUVA, Abuja, Nigeria. 2006 - Givatayim Theatre, EXPLORING THE WONDERS OF NIGERIA, Tel-Aviv, Israel. 2005 - Quintessence Gallery, LINES AND REASON (Joint exhibition), Lagos, Nigeria. 2004 - Nigerian Institute of International Affairs, STROKES OF VALUE, Lagos, Nigeria. 2003 - Consulate of Nigeria, COLOURS NIGERIANA, Johannesburg, South Africa. 2003 - Quintessence Gallery, DOTS IN MOTION (Joint exhibition), Lagos, Nigeria.
PUBLIC COLLECTIONS: UNITY IN DIVERSITY, National Assembly, Abuja. Acquired 1998 TWIST AND TURN, National Assembly, Abuja. Acquired 1998 BASKET WEAVERS, National Assembly, Abuja. Acquired 1998
PROJECTS:
2016: KNOWLEDGE EMPOWERMENT (mural), African Child Advocacy Campaign -#wallsCANbloom), Canadian High Commission, Abuja, Nigeria. 2013: ABSOLUT OPEN CANVAS LAGOS –, Yaba, Lagos Nigeria.
PARTICIPATED AUCTIONS: TKMG AUCTION, Intercontinental Hotel, Lagos, Nigeria. -2015 ARTHOUSE CONTEMPORARY AUCTION, Wheatbaker Hotel, Lagos, Nigeria -2016
SELECTED WORKSHOPS/SEMINARS: ART IN ART DIRECTION, 02 Academy, Lagos (Speaker) 2017 NAVIGATING THE BRICK AND MORTAR APPRAOCH: Is Technology diluting the creative industry? Social Media Week, Experience Stage, Landmark Event Centre, Oniru, Victoria Island, Lagos. (Panelist) – 2017 DRAWING DISCUSSIONS, Department of Fine Arts, Yaba College of Technology, Lagos, (Speaker) - 2017 HARNESSING YOUR ARTISTIC POTENTIAL, University of Lagos, Nigeria. (Speaker) -2014 CREATIVE PLANNING AND PERFORMANCE, Ideas Management University, Lagos, Nigeria. (Participant) -2007 CATCH THE BIG IDEA (Ideas Management Workshop) Ideas Management University, Lagos. (Participant) – 2006 LAGOS OPEN, co-ordinated by Goethe-Institut, Lagos, Nigeria (Participant) – 2005
SELECTED PUBLICATIONS: MASTERS OF WATERCOLOR, Published by Planet Music Publishing, St. Petersburg, Russia. – 2018 THE VILLAGER (HOW AFRICANS CONSUME BRANDS), Published by Tracey McDonald Publishers, South Africa. - 2018 FASHION ILLUSTRATION AFRICA – NEW GENERATION, Published by Shoko Press, London. - 2016 DEAR JO! – POETIC REFLECTIONS ON SIR JONAS ODOCHA KSC, Published by Peculiar Instincts LLC, Lagos, Nigeria. - 2016 STYLISTIC RENDERING OF THE PAINTINGS OF IBEABUCHI ANANABA, Adefisayo Adesola Mary, Project Thesis, Bachelor of Arts (B.A.), Fine Arts, Obafemi Awolowo University, Ile-Ife Osun State, Nigeria – 2016 AN INVESTIGATION OF COMPUTER APPLICATION TO PAINTING IN NIGERIA, Aondover Gabriel Gyegwe, Project Thesis, Post-Graduate, Department of Fine Arts, Ahmadu Bello University, Zaria, Nigeria. - 2014 DASH Magazine, UK (2nd Edition - Calling on Africa ) - 2012 CONTEMPORARY NIGERIAN ART IN LAGOS PRIVATE COLLECTIONS, Published by Bookcraft. - 2012 ARTISTS OF NIGERIA, Published by Five Continents. - 2012 A CELEBRATION OF MODERN NIGERIAN ART - 101 NIGERIAN ARTISTS, Published by Ben Bosah Books. – 2010 UNIFYING AFRICA, Published by Photo.Garage - 2010
ADAOBI ONYEJIKE-ANANABA
BLOSSOM TALES 1 Acrylics on Canvas 36 (H) x 36 (W) inches 2018
BLOSSOM TALES 1 (Detail)
BLOSSOM TALES 2 Acrylics on Canvas 36 (H) x 36 (W) inches 2018
MY RAINBOW GARDEN 1 Acrylics on Canvas 36 (H) x 36 (W) inches 2018
MY RAINBOW GARDEN 2 Acrylics on Canvas 36 (H) x 36 (W) inches 2018
MY RAINBOW GARDEN 2 Acrylics on Canvas 36 (H) x 36 (W) inches 2018
SUN FLOWER 1 Acrylics on Canvas 30 (H) x 30 (W) inches 2018
SUN FLOWER 2 Acrylics on Canvas 30 (H) x 30 (W) inches 2018
WIND AND FEATHERS 1 Acrylics on Canvas 36 (H) x 36 (W) inches 2018
WIND AND FEATHERS 2 Acrylics on Canvas 36 (H) x 36 (W) inches 2018
FRIENDSHIP AND LOYALTY (MADAGASCAR PERIWINKLE) Acrylics on Canvas 36 (H) x 36 (W) inches 2018
FLOATING ROSE Acrylics on Canvas 24 (H) x 24 (W) inches 2018
FLOATING ROSE (detail)
A LOVE THAT NEVER ENDS Oil on Canvas 36(H) x 36 (W) inches 2018
TRUE LOVE BLENDED TOGETHER Oil on Canvas 30(H) x 30 (W) inches 2018
FIND ME Acrylics on Canvas 36 (H) x 36 (W) inches 2018
ADAOBI ONYEJIKE-ANANABA Adaobi is the founder and Executive Director of Girl Child Art Foundation. She has over 18years experience working directly with communities focusing on education and empowerment for the girl child and youths. As an artist, and a social worker she has worked in over 80 rural communities in Nigeria implementing programs for young people using various forms of arts. This has enabled her to identify with challenges in education, sexual reproductive health, and livelihood of young people especially girls. Having come from a part of Nigeria where sons are often highly valued than daughters, daughters are absolutely dis-inherited, and girls drop out of school at a young age for early marriage. Ada is helping underserved girls in rural and semiurban communities through life skills. She runs a girls leadership and entrepreneurship network with over 50 schools chapters in Africa. She also initiated Global Campus Initiative (GCI) now Banye Youth Development Foundation with an outreach of in 230 campuses in Nigeria and in Ghana. She aims at reaching the rural communities where these schools are located through youth leaders and volunteers. She is skilled in livelihoodbased income generation and gender-based planning. Presently, she is the Country Director of Design for Change (DFC) a global movement of young people creating positive impact in their community. She believes strongly that using art as a tool for education, makes learning friendly and easier.
EDUCATION AND TRAINING St. Francis Xavier University, Antigonish, Nova Scotia Canada.- Livelihood and Markets. (May, 2017) E-course with GlobalGiving, online, Non-profit Accelerator program (September, 2016) E-Course with GlobalGiving, online, Social impact Academy (September, 2016) Tony Elumelu Entrepreneurship program 3 months Course (April-June, 2015) Van Hall Larenstein University of Applied Science, Wageningen, Netherlands, Master of Development (MSc) - Rural Development and HIV/AIDS. (September, 2010) Queensland University of Technology, Brisbane, Australia, Certificates on Child protection; skills for research and practice. (November, 2006) E- Course with Global youth coalition on AIDS (GYCA), online, Feminist theory and practices on Political Advocacy. (March, 2006) INWENT Capacity Building International, Online, Efficient Online Tutoring on E-Learning. (July, 2007) Akina Mama WA Africa (AMWA), An international non governmental development organization for Africa Women based in London, Abuja, Nigeria, A certified West African sub Regional trainer. (March, 2003) Institute of Management And Technology, Enugu, Nigeria, BA, Fine and Applied Arts Painting Major. (1996-2001)
AWARDS & HONORS 2008 Patricia Blunt Koldyke Fellow on Social Entrepreneurship, Chicago Global Affairs U.S.A, October 2008, Chicago, U.S.A. Enhancing secondary and primary education in Africa through outstanding and innovative strategies. GK3 Global Young Social Entrepreneurs Competitions Award, YSEI Malaysia, December 2007, Kuala Lumpur, Malaysia. World best young social entrepreneurs World best youth based HIV/AIDS awareness practices, Oxfam International Youth Partnerships and GYCA, 2006, Nigeria. Youth led HIV/AIDS projects in Nigeria Community service Award, Rotary Club of Ekulu Enugu, August 2006, Enugu, Nigeria. In recognition of her distinguished impact in improving the lives of the people of Enugu state. 3rd Annual Nigerian Leadership Award, Leap Africa/IYP/Nokia, November 2006, Lagos, Nigeria. In recognition of her innovative efforts and remarkable impact in improving the lives of Nigerians. World Best practices HIV/AIDS projects, Act ALIVE USA/ DPI at the 16th International Conference on AIDS Canada, August 2005, Global. Best practices on AIDS
CHIDIEBUBE ANANABA Ebube (as fondly called) is a 6-year old girl who takes pride in watching her father paint and would always want to indulge. Watching her scribble away gives the parents joy as they observe her meticulous nature with which she creates her pieces. She is in Primary School (Grade 1). She loves dolls, music, cartoons and drawing. Her favourite colour is pink!
A WONDERFUL WORLD 1 Acrylic on Canvas 42(H) x 42 (W) inches 2018
A WONDERFUL WORLD 2 Acrylics on Canvas 28 (H) x 34 (W) inches 2018
A WONDERFUL WORLD 2 (Detail)
BONDING 1 Acrylics on Canvas 30 (H) x 30 (W) inches 2018
BONDING 2 Acrylics on Canvas 24 (H) x 24 (W) inches 2018
ACTION PACKED Acrylics on Canvas 36 (H) x 36 (W) inches 2018
UMBRELLA GIRL Acrylics on Canvas 30 (H) x 30 (W) inches 2018
A BRIGHT SUNNY DAY 1 Acrylics on Canvas 9 (H) x 12 (W) inches 2018
A BRIGHT SUNNY DAY 2 Acrylics on Canvas 9 (H) x 12 (W) inches 2018
A BRIGHTER TOMORROW Acrylics on Canvas 9 (H) x 12 (W) inches 2018
JOSH ANANABA Born in 2014, Josh is very full of energy. Like his sister, he enjoys drawing and painting from deep within, but in more loose and expressive manner. He is a Nursery 2 scholar who also loves music and enjoys playing video games.
INNERMOST FEELINGS Acrylics on Canvas 36 (H) x 36 (W) inches 2018
INNERMOST FEELINGS (Detail)
WITHHOLDING NOTHING 1 Acrylics on Canvas 9 (H) x 12 (W) inches 2018
WITHHOLDING NOTHING 2 Acrylics on Canvas 30 (H) x 30 (W) inches 2018
WITHHOLDING NOTHING 2 Acrylics on Canvas 30 (H) x 30 (W) inches 2018
RAYS OF HOPE Acrylics on Canvas 9 (H) x 12 (W) inches 2018
APPRECIATION We thank God Almighty for life, for making us one happy family, for granting us the privilege to feel, conceive and for the gift of creativity. We thank OM for believing in the dream. We thank Uchay Joel Chima and Duke Asidere for the support. We thank Anthony Nsofor for the insightful essay. We thank YOU for looking through and enjoying this family visual experiment.
THANK YOU
ACTION PACKED (detail)