Hybrid Theory by Uthman wahaab

HYBRID THEORY

Adesoji Adesina | UthmanWahaab Hybrid Theory

HYBRID THEORY A new body of work by: Adesoji Adesina & Uthman Wahaab

Signature-beyond Gallery 107, Awolowo Road, Ikoyi, Lagos Email - signaturebeyond@gmail.com Tel - +234 1 776 0900, 080 3317 7676

Catalogue concept and coordination: Adesoji Adesina & Uthman Wahaab

THE GARDENER I (Uthman Wahaab) - Top FICTION BECOMES FACT (Adesoji Adesina) - Bottom

copyrightÂŠ 2014, Signature-beyond

Hybrid Theory

ACKNOWLEDGMENTS

Contents ACKNOWLEDGMENTS IN CONVERSATION ADESOJI ADESINA’s BIO ADESOJI ADESINA’s WORKS UTHMAN WAHAB’s BIO UTHMAN WAHAB’s WORKS

5 6-7 8 9-21 22 23-35

Hybrid Theory is a body of work that addresses the inability of Africans to apply themselves to the mechanisms that enables modernization through the application of the laws of economics, science and technology. This inability has been the core of numerous discussions and narratives that suggests the African as a primitive being incapable at self-evaluation in regards to his culture, language and his environment. Why can’t the average African apply him/herself to the forms that have made other races that, at a point in time, where languishing with Africa in the gloomy corner of the world, advance to the stage they are now? We have in this body of work raised several rhetorical questions around narratives on identity and representation...

Our gratitude also goes to those who came in to lend their supports in making this body of work from the inception and much later, most especially all our colleagues, artists, critics, academics, collectors, friends and family members. Many thanks to Jude Anogwih for his passionate and sincere reviews, support and studio visits. Also Ade Adekola and Ndidi Dike, thanks for the visits. Kunle Tejuosho, you are well appreciated and your little support counts a lot. Finally, we are immensely grateful to the Director of Signaturebeyond Gallery, Abdulrahman Akar and his staff for their support in making this show a success.

We would like to express our profound appreciation to those who have genuinely been supporting our career since it took off.

Hybrid Theory

IN CONVERSATION: Adesoji Adesina (AA), Uthman Wahaab (UW) and Jude Anogwih (JA). Adesoji Adesina and Uthman Wahaab give reflective answers on the cerebral framework of Hybrid Theory, an exhibition of new works by the artists. They warn about the dangers of not curbing retrogressive ways of thinking and acting. Through the use of diverse medium, the artists lead us through an intense visual representation of concepts on African identity and Africanism – one, they believe should be free from the lazy notion of tiptoeing around modernity. Adesina and Wahaab share a common working and ideological interest and it is exciting to see how these interests have directed their understanding, interactions and work process. These shared interests have also aided their collaboration in developing and creating works relevant to discourses on issues of representations as well as underpinning adverse influences in our psyche using drawing, which is ‘the most purest form of depicting an idea’. The state of art on the local scene is also addressed with appeals to artists and creative persons in general to step out of the comfort zones and embrace the concepts of artistic research and experimentation. JA: How did you come about the idea of Hybrid Theory? AA: Hybrid theory came about from certain observations I’ve been making concerning the black race and the African condition. These observations I realized, have raised a series of questions about the identity crisis and the systematic rejection of development, advancement and modernization on Africa and by Africans. Why is there a conflict between Africaness and modernization? Why has the hybridization of these two elements failed to benefit Africa? What is wrong with the notion of a technologically advanced Africa? Why do Africans themselves believe this notion is “unafrican”? What is it about the cultural DNA of Africans that refuses to accept the practical laws of physics that the African citizen is subject to? Are other cultures, races or people that have applied the principles of economics, science and technology for the development and advancement of their people, without any cultural identities? UW: The idea of hybrid theory came to play after series of observation and casual discourse among friends and colleagues concerning the monumental challenges confronting Africa nations today. Why is it that we are still stagnant with the illusion of what we regard as “Africaness” and anything outside this notion is considered non-African culture as usual. This is contradictory to the ethos of globalization and the need for change that is constantly determining how cultural identity is perceived and in between we are loosing the most important part that defines our identity, by that I mean language. Hybrid Theory is a metaphor for the human ability to subdue catastrophe by innovating and reinventing oneself afresh irrespective of racial and cultural differences. JA: Your subject, metaphorically, is a struggle in self-definition and perception. Is this a form of protest? 6

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AA: Yes it is. The depiction of the subjects using unique forms, signs and objects is a form of protest to the prevailing notion by Africans that all her problems can be solved by applying African traditional and cultural logic which by the way is what is regarded as “African” to problems requiring proven and specific economic and scientific solutions which is now regarded as “unafrican”. This misguided need to prove to the other the uniqueness of the “African solution” has continuously led Africa down the path of poverty, disease and chronic underdevelopment. UW: Yes. The metaphorical use of symbols and objects that are alien to what we regard as “African culture and tradition” in this body of work is a form of protest questioning the struggle in self definition and perception that is constantly banging in our psyche and has rendered us disabled in the ability to apply the procedure of social development that enables modernity. For instance, in a situation when we realize that it is possible to contribute or participate in this positive development, we automatically switch back to our default by saying: YOU KNOW THIS IS AFRICA. This means that the uniqueness we claim being African is a disruption to progressive development. Today being African is unique to backwardness, disease, failure, arbitrary use of power and resources. What do WE want the word Africa or African to project? JA: The works reflect loudly “Change!” Change in ideology, style, material and thematic structure. What role did these play in your work process? AA: I wouldn’t use the word change. I think I prefer to say I approach my work process differently in terms of visual representation. I often seek to combine my artistic methods and material use to create works that are sometimes accidental and also deliberate. The theme to a project determines how this cocktail is mixed. In terms of ideology, I believe an artist should be the driving force to ideas and solutions. I often ask the question why do I need to render my works in a certain way because I come from a certain part of the world? I have learnt to apply the freedom to explore unique forms and make visual representations that are specific to the theme of any particular series in my work. My approach to materials is experimental and it requires a lot of research into the properties of the materials of choice so as to understand better what mixture or combinations will work best. For instance in this project, the drawings are made with a mixture of acrylic, general purpose white glue and poly filler, with a combination of pastel, charcoals, conte and oil bars. Acrylic is water based so I make sure other materials I’m planning to mix with it must be water based or water-mixable. I take drawing as one of the purest forms of depicting an idea and the decision to make these works in drawings was only to project it’s importance to the early stages of the processes of creation, and also that a drawing can be the finished product in itself. UW: Ian Morris said and I quote “History teaches that when the pressure is on, change takes off ” For me the voice of artist should provoke and disturb the thought of the society like this, where everything is stagnant and we all pretend we have a working system. This is not the time to paint the picture

of a market scene like Óshodi, Òkó Baba or Owambe parties and tag it ‘our culture or the way we are’ if we claim to be a viable tool for change. In my work, I am trying to make emphasis on the idea of change through this visual representation of a self-portraiture to take the viewer through the process of change in its infancy, which I regard as the power of individuals to effect a remarkable change. I also reflect in my work process by creating other visual language outside the usual way of representation that is constantly keeping many artists in their comfort zone. I work extensively with oil paint because I have a very strong control of the medium. But, this change led me into making large scale drawings with an exploration of different dry media like crayon, charcoal block, conte, led, pastel, oil bar and acrylic. These mediums I experiment with on regular grounds (canvass and artist paper). At the same time, I also use other traditional forms of representation in depicting ideas, as I perceive them. Why the emphasis on the body? AA: the human body is a unique piece of biological engineering. It determines a lot in how differentiation is made in terms of race. But in the context of this project the body is stripped of this differentiating ability and the concept of unifying all human physiology is established. The masks on the other hand represent the development of knowledge through the processes of innovation, experimentation and documentation. What this is largely saying is that development through innovation and the practical application of laws of economics and sciences is not race specific. For instance in the work titled “BDSM” the pot on the head of the subject with the breathing apparatus and the binding of the subject suggests improvisation and experimentation which is part of the principles of innovation. UW: The emphasis of the body and also the masking in this body work is: Firstly; a visual representation in a series I called THE GARDENER, using Afro hair and garden shears as metaphor to that part of us (the mindset) which needs to be taken care of in order to allow and enable the spirit of modernization. Afro hair in this context represents the usual notion of Africaness that boxes us in the realm of stagnation. The masking (breathing apparatus) represents the process of invention through innovation and hybridization - referencing the first underwater breathing apparatus designed by Leonardo Da Vinci - and how other prototypes with diverse and similar functionality of breathing devices with several addon properties to enhance its usage, are developed overtime. On the other hand, the masking in this body of work is a sub-text using a respiratory process where oxygen transformed into carbon dioxide participates a vital role in the growth of plants. This representation of breathing device with pipes collecting air from the different source with a blocked discharging passage is a metaphor for the norms of (the) African consuming attitude and acquiring knowledge from different parts of the globe and still remains impotent when there is a pressing need to make use of the knowledge acquired. We have thousands of highly qualified scientists and doctors but we continue to seek aids from the West to survive from the anguish of simple epidemics. Why do we only consume for show off?

JA: The images in your work seemingly, are estranged from the realities of our immediate society. Do you think the society has created certain bonds that define who we are and ways to free ourselves from these bonds? AA: The negative and backward notion held by Africans about the ‘Africaness’ of their identity has created societies that are synonymous to poverty, diseases and squalor. To break the bond, the erroneously held views by Africans must change. Africans need to adapt to and adopt the productive parts of modernization and not the myopic and unproductive part of modernity that Africans want to identify with. UW: Of course yes, for me, that’s still the tumor that needs to be treated in our DNA. That wrong self-definition and perception afflicting the reality of growth and development in our society. According to Mallam Olufemi Taiwo in his book “African Must Be Modern” The attitude of tiptoeing around what we call modernity should be dropped and stopped from its perfunctory engagement. To free ourselves from this bond, we need a selfdiagnosis in order to reset the errors that are constantly keeping us in this mindset. JA: Why the calm hue? AA: The decision to use the subdued hues in this project is to better help emphasize the drawings so that the visual characteristics of my style of drawing are pushed to the fore. UW: The subdued hue approach in the creation of the work in this project is a deliberate idea in relation to the process of developing an invention or innovation. Also it is a form of experimentation for me as an artist to explore alternate balance without the use of vibrant pigments, to determine the flow of positive energy and effect of a remarkable production. It also allows me to interact with the form of balance in drawing where it is considered as either a means to an end or an end to a means. My palette looks simple but, very challenging and strong. By the way, less is more! JA: What influenced your collaboration in this project and how far would this collaboration and the discourse you are creating with your works go? AA: I believe the need to start taking a different approach to critically view the problems afflicting Africa and Africans influenced this collaboration and I also believe the similarity in our work ethics and professional approach to our careers has a part to play. I believe the collaboration will continue for as long as the similarities in our points of views on issues that concern our collective interests are addressed. UW: I think the similarity in our attitude to work, constant relationship and casual but exhaustive discussion on varieties of issues confronting us as a people (Nigerians and Africans) influenced this collaboration. This collaboration and the discourses we are creating with our work continue as far as we have other unaddressed issues to discuss.

Hybrid Theory

Adesoji Adesina

Soji Adesina, born in Badagry, Lagos State in 1981, presently lives and works in Lagos, Nigeria. Adesina is a multi-media artist whose primary medium of expression includes painting, graphic designs, film, photography, sculpture and installation. He holds a higher diploma degree in fine art from the School of Art, Design and Printing, Yaba College of Technology, Lagos. His work currently focuses on the issues of identity, sexuality and the idea of change. Adesina has participated in several group shows both in and

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outside of Nigeria as well as art residencies and workshops in Lagos. Recent group exhibitions include: Fresh Vernacular Signature-Beyond Gallery, Lagos (2012); The Global Critic Clinic residency with Kianga Ford, Centre for Contemporary Art, Lagos (2011 & 2010); Dancing with the Masters with Olu Amoda (Art workshop) Yaba College of Technology Lagos (2010) amongst others. His works is highly collected by private individuals, art enthusiasts and corporate organisations within and beyond.

TITLE - STEREO-VISION DISPARITY SIMULATOR (2014) - 183cm X 183cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

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TITLE - EXALTATION OF THE MONKEY I (2014) - 153cm X 140cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

TITLE - EXALTATION OF THE MONKEY II (2014)- 153cm X 140cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

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TITLE - BUBBLE ASPHYXIATION (2014) - 140cm X 122cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

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TITLE - FICTION BECOMES FACT (2014) - 153cm X 107cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass 14

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TITLE - CENTRIPETAL FORCE (2014) - 183cm X 183cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

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TITLE - BDSM (2014) - 183cm X 183cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

TITLE - CENTRIPETAL FORCE II (2014) - 183cm X 183cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

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TITLE - EXALTATION OF THE MONKEY IN TRANSTITION I, II, III (2014) - 42cm X 28cm, charcoal,conte and pastel on paper. 18

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TITLE - EXALTATION OF THE MONKEY IN TRANSTITION IV, V, VI, VII (2014) - 42cm X 28cm, charcoal,conte and pastel on paper.

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Uthman Wahaab

Uthman Wahaab was born in Ilorin, Kwara State in 1983 and grew up in Lagos Nigeria. Wahaab presently lives and work in Lagos. He holds a higher diploma degree in fine art from the School of Art, Design and Printing, Yaba College of Technology, Lagos. Uthman is a multi-disciplinary artist whose medium of expression are painting, graphic design, film, photography, sculpture and installation. His foremost concern is in developing a new visual language that consciously rejects traditional form of depiction. He has participated in several group shows both in and outside of Nigeria as well as art residencies and workshops in Lagos. Group exhibitions include: Fresh Vernacular SignatureBeyond Gallery, Lagos Nigeria (2012); The Global Critic Clinic residency with Kianga Ford, Centre for Contemporary Art, Lagos (2011); The HOUSE OF TASIA Miss Africa California beauty pageant, California USA (2011); MudCloth Madness

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with Marshall Bailey, Kuumba Collective Art Gallery, del paso road, Sacramento, California USA (2010); Dancing with the Masters with Olu Amoda (workshop) Yaba College of Technology Lagos (2010); Beautiful Nigeria, Thought Pyramid Gallery Wuse II Abuja (2007); The Henbuog Art and Music Salon Exhibition Sheraton Hotel and Resorts, Lagos Nigeria (2007); Environmental sustainability (poetry & illustration workshop) with Sola Alamutu CATE Goethe-Institut Lagos (2007); The Nokia expression photography workshop project, Lagos (2007); West Africa Polytechnics game (WAPOGA) art fair, Yusuf Grillo Art Gallery, Yaba College Technology Lagos (2007); Our Impression, Kalakriti group, Lalit kala Academy Mumbai India (2005); Within Our Grasp National Exhibition National Museum Onikan Lagos (2005); amongst others. Uthmanâ&#x20AC;&#x2122;s works are well collected within and beyond Nigeria.

TITLE - SABOTAGEIA I (2014) - 168cm X 140cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

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TITLE - NOSTALGIA (2014) - 183cm X 153cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

TITLE - ASTRONAUGHTICAL (2014) - 183cm X 153cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

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Hybrid Theory TITLE - SABOTAGEIA II (2014)- 153cm X 153cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass

Theoryon canvass 27 TITLE - SABOTAGEIA III (2014) - 153cm X 153cm, charcoal bar, conte, crayon, pastel, graphite Hybrid and acrylic

TITLE - THE GARDENER I (2014) - 183cm X 153cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass 28

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TITLE - THE GARDENER II (2014) - 183cm X 153cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvass Hybrid Theory

Hybrid Theory TITLE - REVAMPING BLADE I (2014) - 183cm X 153cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvas

TITLE - REVAMPING BLADE II (2014) - 183cm X 153cm, charcoal bar, conte, crayon, pastel, graphite and acrylic on canvas

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Hybrid Theory TITLE - SABOTAGEIA - IV, V, VI (2014) - 76cm X 56cm, charcoal,conte and pastel on paper. 2014

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TITLE - MORGAN MASK - QURADE IN TRANSITION (2014) - 76cm X 56cm, charcoal,conte and pastel on paper.

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