By Prisca Sam-Duru

DELTA state-born artist, Kainebi Osahenye who studied at the Auchi Polytechnic, Auchi and Yaba College of Technology, Lagos, is one of Nigeria’s leading visual artists.

Majoring in painting, Osahenye who received a Master’s of Fine Arts (MFA) from the Goldsmiths, University of London, UK,  has continued to work across a variety of mediums including painting, sculpture, installation, drawing and collage.

The fine artist has also been consistent with employing assortment of basic materials to address issues about life, spirituality, consumerism, identity and the environment. His penchant for producing very huge works which one can describe as museum-friendly pieces, as well as works speaking to the issues of waste and reclamation for safer environment, stands him out.

These defining features are manifest in Kainebi Osahenye’s current solo exhibition at the O’DA Art Gallery, Lagos. The exhibition, Kainebi Osahenye: A Solo Exhibition, is curated by Obida Obioha and Sunshine Alaibe. It features recent and timeless works by the leading visual artist.

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With a selection of 20 paintings, the show which opened on April 15, and closes on April 30, 2022, presents a dialogue between works of different dimensions produced by the artist between 2001 and 2021. For this exhibition, the selection of work paves a way into the mind of the genius that Kainebi Osahenye is.

Displaying various compositions of abstraction and figurative work, the exhibition sheds light on Osahenye’s bold and energetic painterly technique which explores the intricacies of human identity, sensuality and faith.

For Osahenye, the artistic process begins in the unknown as he disengages with his surroundings and connects with a force beyond himself, one where he isn’t present; or as he puts it, “not being completely awake.”

He proceeds to using various materials including spray paint, oil and gouache, to cover the surface of the canvas, constantly pushing to unravel something that he cannot foresee. This state of being which he refers to as a, virgin mind, allows him to follow the details of the work so that the composition takes a life of its own. The artist is keen to note that while he is consciously disconnected from the process of creation, his physical engagement with the work remains critical throughout the process. As a result, all the works have an active bodily presence.

In We Will Sit And Wait (2017), for example, spray paint is sporadically coated over the canvas while the artist deliberately scratches the surface to reveal the outline of the figure and thick layers of oil paint– as though revealing the visual metaphor of waiting for life to get better. Similarly, A Man In One Accord (2018), was formed through a repetitive erratic motion using white spray paint and oil. Here, the artist intends to depict one man in three stages as though he is in motion; moving through life. The boldness of expression in these pieces is directly linked to his subconscious search for identity through his work.

Significantly, many of the artworks’ titles reference either a state of being or a deeper understanding of the human interaction.

The piece titled, I guess I Will Be With You Till The End (2020), indicates a statement of commitment with a lover. This is mirrored in the piece as the passion between couples is vividly captured in a static, yet sensual moment. In Solitude (2019), we are given a glimpse into a state of despair and loneliness characterised through dark solitary figure emerging from the deep red oil paint. In contrast to the former, Osahenye is able to address a deeper state of humanity through Man On A Cross (2001).

Here, the viewer is invited to understand his personal struggle with spirituality and the plights of humanity.

Having participated in several exhibitions including All is Not Lost, National Museum, Lagos, 2021; Escapism, Art Pantheon, Lagos, 2021; 1.54 Art Fair, London, 2018; Art XLagos 2016, 2017, 2019; Biennale Jogja, Indonesia, 2015; Art 14, London, 2014; and many others, Osahenye’s ongoing solo show at O’DA Art Gallery, Lagos, is another milestone in the artist’s bourgeoning career.