The new exhibition at OOA Gallery is called Harmony of Humanity, with the participation of artists: Okoye Emeka and Olivia M. Pendergast, and will take place from January 20 to February 25, 2024.
OKOYE EMEKA
Born in Ohaofia, Nigeria in 1997. Works and lives in Uyo, Nigeria
The Awakening of Africa, by Marga Perera
Okoye Emeka’s artistic odyssey traces back to his childhood, where he embarked on the creative path of drawing and crafting caricatures. The genesis of his profound connection with art unfolded during his primary school years, a time when academic struggles in reading, writing, and language, especially English, prompted him to find solace in the language of drawings. Recognizing the emotional resonance his cartoons held for many, he resolved to delve deeper into the world of art. This journey led him to the University of Uyo in his native Nigeria, shaping the foundation of his artistic expression.
Currently represented by OOA GALLERY in Sitges, Barcelona and Mitochondria Gallery in Houston, Texas, Okoye Emeka (Nigeria, 1997) emerged as a standout among emerging artists in 2022. His accolades include participation in the Thurgood Marshall College Fund exhibition, alongside luminaries such as Sam Gilliam, David Hockney, Roy Lichtenstein, Sarah Slappey, Derrick Adams, Kehinde Wiley, Amoako Boafo, and Jeff Koons. Initially exploring still lifes and landscapes, Okoye’s artistic evolution took a transformative turn when he found inspiration in Rembrandt’s self-portraits, as well as 19th-century artists like John Singer Sargent and Anders Zorn.
The portrait, both in its pictorial and sculptural dimensions, has undergone a fascinating historical evolution across diverse contexts—religious, economic, political, social, anthropological, and psychological. From the hieratic expressions of primitive cultures, such as in Romanesque art, emerged a compelling need to humanize portraiture, as seen in the Gothic period. The transition from generic portraits to the specificity of character, evident in ancient Rome, further evolved during the Renaissance. Piero della Francesca’s “La Pala di Brera” serves as a notable example, where the portrayal of Federico da Montefeltro in a solemn religious scene coexists with Battista Sforza, his wife, symbolizing the Virgin, and their child, Guidobaldo, asleep in her lap.
The Baroque era witnessed Caravaggio challenging the decorum of the Council of Trent by employing street models in paintings such as “La muerte de la Virgen.” The idealization of characters served various purposes, from arranging royal marriages in pre-photography times to a gradual shift towards prioritizing expression over beauty. This transformative journey culminated in artists like Rembrandt and Goya, who delved into portraying the inner world of characters through the expression of emotions.
However, the evolution of portraiture has not followed a linear or simple trajectory. Even in classical Greece, the renowned Fidias faced imprisonment for depicting Pericles on the shield of the goddess Athena in the Parthenon.
The portraits presented by OOA GALLERY from January 20th till February 17th, crafted by Okoye Emeka in 2023, reveal a masterful command of human expression. Observers are confronted with emotions, gestures, and facial expressions, yet the genesis of these emotions remains veiled, as Okoye skillfully hints at contextual elements. Beyond technical proficiency, the compelling aspect lies in Okoye’s approach and creative process, reminiscent of the catharsis described in Aristotle’s Poetics. This artistic journey extends into psychoanalytic catharsis, drawing parallels with Freud and Jung, as well as contemporary techniques of emotional release.
Prior to painting a portrait, Okoye engages in profound conversations with his models, delving into their growth, relationships, and social and sexual experiences. By understanding their likes and dislikes, he explores their thoughts, feelings, and emotions, engaging in a process of reasoning about healing and growth. The resulting emotions depicted in his paintings transcend mere pictorial representation, as Okoye seeks to unveil the intimate essence and inner life of his subjects. Most paintings involve a performative process, including staging scenarios with the models and introducing objects or scenes that align with the event being portrayed. This immersive approach allows Okoye to capture emotions with striking authenticity, suggesting both atmosphere and mood.
Okoye’s subjects, predominantly young and middle-aged, symbolize the boundless energy, ambition, hope, and dreams inherent in youth. The need to liberate oneself from the past emerges as a central theme, capturing a psychological portrait of depth. Okoye’s fascination with the human mind and its impact on an individual’s demeanor during specific moments is palpable. Immersed in the emotions of his subjects, especially after profound conversations, Okoye firmly believes that stepping into the shoes of others enables him to portray their feelings sincerely. Within these portraits, reflecting past emotions, one can discern a contemplation of the passage of time, underscoring the imperative of liberation from the past and the embrace of the fleeting present—a sentiment encapsulated in the ancient Roman poet Horace’s timeless phrase “Carpe diem”: seize the day, seize the present.
Okoye confronts us with the human fragility spanning epochs, races, and beliefs, advocating for the development and fortification of emotional intelligence and empathy. His characters communicate a spectrum of universal emotions—fear, love, tranquility, joy, indifference, or resignation. While these emotions resonate universally, Okoye’s paintings also delve into his black identity, his interest in his country’s history, and the broader narrative of Africa, exploring themes like colonialism and immigration.
Among his preferred literary works is the novel “Things Fall Apart” by Nigerian writer Chinua Achebe (1930-2013). Published in 1958, it stands as the first historical novel addressing African societies subjected to colonization, witnessing the extinction of their way of life, thought, religion, traditions, and magic. Nelson Mandela, having read the novel in prison, lauded Achebe as a writer whose words could topple prison walls. “Things Fall Apart” narrates the historical process wherein black communities relinquish power to white colonizers and is regarded as a legacy for African peoples lacking a written record. In the post-colonial era, Africa has a narrative to share.
Marga Perera (AICA) Ph.D. Art History. Writer by Las tendencias del Arte.
Olivia Mae Pendergast
A Melody of Humanity
Olivia Mae Pendergast, an American-born artist, embarked on a transformative artistic journey when she discovered Africa, specifically in Malawi, in 2008. Subsequent travels to places like Haiti and Bangladesh followed, but it was in 2016 that she chose to make Kenya her home. While she has explored landscapes, Pendergast’s true passion lies in portraiture, capturing the essence of “ordinary” people in their daily lives with a remarkable subtlety.
Her seemingly simple depictions belie a profound creativity and a quest for subtle effects that leave a lasting impact. Pendergast’s paintings possess a contemporary and progressive quality, while also nodding to the revolutionary old masters of the 20th century, such as Picasso, Modigliani, and Gauguin. The influence of Modigliani is particularly evident in the elongated forms and expressions of her Kenyan subjects, paying homage to the iconic artist while maintaining a unique and significant style.
Pendergast’s art transcends mere aesthetic exploration; it becomes a bridge connecting cultures. Rather than appropriating African motifs, she candidly acknowledges her inspiration as an American artist living amongst Kenyans.
Her empathetic approach is palpable, evident in the trust and comfort her subjects exude, having willingly posed for her.
Her loose, transparent oil brush strokes and pastel earth colors serve as intentional visual devices, allowing viewers to peer beyond physical traits and connect with the true essence of her subjects. Background tones are like brilliant spices Pendergast’s work challenges the debate on whether a non-African artist can be considered contemporary African, asserting that anyone who centers African people, culture, and narratives with sincerity should be embraced.
Her paintings, infused with a spirituality that transcends the mundane, celebrate the everyday hero. Each canvas becomes a song, a melody to humanity, echoing the dignity and magical aura inherent in every individual. With meticulous attention to detail and background, Pendergast crafts a visual symphony, where pastel hues harmonize with the energy or languor of her subjects, creating an immersive experience that goes beyond the surface, resonating with the soul of each portrayed figure. In Pendergast’s art, every person becomes a magical entity, a testament to the profound beauty found in the ordinary.