PERCEPTIONS

P

Helen Nzete:

PERCEPTIONS

An Exhibition of Mixed Media Paintings

Helen

1st - 8th May, 2019

Ogochukwuku Nzete

Helen Nzete: Perceptions Exhibition of Mixed Media Paintings Held at Bouygues Construction Club House, Abuja Published by The A-List Company Limited Abuja Art Director: Helen Nzete Curator : Rowland Yohanna Goyit Photographs: Nathan Chris, Gbenga Artbillz Soyinka Catalogue: Labalaba Project Arttitude Art & Design ©2019 Labalaba Project, The A-List Company Ltd and Arttitudes All rights reserved. Cover design: 3pin Dreams Media 08068131971

Helen Nzete’s Perceptions - and Ours 1 Susa Rodriguez-Garrido’s Statement on Helen Nzete’s Exhibition 2 The Head as the Intellectual Capital of the Body 3 Perceptive Views on Helen’s Perception 5 The Story of Perceptions 8 EXHIBITION OVERVIEW 10 The artist: Helen nzete 11 Artist statement 12 The artworks 13

TABLE OF CONTENT

Helen Nzete’s Perceptions - and Ours FOREWARD

This is perhaps HelenNzete’s first public presentation of her private perceptions faces- our faces. In this solo show, she presents us with different portraits of faces, male, female, young, old and not too old. The faces are essentially graphic in rendition, except for a few that are three dimensional in high relief.

The choice of the word, “Perceptions” would appear appropriate for me because of the current socio-political dispensation. In many ways we are victims of our constructed perceptions, our given perceptions and even our negotiated perceptions, depending on how much we have priced our consciences. Perceptions could be transformed into concrete realities or end up as mere illusions. Think of failed promises, failed hopes, of failed love, of political failed packages. Think of now, think of the past fourteen months...

One of the problems with perception is that we are constantly drawn into the exercise to make perceptual judgements or even decisions. It is painfully sweet, keeps us alive, our brains, hearts, minds and souls are fueled by perceptions even in sleep. Perceptual exercises keep us anxious, anticipating, hoping, trusting, and it is with our faces that we use to mirror them. This is why some of the faces that Nzete has created would seem to pierce through our souls, accusing us of something. What? I don’t know. See, for example, “Unusual”, “Rebel”, and “ Third side of the coin 3”. But, “ Amebo” appear angry and accusing us of telling what we were told. Faces are witnesses to all we do, say or even think.

In her two works on the subject of identity, one executed in acrylic on canvas with a female face in tears and the other mixed media, constructed with pieces of broken glass, we are given strongly contrasting images to contemplate on and contend with. A problematic situation is created where tragedy meets with deep emotions. Compare this with the ecstatic face, you would have an artist attempting to capture the mood of a country such as ours.

Nzete’s faces may be ordinary and even simplistic in their artistic rendition, but a careful tour around them would suggest an artist employing a visual language plainly employed to project our present, our recent past and perceptual anticipation of our future. It is very difficult to separate these faces from the current portrait of Nigeria. I imagine a museum titled Nigeria House; where these portraits could be dedicated to a section of the museum and to be Nigeria in 2019.

Professor Jerry Buhari

April 2019, Zaria

1

FOREWARD

Susa Rodriguez-Garrido’s Statement on Helen Nzete’s Exhibition

Helen Nzete’s exhibition takes place in the Bouygues Club House from 1st to 8th May 2019 with the theme “Perceptions: An Exhibition of Mixed Media Paintings”.

Perception, as a general term, is defined by the Oxford English Dictionary as “the ability to see, hear, or become aware of something through the senses”.

Perception in art is a complex relationship between the visual process and what subjectively someone can understand art is. It is the relationship between art and personal interpretations of it, which means our senses have an important role to play in explaining this association.

Life is full of perceptions: what we see, what we hear, what we feel is vital to how we understand life. The world we see is a reflection of who we are, what we believe, think, experience and understand. It is influenced by several factors such as personal, political, social, cultural, gender and racial. How we see reality can shape our life, can affect how we live it and how we experience it.

This is what Helen Nzete considers within her 30 paintings, she reflects on these perceptions of life, our senses and what it means to us. Her work offers deep insights on perceptions with an imaginative twist, a very personal way as an artist to interpret this theme through compelling pieces. Her reflective portraits bring the stories of people and their personal struggles through powerful facial expressions and a strong colour scheme.

Helen believes that by trusting our senses, abilities and instincts we will aspire to a more meaningful and passionate life.

The views and interpretations of both artist and viewer contribute to the understanding of art and we should not underestimate one over the other.

Susa Rodriguez-Garrido is the FEAAN Representative with Chinze Ojobo as the President. https://femaleartistsassociation.com/

2

The Head as the Intellectual Capital of the Body

Ken Okoli O. PhD

Mymore than tri-decade odyssey through the world of art has sharpened to a large degree my resistance to what ordinarily would have shocked me in art, its teaching and practice. As an art teacher/mentor in a tertiary institution, experience has taken me through contact with early and late starters, even to magical dropping appearances. These days, when you almost think that you’ve seen it all; one drops from the skies. I met Helen as one of the few female students who aspired to become sculptors despite the supposed gender idiosyncratic beliefs about the ruggedness of sculpture. Through her training in the Zaria Art School, she presented herself as an amazon warrior battling to establish her prowess is this seeming male divide. She succeeded. Today I am writing this preface to an exhibition where she is exhibiting artworks on the other side of the divide: paintings. What is a sculptor doing with brushes? one may ask. Having tasted the three dimensional, a taste of the two might not be a bad idea, maybe. The artist seems to have recently found multimedia painting as a more succinct avenue to express her artistic thoughts than in three dimensions.

Displayed before us are painterly attempts by this artist which appears to have begun between late 2018 and the onset of 2019. Within his period, she has delved in to the world of her ancestors to exhume an art that made so much meaning to the precolonial inhabitants of Africa. A critical perusal of the paintings and multimedia works on display today will zero in on the artist’s focus on the human head. In the classical art of Africa, a serious emphasis is placed on the human head as not only the force of life, but notably the seat of wisdom. The concentration of the traditional African artist on the human head is a pointer to the fact that the head is also a gateway to the heart of men through their facial expressions. The art of the Ife and Nok among others dwelt so much on the human head to give it the unparalleled air of meaning in the art cosmology of the Africans. So when Helen saw the head as her tool to air the workings of the human mind, it clearly and artistically positioned her as assuming the well-known role of the art as a social commentator.

Helen employs hard edge approach in most of her works except the one done in the multimedia approach.

The hard edge tactic in painting is characterized by sharp transitions found between colour ranges. Colour areas are most times of one stable hue. Its relation to geometric abstraction is one of its strong

3

characteristics. This feature is well employed by Helen in addressing everyday social issues. Inasmuch as the artist‘s presentations are dominated by the hard edge technique, the issue of identity gives her and inescapable reason to question the issue of ‘identity’. The piece titled ‘Identity’ was achieved by a glass mosaic with the shape of the human head. The resultant effect of this contraption is that whenever any member of the audience encounters the art piece, he/she will end up as gazing at a shattered image of himself. Issues in life are seemingly based on dualities, this means that things are better viewed from two sides. This can also mean seeing things from the pros and cons, or what is popularly known as the two sides of the coin.

There are times when this expression is also interpreted to mean that as long as it is still the same coin, there is no difference between the two sides. Helen introduces us into the world of the ‘third side of the coin’ with her three-part painting of the topic. This begs for an attention to this third side of the coin that most people ignore in their calculation of human events. The tripartite approach is again given to the popular saying of ‘speak no evil, hear no evil and see no evil’. All these human acts are all attributed to parts of the human head. The hard edge technique is still employed here to drive home this age long saying by the artist.

As one leaves the venue of this exhibition, the baggage that will accompany each one of us would be that of an encounter with seeing the events of life from the prominence of the head, which is the intellectual capital of the body, and also an encounter with an artist that has exposed the third angle to human existence from her third side of the coin. This will leave the audience with a permanent view of this seeming hidden part of our everyday existence.

Ken Okoli O. PhD Reader in Sculpture Department of Fine Art Ahmadu Bello University Zaria Nigeria

4

Perceptive Views on Helen’s Perception

Gambo Giles Duniya Phd

Perception is a key ingredient in art creation and appreciation. It is therefore, crucial in aesthetics, even more crucial in “aesthetic perceptions, whether as a viewer or the creator. Hence, Chapman (1992) explains “aesthetic perceptions as “using your senses, mind and feelings – all at the same time.” It is in this respect that I suspect, Helen Nzete has consciously appropriated Perception, not just as the title of her exhibition, but as a definitive articulation of the imageries that are being presented here. Indeed, Chapman (1992) further enunciates that “in aesthetic perception, things you see seem extraordinary. They seem special, because you are not just glancing at them. You are really looking at them and becoming fascinated with what you see.” Consequently, Helen has seen extraordinary things in her environment that have fascinated her into this artistic enquiry.

Helen’s perceptibility as an artist, is fuelled by the nature of art itself, which according to Rand in Adiwu (2018), traditionally encapsulates two opposing theories; the mimetic and expressive theories. The author further notes that, while Rand saw value in these two theories, she was also open to other alternatives. It would then appear as if, Helen has been tutored by Rand. Her attempt at both the mimetic and expressive approaches, as well as, the subtle alternatives she has presented, affirm to this line of thought. An overview of the works will confirm that.

Helen Nzete herself, embodies a complex personality that seem to manifest in her art. For instance she trained as a sculptor and her first solo exhibition is that of paintings. She seems indifferent at times, but can suddenly be passionate about her interest. She has exhibited a toughness of character that is uninterested in mundane everyday life experiences and issues. However, the works being presented contradicts that personality. One can go on and on. Incidentally, these traits are not uncommon, particularly in a highly perceptive artistic personality like Helen. Again, an overview of the works will attest to this position. An overview of the works will be presented from the perspective of the style and the thematic focus.

Introduction

5

Style: Helen’s complex personality has manifested in her style. Thus, it is difficult to pin her down to any particular stylistic trait. However, works like Me Too and Generations 1-3, shows her conceptual side, while Third Side of the Coin 1-3 and Hear No Evil, Speak no evil, as well as see no evil, manifest her expressive side. Also, “Samburu Woman” and “Unusual” gives a glimpse of her romantic nature. The colours in Helen’s paintings are bold, exploratory and romanticist in some instances. These have helped affirm her complex, yet down to earth personality, as well as, her willingness to be flexible, when the need arises. Her forms are as real and conceptual as her mimetic and expressive can allow. Thus, given her the latitude to navigate the varied issues that she seeks to present, while applying, what I call the “appropriate” to effectively communicate her idea. Consequently, it would be safe to conclude that, Helen is still finding her style. However, her aligning with the surrealist path is unmistakable.

Theme:

The painting manifest thematically, Helen’s deep rooted perceptions about the issues, happenings, conflicts and irony that constitute her society and which fascinate her. Some of these issues bother on the complex issues of identity, in the modern Nigerian society; Identities of sexual preferences, ethnic identities and religious identities, just to mention but three among several others. Works like “Identity I & II” are good examples.

“Me too” is a conceptual exemplification of the several abused children in Nigerian society. Helen perceived the deep rooted issue of “Almajiri’s” particularly in the Northern part of Nigeria and child labour, both in the Southern and Northern part of Nigeria. Also, are the large of orphaned children, as a result of insurgence in the North Eastern part of Nigeria as well as, banditry and, kidnaping in the North central parts of Nigeria, among other forms of abuses.

“Third side of the coin” thematically speaks about the lack of contentment that abound in contemporary society, particularly as found in Nigeria. It examines through series 1-3, the different facets of individual and communal living. It enunciates the constant hustle for material and non-material thing that do not necessarily engender happiness. Helen’s thematic perceptions went on to interrogate several other issues like generational base challenges, Ameboism in our society and conspiracies of silence, hearing and seeing, among others.

An Overview of the Exhibits

6

Conclusion

The artist, particularly contemporary artists, perceive from their imaginary world perhaps, fuelled by the real experiences within their environment or out rightly from their environment. In manifesting these perspectives, they are guided by the mimetic and expressive theories, as well as the alternatives that have earlier been discussed. Consequently, recreating, sometimes, conceptualised, romanticized, as well as vivid realities, for the perceptive appreciation of the viewer. Helen has done justice to both her imaginary and real perceptions. This is because she, like most contemporary Nigerian artists, according to Duniya (2017), “have consistently exhibited their sensibilities to the environment, in its totality.” Thus, Helen has not just seen extra ordinary things in her environment, but she has perceived them with enough to be mimetically and expressively present them for further appreciation.

References

Adiwu, O.T, (2018), The Nature of Art, Art History News Letter, Published by The Department of Fine Art, Ahmadu Bello University, Zaria. p4

Chapman, L.H, (1992), Art: Images And Ideas, Published by Davis Inc, Worcester, Massachusetts, USA p43

Duniya, G.G, (2017), Interrogating Style in Sor Sen’s “ Sweet Intoxication” Exhibition, Exhibition Catalogue,p16

7

The Story of Perceptions

Obi Nwaegbe

Myacquaintance with the exhibiting artist, Helen is yet to stand the test of time, but I have had the privilege of a visit to her humble studio somewhere in the highbrow government designed neighbourhoods of Garki in the Federal Capital City at her behest. The arrangement of the studio was alluring. Stacks of canvasses worked on and neatly arranged. Materials, tools and everything else seemed to have an exact corner of residence, and only deployed beyond their locality when needed. The tidiness of an otherwise, pint sized studio is quite commendable. I was taken on a brief tour of the works, many of which straddled between conventional techniques and experimentation, and including with the application of non-conventional materials.

Helen’s preoccupation with portraits comes to the fore, and without specific focus on any particular gender, works on human faces of different periods and in different techniques. Predominantly though, the faces are divided into different patches of colour and smooth contours to create a vibrancy of appearance. Quite dominant is her use of earth colours to express a reality of grit and conflict, as exemplified in some of the works like “Third Side of a Coin” and “Samburu Woman”. Others like “Identity 1” and “Generations” go even further to address Child abuse and that includes forced Labour and molestation.

It is perhaps not all doom and gloom with Helen’s visual offerings, as some of her portraits exude a semblance of glamour, vibrancy, exuberance and even wealth. “Third Side of a Coin”, for example, is a portrait of a woman in her finest elements, and clad in the most elaborate ornaments. Her resort to the use of currency (coins in this instance) is perhaps to buttress this fact. There is however an irony to this presentation, as these set of objects are officially current Nigerian legal tender and are meant to be a part of the Nigerian currency network. However, the Nigerian user’s apathy to the usage of coins, coupled with their worthless status as a result of incessant inflation indices, have continued to render them difficult mediums for trade and transactions within the nation’s economic circuit. Therefore, this painting is at conflict with itself, and perhaps deliberately so.

Quite often there is an exhibition of opulence, and particularly in some African societies including Nigeria that should be put in check. The economic development indices are not to the nation’s favour,

8

Nigeria being ranked as one of the nations with the highest number of persons living below the poverty line, yet we have our leaders and politicians as some of the highest paid public servants in the world. This stark and scandalous class disparity may not be unconnected with the high rate of money related criminal activity that has become the reality of existence in Nigeria. Particularly promising, is the work titled “Rebel” which depicts the portrait features of an apparently livid and defiant man railing at the perfidy of conservative culture as well as bad governance and demanding change. Some of the depictions on this partly shredded canvas allude to the demand of the female to a more just society devoid of gender discrimination and judgement.

In all, Helen has time on her side, being a young mind and somewhat a new inductee into the complex world of visual narratives. It is expected, that with the new dynamics of the information age she will avail herself all possible platforms both online and offline, for engaging the critical as well as the general public of her subsequent artistic output for the purpose of examination and appraisal, for therein lies the prospect of creative growth and maturity. It is also my hope that this debut exhibition opens the doors for more engagement with progressive society.

Obi Nwaegbe Artist, Visual Analyst Nigeria

9

EXHIBITION OVERVIEW

Helen Nzete’s Perceptions survey a portrait of issues and dilemmas, darkened by the conflicts caused by society and individual realities. It is an attempt at expressing the depth of fascination for the unknown, the challenges of modern life and the desire to create new perspectives.

Bringing together a fusion of sculpture and painting, the exhibits depict a conceptualized imagery of subjects and emotions experienced and anticipated by the artist. A selection of paintings from her recent experimentation with forms and ideas set the stage for her first solo outing.

The works are simple and complex and capture many forms, shapes, sizes, materials, patterns and connections to experiences over time. They are all a potential means to contemplate what our perceptions of life and issues mean to each of us. They are vehicles to develop our visual evaluation and mental interpretation, which can be a path to harmony and clarity. The facial expressions and strong tones of her colours are aimed at compelling an understanding of the personal struggles of each subject, as they resonnate with our emotions.

Helen Nzete believes that by trusting our abilities and instincts to aspire to new heights, our lives can be passion-driven and more meaningful. You are invited to experience these works of art. Allow them to resonate with you by challenging your views of life in order to fully understand what is at stake and create new possibilities.

Rowland Yohanna Goyit Curator

10

The artist : Helen nzete

Helen Ogochukwu Nzete is an award-winning artist and a graduate of the prestigious Ahmadu Bello University, Zaria where she studied fine arts and majored in sculpture.

Helen is known for her signature portrait mixed media paintings which meshes elements of nature, emotions and some form of rebellion to symbolise change and the power of expression in any form. She is constantly exploring new techniques, places and materials in her paintings, inviting viewers to confront societal, family and political issues they wouldn’t would rather not.

Helen is a member of the Female Artists Association of Nigeria (FEAAN). She worked as an Arts teacher in Ceedeez Hall School, Asaba for two years where she also started her Arts workshop for Children “Kids in Arts”. Her first workshop ended with an exhibition for the kids with representatives from Mungo park house present.

She was hosted on the midday high five radio show where she talked about the role and importance of Arts in Nigeria. One of her works “Alter Ego” was recently featured in the February 2019 edition of WOTISART Magazine, United Kingdom and has stimulated a ripple of creative discourse.

Helen is currently living and working in her studio in Abuja where she still pursues her dreams of inspiring the younger generations through her arts and workshops. The artist Hope’s to own the best art school in Africa.

Awards/Recognition:

Winner, Social Media Award for Visual Arts Competition , 2018. Spanish Embasy, Abuja

Exhibitions:

“Scapes and Forms” 2008 A.B.U Zaria

“Art Caffeine” 2017 Afriartistry, Abuja

11

“Spanish Festival and Traditional Celebration” 2018, Embassy of Spain, Abuja

“Balance for Better, Women Unite” 2019, Chinese Cultural Centre, Abuja

“Balance for Better, Women Unite” 2019, Kulture Kode Art Gallery, Abuja

FEAAN and AGAMA Art Exhibition, 2019

“Uncovered Female Nigerian Artists Exhibition” British Village, Abuja

Workshops:

Female Artist Association of Nigeria (FEAAN) Drawing and Painting Workshop. 2019. British Council, Abuja

Paper Marble Workshop. 2019. Nigerian Turkish Nile University, Abuja

Twitter: @myarttitude2

Instagram: @myarttitude

Arttitudeartsanddesign@gmail.com 08186791314

ARTIST STATEMENT

The driving force behind my portraits is our emotional resonance and the way over time it manifests in facial expressions and our relationship with others.

Utilizing painting, drawing, and different objects, my work examines through expressive colours, faces and gestural brushstrokes the raw, extreme, frankness and unflinching emotional effects caused by human connections, relationships, and everyday encounters. I always attempt to pull the viewer inwards to experience the subject.

I am mostly compelled to put on canvas my immediate emotions so I can convey them.

There is also a lot of quality time to most of the physicality found in my work. Each piece is created over several weeks, sometimes months using layers and layers of objects, colours and symbolic materials. By working across multiple pieces at one time, the imagery and text develop over time and I am compelled by what might be revealed.

12