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A professional artist and a trained Mass Communicator was born on the 7th of February, 1976 in Nigeria. He is a self trained Artist tolu's picturein all respect, borne out of the love for the arts and that innate desire to express himself.
He began to exhibit steadily and his works continue to gain recognition amongst top Art galleries and notable art collectors in his home country Nigeria, while a number of international galleries have shown interest in his paintings.

Tolu Aliki works in several media, but with a flair for Oil Pastel. Most of his works have found its greatest expression when addressing the concept of passion-Love, Music, family and everyday social interactions.
His works exhibit a high standard of understanding and application of colours, depth of content and aesthetic beauty. The uniqueness and originality of his works gave them the flair and authenticity no art lover could resist.

He stated that “My paintings are manifestation of my pride for my African background. I paint in vibrant colours, most times using my favourite medium, oil Pastel, to tell the stories of social life and culture in the black African continent.”

Usually, He renders human figures in a unique stylized form, often times they are sensuous, meditative and elegantly dressed. Withtolu 3 this, He tries to capture deep emotion..the joy , the trial, and the hope of the African people in interesting classic subject matters.

I feel it is important to share this enriching experience with fellow Africans, as well for people living in other continent to learn what it is like to be an African.

With my art, I intend to create a positive impact on those who come in contact with, or collect my works by enriching their spirit, and also to continue to make my works a great asset to art collectors around the world.
He lives in Lagos where he continues to paint in his private studio.
He is a member of the Society Of Nigerian Artist (SNA), Visual Artists Society Of Nigeria(VASON) and The Artzero Group.

 

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From the science of creating art through machine, Kelani Abass takes a painterly journey into the relationship between an artist kelani abass's pictureand his tool of mass reproduction.
This creative journey in the career of young Abass has a connection to his early exposure to the printing press, as a kid. Still in contact with the printing industry, almost on a daily basis, his thoughts form the body of work for his second solo show titled, Man and Machine, held at Omenka Gallery, Ikoyi, Lagos.

Having established figural and representational identity, particularly in pastel, the theme of this show, one expected should avail Abass a chance to affirm this form. However, the artist makes an almost 360 degree turn as most of the works, particularly the machine-related ones, float in a different realm.

For example in Man and Machine (Synergy), a triptych of newsprint, acrylic, charcoal on canvas, the human content is obscured in sprockets and wheels-dominated composition.
Kelani explains that the theme is derived “from experiences in my father’s printing press where I worked for years as a machine kelani 3operator before gaining admission to study art, formally in 2002.”

He notes, “it is fascinating to observe the way machines operate as different parts to achieve a common goal.”

He is an artist whose strength, among others, is in dissolving and fusing images, sometimes in surreal- form, the skill Abass employs in the work that won him the first prize at the Lagos Black Heritage Festival Painting Competition’s Lagos, City of A Thousand Masks, hovers over Man and Machine. This, he exudes in such works as Illusion IV and Man and Machine II.

 

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Ato had been an independent studio artist since 1991, practicing as a sculptor and a potter with special interest in ato's pictureportrait sculptures and statues. His grasp for forms attest to his skills particularly in handling figural sculptures. Born in Mushin, Lagos in the mid 60’s, he began his professional training in Federal Polytechnic Oko in 1986 where he obtained the Ordinary National Diploma under the tutelage of Chike Ebebe. The ceramist of the Aka Circle of Exhibiting Artist. He completed his higher education at Yaba College of Technology, Lagos, between 1989 and 1991 and majored in sculpture.

 



Ato had participated in many exhibitions in Nigeria and abroad, with many sculpture commissions to his credit, such as the Bust of the first president of Nigeria Dr. Nnamdi Azikiwe which he executed in the year 2000, a collaborative project with Chike Oyenka at his studio in Onitsha. He was a recipient of the Solidra Award for Sculpture and Pottery in 2002 and in 2008 was awarded the Society Nigerian Artist(Lagos State Chapter) -Distinguished Artist Award.

 
Ato Arinze is one artist who is gradually introducing a unique style in the aspect of ceramics, although he majored in Ato 1sculpture, he has succeeded in elevating the act of pottery to an enviable status.” “The art of sculpture demands simplicity and I found simplicity more in human figures. Mostly, people appreciate what they can identify with. Figures are the best way to communicate one’s ideas.”
-Ato Arinze

 

Olu Amoda is not an ordinary Nigerian artist. His quiet and unassuming character veils a fiery spirit. He was born in olu's pictureWarri and he remains a “warri man”. He holds an HND from Federal Polythechnic Auchi. The many years spent in Lagos have not dampened his readiness to enter into a “good fight” if the cause is worth. And he seems to find plenty of good causes. He works in two studios; one near Yabatech, where he is a lecturer, and the other in Mende. This was a rare privilege. One thing is to see his works in a “sanitized”, controlled environment and another is to see them in the open. They stand there, rusting quietly under the sun and rain while they mix with discarded bits and pieces, uncompleted works and “real life” objects (cloths hanging from a drying line, the papaw tree growing among his works, the discarded tyres…).

 
His recent stay abroad (almost four years) has not changed him much. He remains the artist that he was, and he is stillolu 2 the committed teacher that he has always been since he joined Yabatech more than twenty years ago. Clearly, Olu likes working with his students. One of his student at Yabatech told the story of how one day Olu came to the classroom and announced that the next assignment would be “the mind of a Nigerian policeman”. The students were more than a little bit surprised. Olu told them to first figure out what was in the mind of a Nigerian policeman, then produce some sketches of works on that topic and finally to start producing a work. Olu did not tell them much about materials, styles, etc. His teaching approach was novel to the students, and it seems they loved it.

 
In his recent works there is an increasing interest on the intersection of literature, life and visual arts. Two of the works in his yard are part of a broader project. They are two horses that can be interpreted at different levels: they point at the two horses in the Nigerian coat of arms, but they are also a reference to two of the main characters in George Orwell’s novel “Animal farm”: the horses Boxer and Clover. His use of references is eclectic, he also has some pieces of a series of “bulls” he is doing using old bicycle handle bars as the horns of the bull. Olu also sees the bull as a metaphor of the “bully” (the big man syndrome) in the Nigerian society. He also mentioned the references to Fela’s song: “Roforofo fight”. It’s very interesting that this interplay of references, metaphors and symbols is embodied in physical works. These works are not mere decorative objects or dry unintelligible discourses on societal issues. These are real art works of great strength and formal quality.

 
Olu Amoda loves to use discarded materials, or as he prefers to call them “re-purposed materials”. For years, the olu 1ordinary steel nail has been a recurrent component of his works. For him a nail is a metaphor and symbol of linkage, bonding together separate (in many cases, disparate) items. He likes to use the nails recovered from pallets, crating boxes or carpentry work. In his own words: “Nails are used in my work as a metaphor. They have survived generations and remain one of the most ideal and enduring pieces of engineering. Nails depend on the notion of shared responsibilities, like ants. Small but lethal, a nail is able to defend itself, but yields to the will of the craftsman. What we call little things are merely the causes of great things: they are the beginning, the embryo and the point of departure, which generally speaking, decides the whole future of an existence.”

Widely known as the most expressive water colourist in Nigeria. Due to his outstanding excellence in art, a scholarship insam's picture honour of Sam Ovraiti was set up at the famous Auchi Polytechnic where he graduated with distinctions and several awards. With several solo exhibitions and an extensive number of group shows in Nigeria, Europe and USA, Sam Ovraiti is one of the most accomplished artists of his generation.

 
Sam Ovraiti was born in Zaria, Nigeria in 1961. He attended the famous Federal Polytechnic in Auchi, and the University of Benin, both in Edo State, where he studied General Art & Painting and obtained a Masters of Fine Art degree respectively. He graduated with Distinctions and won several academic and national prizes including 1st prize winner at the Mobil Producing National Painting Competition. After a short spell as a guitar instructor, he joined the Federal polytechnic, Auchi as a lecturer in painting, drawing and illustration in 1985. He remained there until 1993 by which time he had gained a reputation as the most expressive water colourist in Nigeria. Following his lecturing days, he has been working as a full time professional artist.

 
Sam is a gentle and philosophical soul with a tenderness that cannot easily be described but greatly felt. This perhaps sam 3explains his ability to not control the medium he works with but instead to speak the language of the medium, letting the medium dictate the artwork. The result is a purified, beautified reality. This pure and simple reality is dominant in his watercolour works. His works in the oil medium build on this and express a different aspect of his art, one more complex and layered.

 
Sam’s exploits include the passion series and the fishes of life series. The passion series is an experimentation and report sam 2on the activities that people do passionately. These activities honour various African women ceremonies such as marriage and christening. The fishes of life series is based on the fish as a source of inspiration for colour application and exploration of shapes which form a large part of Sam’s art.

 
With several solo exhibitions and an extensive number of group shows in Nigeria, Europe and USA, Sam Ovraiti is one of the most accomplished artists of his generation. He lives with his wife Stella and children in Lagos.

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