By Akinwale Onipede

The “Auchi Polytechnic Art School” or “School of Art” needs no elaborate introduction on the contemporary Nigerian art scene. Celebrated as “the colourist’s school” for her products daring and dazzling polychromatic flair and exploits, the Auchi School, at different times under the guidance and influence of notable artists and teachers such as Dr. Ademola Adejumo, Ellis Erimona, Dr. Edwin Debebs, Emmanuel Ikoro, Emmanuel Ekpeni, Sam Ovraiti, Cyril Odidison, Emmanuel Afolayan, Ben Osaghae, Duke Asidere, Drs. Sola and Jumoke Kukoyi, Kent Onah, Dr. Helen Uhunwangho, etc., is one of the major bastions of creativity, defining the effervescent Nigerian contemporary artscape.

With generations of students since its establishment in 1973 as Mid-West Polytechnic, an offshoot of Mid-West Technical College, Benin, The Auchi Polytechnic moved to its present location in 1975 and became a mono campus in 1976 and has since produced illustrious graduates/artists such as Edwin Debebs, Reuben Ugbine, Felix Idugie, Mike Omoighe, Olu Amoda, Peter Ighodaro, Sam Ovraiti, Tony Okujeni, Cheche Egbune, Emmanuel Ikoro, Olu Ajayi, Ben Osaghae, Ini Brown, Emmanuel Ekpeni, Zinno Orara, Pita Ohiwerei, Alex Nwokolo, Osahenye Kainebi, Lekan Onabanjo, Femi Williams, Stella Ubigho, Angela-Isiuwe Amami, and a host of others.

The graduates of the 1999 set, coming under the name Auchi Art Royal, provide a case study in astounding agglomeration of creative talents. It is amazing and rare to have such an array of gifted individuals belong to the same class in a school and still bond together in the creative business decades after graduation. A good number of them are already household names with appreciable visibility, laurels and patronage.  

Their 2025 exhibition scheduled10th-23rd August, 2025, is titled “1499 Art Force”, to denote their number, membership and year of graduation. Organized at the Thought Pyramid Art Centre, Lagos, to celebrate the debut of “their signature annual exhibition series”, the metal works of Ashikodi-Ebuh Okwudili and Braimoh Kingsley do not only speak to occupational and cultural themes but also to the dexterity of the artists in manipulating metal to produce elegant and exquisite forms.  Dudu Emmanuel’s penchant for detailed figural rendering is expressed in muted hues, and with great attention to the lyrical flow and design of the picture space. Franklyn Enebeli’s bold and imaginative paintings engage cubic forms and spatial rendition, deliberately sacrificing pictorial depth and the third dimension for surface tonal allure and design aesthetics.  

Henry Igba epitomizes the Auchi School’s rainbowishness in his figure and landscape paintings which have a soothing therapeutic aura. His sparkle in the paintings holds the promise of greatness with sustained practice. The phenomenal landscapist, Imhonigie Imoesi with his breathtaking paintings is a study not only in patience but also in deft juxtaposition of complementary and analogous tones in depiction of sundry idyllic views. Joe Nsek’s surreal beauty and decorativeness affirms the current creative tendencies in the Auchi’s identity. John Anabui hits a bull’s eye in matters of the Nigerian nation with the sculptural piece titled “Senior Citizen”, alluding to the deification of cows over humans, especially under the late Muhammadu Buhari’s administration. Klaranze Okhide, no doubt is a strong lady, for surviving among so many talented male classmates and still pulling her weight with paintings which are experimental as well as soul searching.

Musa Asuku’s flaming hues and the usual calming down of their fieriness with cool colours hint at an artist capable of navigating and harnessing beauty from extremities and uncommon depths. Nosakhare Osadolor’s eyes for details, subtlety of tones and natural disposition to figural composition based on everyday preoccupations, are capable of endearing him to regular art lovers. Ola Balogun’s subdued colours, faceless figures and textual declarations in his paintings are expressions in self-worth, assertiveness and activism, more so in the present era of rejuvenated Black and African nationalism. Pius Oisereme’s multimedia sculptures in wood, metal assemblage and bronze, portray the grand beauty of the African woman. Lastly, Titus Agbara’s landscape painting is done in the best tradition of the genre. His installation of assorted paintings titled “The Journey” is more mystifying than it is autobiographical.

In all, the “1499 Art Force” exhibition points to the different stylistic and ideological tracks in which the 1999 Auchi Polytechnic graduates have worked in the last quarter of a century. Their exploits in their respective paths have lent the edge of diverse creativeness which is the hallmark of their being, togetherness and uniqueness.