We are Tired of Two-Dimensional Paintings— UchayWe are Tired of Two-Dimensional Paintings— UchayUchay Joel Chima tells a poignant story of our society's deeply etched pains with assorted scraps rescued from junkyards. The trained fine artist is a painter gifted with the mind of a structural engineer; his forte being art installations.“Figuratively Speaking” is his most recent exhibition which opened at Goethe Cultural Center, Lagos. It is a collection of visually striking and social consciousness stirring works portraying a man's soul and a country's woes. Uchay speaks with ADENRELE NIYI about his collections in this interview. Excerpts:
What is your medium of your expression?
Well, I'm a multimedia artist which means I work with any available material; junk, conventional material like pencil, pen, charcoal and crayon. You can see old typewriters, fan, old telephone any thing that I can use for installations and paintings I do it.
During the opening talk, you said installation may not pay bills. Do you think it is because installations might not be considered aesthetically appealing?
Installation can pay bills but in Nigeria people are yet to come up to that level where people that have the wherewithal invite you to come and do works for them. There are few installations in Nigeria. Mostly installations are for gardens and for open places so we need to have that culture of installation. People just see art as two-dimensional; something on your wall. However, you will notice that installation carries a lot of weight and volume. That is why if you want to pass across a message, I think installation will do that faster.
How then did you find yourself in installations as a medium of expression?
I studied Fine/Applied Art and I also read books about installation. I know some artists that are doing installation in Nigeria and in the West. Of course artists in the West are more into installation. We are tired of seeing two-dimensional works on the wall. We want to see something spectacular in our gardens, in the city centre and we want to see something that'll make us ask questions. Installation gives you the freedom to do that.
While I looked through your exhibition, “Network Problem” and “Contradiction” particularly seemed created from a blend of modern and archaic elements. Is this deliberate?
Yes, I believe there is a message I want to pass across. Why should we have network problem? Is it that the system is old or the machines are old? Then, let's take them away. Or is it that the technicians are not good that's why the technical problems? Why can't we have it as they have it in other places to just make a dial and it goes straight? Or is the tariff too low? These are the questions around 'Network Problem'.
And in “Contradiction” you utilised charred wood to say what?
In it are the cross and the mask. Two things; the cross reveals and the mask conceals. That in itself is contradictory and that is what you see around the country where we are at a sort of crossroads. For example in the Niger-delta, they live on water but they don't have drinking water. They have oil around them but they don't enjoy the oil. The have gas they don't have light. There are so many issues in our country that ask questions and we need answers; we need the answers now.
Which is your most challenging work and which is your favorite?
This is like asking a father or mother which is their favorite child.
(Cuts in) It's simply the work you may have poured so much of yourself into. Tell us about your challenges.
What I would say challenges vary with the medium. When I paint it is easier than when I do installations. Installation is a hard work; you have to put in a lot of manpower because installation has to do with intellectual arrangement. You have to think, use your mind, calculate, subtract and add up. In installation you gather materials and imagine how it will flow and all. For example if you look at the work here (points at a Papier Mache installation)
(Cuts in) Is this Papier Mache?
Yes, it is an installation of news and rumours done with old newspapers and journals. In the system, we are circulating news and rumours and you know those things travel very fast. However, we want the real rumours and the right news so that another television station will not be shut down.
What does the “Oil Boom-erang” Installation symbolise?
We've enjoyed the oil boom in Nigeria; a lot of good things came out of it like FESTAC '77. However, it is a 'boomerang' because it has introduced guns, kidnapping, and war. How our refineries used to work but now we import oil. There are spare parts we can us to fix our refineries but they say there is a spare parts problem. I can 'dash' them from my collection here. What we are saying is enough of the boom-erang, lets have the boom again.
You have talked about how the social environment influences your work. However, how do you get inspired to select materials? Does inspiration come when you see a material or do you get mental pictures and then go searching for the materials to fit in with the picture?
Sometimes, it is just a flash or a thought and I start to develop it. At other times, I may be passing by and I see materials that get me to go 'wow!' I pack them, when I pack them and I start the arrangements. I collect junks; I have a full load in my backyard, some of which stay for year or months before I find use for them. But one day, I say 'oh! I can now use this for this' that's how I work.
Finally, is it right to say “Figuratively Speaking” is an expression of the contradictions in our society?
Yes, I'm not speaking directly but rather pointing at the obvious. Nobody has assigned me to do this, I simply want to pass the message across
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