Oliver Enwonwu, the son of renowned artist Ben Enwonwu, is a chip off the old block. Like his father, he is a highly respected Nigerian artist who has significantly impacted the art world with his unique style and creative vision. Born in 1974 in Lagos, Nigeria, Oliver comes from a family of artists, as his grandfather was a reputed traditional sculptor, while his father, Ben Enwonwu, was a renowned Nigerian artist. Growing up surrounded by art and creativity, he developed a deep passion for the arts at a young age and began honing his skills as a painter.

Oliver’s s art is characterised by a blend of traditional and contemporary influences. He draws inspiration from his Nigerian heritage and incorporates modern techniques and concepts. His works often feature vibrant colours, intricate patterns, and dynamic compositions that captivate the viewer and evoke a sense of wonder and curiosity. They also explore themes of identity, cultural heritage, and human emotion, offering a unique perspective on the complexities of the modern world.

Over the years, Enwonwu has garnered international acclaim for his work, exhibiting his paintings in galleries and museums worldwide. His artistic talent and creative vision have earned him numerous awards and accolades, solidifying his reputation as one of the leading artists in Nigeria and beyond. Enwonwu’s contribution to the art world extends beyond his work, as he is also a passionate advocate for supporting and promoting emerging artists in Nigeria and Africa. In this interview with Funke Babs-Kufeji, he speaks about his foray into the art world and creating a unique name for himself in the art space while continuing his father’s legacy.

Photography @mistereb : Nathan Eaton-Baudains

You are from a long line of artists; your grandfather was a traditional sculptor of repute in Onitsha, and your father is the renowned African artist of the 20th century, Ben Enwonwu, famous for the “Tutu” painting, which sold for a whopping 1.6 US dollars, being among the most expensive African arts to be sold. How are you keeping the legacy alive, and do you have anyone else in your family helping you uphold it?

My father’s legacy and contribution to the art world continue to inspire me as an artist. My recently concluded exhibition, ‘Oliver Enwonwu: A Continued Legacy’ at Mall Galleries, London, organised by OM234, coincided with the 30th anniversary of his passing. It was conceived as a conversation with my father and explored our shared depiction of femininity as a symbol of Indigenous aesthetics and primordial feminine power. The exhibition venue also pays homage to his 1985 exhibition ‘Dance Theme’, also staged at Mall Galleries.

Additionally, through The Ben Enwonwu Foundation, I have preserved and promoted his work while supporting emerging Nigerian artists. While I am the primary steward of my father’s legacy, I am grateful for the support of my family members, including my mother, Caroline Enwonwu, who recognise and value his contributions to African art.

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The painting “Tutu,” also referred to as the “African Monalisa,” is a painting of Princess Adetutu Ademuliyu of Ile-Ife, which was a triptych of artworks created by your father, Ben Enwonwu, during the aftermath of Nigeria’s civil war. Today, you have created a similar piece, “Ronke,” with the niece of Princess Adetutu, Olori Aderonke Ogunwusi (Nee Ademuluyi). Tell us more about your artistic vision and why you decided to do it?

I chose to re-enact this series, similar to my father’s, to continue his legacy. By featuring Olori Aderonke Ogunwusi, I am paying tribute to her lineage and highlighting the importance of tradition and history in contemporary art. I believe that by honouring the past and celebrating the present, we can create a bridge between generations and inspire a deeper appreciation for our history and the significance of preserving it through art.

Can you describe the medium and technique of your work in comparison to your father’s master piece?

The medium is the same, as both my father’s series on Tutu and my paintings of Ronke are created in oils on canvas. While he favoured a more direct method, sometimes alla prima with bravura brushwork, I elected to work in layers—much like the 16th century Old Masters—and imbued the portraits with great detail. In many ways, my series interrogates the complex layers of history between the African continent and the West to address the near absence of Black personages in accounts of Western art history. In achieving this, Ronke exudes an air of power, regality, and pride.

Your “Aderonke” piece was one of many art pieces you created for the “A Continued Legacy” exhibit at the Mall Galleries. Tell us about some of the other works in this collection, especially the work titled “Were God to be a Woman?”

‘Were God to be a Woman’ asks viewers to reimagine the role of the women depicted by modern masters such as Pablo Picasso and celebrate Indigenous African power over objectivity and colonialism. Whereas ‘Les Demoiselles d’Avignon’ associates Picasso’s subjects as women of easy virtue, my re-interpretation aims to shift the narrative from objectification to empowerment, giving voice to marginalised perspectives in art history.

Another notable work is ‘Legacy of Resistance’, my interpretation of the 1804 Igbo Landing. Here, I explore the reality of historical trauma by recalling the past and written accounts of history and having them retold as myths or legends. The central divine figure, ‘Anyanwu’, is depicted in the work, hovering in the clouds. In this painting and my ‘Children of Biafra’ series, I adapted my father’s Anyanwu to continue a conversation with him and a metaphor for emancipation. The purposeful blending of historical events with personal narratives creates a powerful commentary on the lasting effects of colonialism and oppression. I invite viewers to reflect on the complexities of identity, memory, and resilience in the face of adversity.

You were recently selected as the first recipient of the Akoje Residency, organised through the King Charles Foundation and the Akoje Foundation at House Dumfries, Scotland. Can you shed more light on the Akoje Residency and what qualifies you to be a recipient of it?

As the first recipient, I am honoured to have been chosen for this residency programme, which focuses on supporting artists exploring social justice and cultural heritage themes. I was selected based on my commitment to addressing these issues in my practice and my ability to engage with communities meaningfully.

Your father’s artistic expressions were rooted in modern Nigeria, rich in heritage and history. What can you tell us about your creative expressions and why they are such?

My artistic expressions are also deeply influenced by Africa’s rich heritage and history and my experiences growing up in this cultural landscape and recently in Canterbury, Kent. I strive to create art that reflects the complexities of African society and challenges viewers to think critically about social issues. In my work, I elevate Black culture to challenge racial injustice and systemic racism by celebrating Africans’ cultural, political, and socio-economic achievements by examining African spirituality, Black identity and migration, contemporary African politics, Pan-Africanism, and the global African empowerment movement.

As a previous resident of Lagos, I witnessed firsthand and was forced to respond to pertinent issues such as bad governance, political upheaval, and gender inequality. I am also intrigued by the fashionable women of Lagos and, by extension, Africa, who exude confidence, beauty, and rhythm.

How easy or difficult has it been for you to follow in your father’s footsteps?

While there may be expectations to follow in my father’s footsteps, I believe it is important to carve out my unique path and establish my own artistic voice reflecting my personal experiences and perspectives. In doing so, I can make meaningful contributions in my way as well as celebrate and preserve his legacy. Alongside my artistic practice, I founded Omenka, one of the leading galleries in Lagos, and Omenka magazine, the premier art, business, and luxury lifestyle publication in Africa. As an administrator, I have served as the president of the Society of Nigerian Artists, established in 1963 as the professional body for all visual artists in Nigeria.

One might assume you didn’t take an immediate interest in the arts or follow in your father’s footsteps since your first degree was in biochemistry and geophysics. When did you begin to take an interest in the arts, and when did you first realise you could draw?

At an early age, I watched my father paint and sculpt. I recall his hardworking ethics and moments of deep quietude, which were often required to inspire important work. My father spotted my artistic gifts in a chance encounter when I was about seven years old. Suspecting I was tracing, he insisted I repeat the drawing in his presence, following which he declared to my mother, “Oliver draws with mathematical precision.” This encounter would spark my early interest and a life-long preoccupation.

My background in biochemistry and geophysics influences my artistic practice by giving me a unique perspective on the intersection of science and art. This perspective allows me to incorporate elements of both disciplines into my work. This diverse background also helps me approach artistic challenges with a multidimensional and research-focused mindset, leading to innovative and thought-provoking creations.

Apart from your father, which other artists, both local and international, inspire you, and why?

I am inspired by Rembrandt for his play of light and mastery over portraiture. His influence is particularly significant because the predominant focus of my practice is the exploration of portraiture as a genre, which ranges from realist to allegorical representations of contemporary, historical, and mythological subjects.

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For many years, you were the president of the Society of Nigerian Artists and witnessed firsthand the massive movement regarding the appreciation of African art. What do you think about where Africa is now in terms of competing, art sales, exhibition spaces, etc.?

Today, African art is gaining global attention owing to a developing domestic scene, as evidenced by a growing number of professionally run galleries, alternative spaces, major events like art fairs and biennales, auction houses, residencies, art foundations, and centres to develop critical thinking, production, and dissemination. Many artists are also studying at prestigious international institutions, while more research and critical writing are published and distributed to new audiences through alternative channels like social media. Consequently, many artists are increasingly represented by international galleries specialising in art from the African continent and have more appearances at major global fairs, biennales, and festivals worldwide. These developments have contributed to the staggering prices of African art on the international market.

However, much of this progress has been privately driven. There must be increased cooperation between the public and private sectors to ensure sustainable growth in the visual arts sector. This will influence policies that, for instance, protect artists’ intellectual property and resale rights, provide infrastructure like purpose-built exhibition spaces, and clearly delineate a value chain by encouraging investment into specialist areas like conservation, valuation, art insurance, transportation, storage, and publishing. Continued advocacy, investment in arts education, and increased collaboration between African artists and international institutions will create more opportunities for local artists to compete globally and secure exhibition spaces worldwide.

You are not only an artist but also a writer. Hows that currently going?

I write regularly on art and investment and modern and contemporary African art for several important publications. I also contribute well-researched, scholarly texts to exhibition catalogues, encouraging critical thought and discourse on contemporary art developments in Nigeria and Africa. Omenka magazine will be relaunching soon in a big way.

Lastly, what is your advice for artists, curators, etc., who want to carve a niche in the art world?

My advice for those seeking a niche in art is to stay true to your individualistic perspective and creative ideas (or unique voice and vision). Never be afraid to take risks and push boundaries in your work. It is important to network, collaborate with other artists and institutions, and constantly seek opportunities for growth and exposure. You can create a lasting impact in the art world by staying dedicated, passionate, and open-minded.