By Prisca Sam-Duru

From the Niger Delta, Abeokuta and from all over Nigeria as well as  different parts of the world, art enthusiasts, collectors, students, art lecturers, scholars and artists  congregated at the prestigious Grillo Pavilion, Ikorodu, Lagos, for the 5th Annual  Visual Art Fiesta which held at the weekend.

The unique Fiesta which was instituted to celebrate, appreciate and recognise visual art masters who have contributed to the  development of  visual art practice, has over the past five years expanded its engagement as well as choice of master artists celebrated.

After icons such as Prof. Yusuf Grillo who was the first recipient of the award, Pa Demas Nwoko, Bruce Onabrakpeya and Uche Okeke , Kolade Odekunle Oshinowo  who was described by Chief Rasheed Gbadamosi OFR  as perhaps,the most celebrated citizen of Ikorodu who has gained fame as a visual artist, teacher, mentor and a real international star, was the centre of attraction at the event. He was honoured  as the 5th Visual art Master and so, was celebrated in his hometown, Ikorodu, amidst a mammoth crowd.

*Yusufu Grillo and Kolade Oshinowo at the event

Roll call included, Kabiyesi Shimawa, Professors  JP Clark , Bruce Onabrakpeya,  Ebun Clark, Yusuf Grillo and Omoba Yemisi Shyllon, Kunle Filani, Major Gen. Seun Oshinowo, Sammy Olagbaju, Femi Esho, Toyin Akinosho and others.

In his well detailed and researched lecture, titled, “The Master of Romantic Expressionism”, Professor Jerry Buhari, of the Department of Fine Arts, Amadu Bello University, Zaria, described Kolade Oshinowo as “a Creative colossus who is well documented and anybody that is interested in this great institution can easily have access to existing rich materials”, adding that the icon represents what can be described as the “Father of Lagos School of Painting.”

Explaining why he described Oshinowo as Master of Romantic Expressionism, Prof. Buhari said “the uniqueness and mastery of his technique and style can be found in the way the artist is able to fuse the transcendental with tangible reality”.

Speaking further, he pointed out that the suggestive character of romantic painting engages viewers in an interactive dialogue with the artist where their imaginations are locked up on the picture plane, yet in a free and individual exploration of the world created.

In an effort to draw a line between his kind of art which involves drawings and paintings of female folks, and the term feminism, Oshinowo who was overwhelmed with the turnout of people, explained that, “the use of female subject is a universal one and it has been through the ages.

The female is endowed with a form that is as complex as it is beautiful. The women also add to their beauty by wearing various forms of head gear and adding accessories such as earrings, necklace and bangles of various sizes and materials. The female body represents the beauty and challenges of womanhood. These I try to capture in my paintings.”

He however warned that there is a decline in the quality of works being produced these days because rather than being original and take time to conduct research, students copy from existing images.

At the end of the lecture which earned Buhari a deafening applause with an accompanying standing ovation, the crowd proceeded to the Gallery where works of the celebrant  occupied the halls of the one story building, for viewing.

According to Kunle Adeyemi, the Head Curatorial team, due to the fact that Oshinowo Studio and Gallery was stuffed with quality works, they went through a rigourous exercise of selecting works to be featured at the fiesta, but at the end, the team wiggled out of the dilemma by digging into some of the iconic artist’s early paintings and drawings at different periods both classical, experimental and exploratory works that have been less often exhibited or reproduced.

Apart from his respect for and esteem of the women, as seen in Lady with red Beads (Mixed Media), Taiye (Charcoal), Young Girl (Charcoal), Aso Ebi (Mixed Media) and The Matriarch (Oil On Canvas), some titles such as, The Revolt (Oil on Board), Solidarity ii (Mixed Media), Press Freedom (Mixed Media on Board), Migration (Oil on Canvas), Abacha Protests(Mixed Media), Someone Burnt The Bush (Mixed Media), which are on display at the Grillo Gallery, also portray him as an activist as the works are used as objects for advocacy.

An after party which featured a discussion session based on the theme of the lecture, several comments by scholars, friends and family members of Oshinowo with Chuka Nnabuife as compreme,  took place at the garden.