From the Archives : The Ogboni

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Members of the Ogboni Society near Onitsha, Nigeria

Photograph by Simon Ottenberg 1959-60
EEPA
2000-007-0973783/1959-1960
Eliot Elisofon Photographic Archives
National Museum of African Art
Smithsonian Institution

Renowned anthropologist, Dr Simon Ottenberg,  took this photograph in the Afikpo region of southeastern Nigeria during his 1959-1960 research. The original caption says, “The Ogboni Society coming from a meeting at Onitsha, the city on the Niger River, during a trip to visit Richard and Helen Henderson, conducting research in the old town at Onitsha. These were Igbo members of Ogboni, which is primarily a Yoruba society.”

The Ogboni society, also known as Oshugbo in the Egba and Ijebu areas of southwestern Nigeria, is an association of accomplished elders in parts of Nigeria, Benin, and Togo.  Members perform a range of religious and political practices, including meting justice for crimes and disputes, installing and deposing kings, and overseeing burial rites. Ogboni members recognize the underground as a spiritual force that unites humankind and witnesses all wrongdoings. Ile, the deity or omniscient spiritual force of the underground, is central to Ogboni beliefs, art, and practices.

The Earth Matters exhibition includes both insignia of office and figures from the meeting house of a Yoruba Ogboni (or Oshugbo) society.  These edan (staffs or insignia of office) and onile (society figures) demonstrate the importance of concepts of the earth to Ogboni. In the ease with which their motifs can be identified, the figurative pair of copper alloy edan suggest the knowable world: male/female, old/young…  and yet beneath each figure is a non-descript iron shaft.  Made from an ore of the earth, these shafts allude to things we cannot know: the unknowable world of the divine and the underground.  Likewise, the terracotta onile figures are made of a material of the earth that alludes to the power and knowledge beyond mere mortal comprehension.

Guest Voices : Marco Cianfanelli

This week’s guest post comes from Marco Cianfanelli, a South African artist who, in addition to participating in the Earth Matters exhibition in Washington DC, is internationally recognized. Cianfanelli is an artist who examines the universal within the personal and, as the great T.S. Eliot once said of great writers, writes both himself and his time.

 

Back down to Earth

by Marco Cianfanelli

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Maquette: The sum of us [The sum of us (2009) realised at 4.44 x 3.47 x 11.4 meters; mild steel: Forum Homini, Cradle of Humankind]     

I am always slightly puzzled when asked to give my opinion on a matter, as one of the significant reasons I became an artist is the very privilege it affords me in blurring and manipulating elements of intellect, science, knowledge, emotion & gesture in a way that is based on, but not confined to, logic or fact but in a way that makes perfect sense to me.

Is it feasible to personify the whole of humanity, as one single being, a being with particular traits and a complex yet distinct personality? Could these traits and this personality be better understood by observing the condition of the earth, how humanity exists on it, in it, with it? In this sense, our perception of the earth’s state(s) would not be a judgement of humanity but rather a reflection of it. Be it good or bad, it is what it is.

If you believe in evolution, you have to consider that we, alongside everything around us, are evolving with every passing second. Evolution is not an event it is a process. With regard to our place on earth, how are we evolving or how will we evolve in the future? Is it possible that we can be active, rather than passive in the process of our evolution and if so, will the nature in which we cohabit the earth be something we value?

Regarding evolution, Vredefort to Sterkfontein, is a work that I produced as a response to the immense significance and connectedness of the two regions of Vredefort, the site of the largest verified asteroid impact crater, and Sterkfontein, a site of significant Hominid findings, which lies within the “Cradle of Humankind”. The work is both a scientific analysis and a family portrait of sorts or a musing on the subject of genetics, created by morphing and interpolating three silhouette portraits of my mother, myself and my father, to create the seven profiles in the work. Geographic coordinates of the region between Vredefort and Sterkfontein, recorded at 20-meter intervals, were gathered to create a digital three-dimensional topographical portion of this region. This data was used to create the third dimension of the seven forms and was amplified to varying degrees on each of the seven portraits, enhancing the effect of a wave or tide, representing the immense impact that rippled the earth’s surface well beyond the region of Sterkfontein.

Could an event so dramatic and in some ways, so violent that it made the earth’s surface twist and distort like water, be intrinsic to the evolution and formation of humanity, could our dawn have been catalyzed by such a cataclysmic event? It became apparent to me that the intended “family portrait” was actually something broader and spoke to me of humanity’s connectedness.

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Vredefort to Sterkfontein (I-VII)  
Laser cut, burnt, laminated supawood 
43 x 31 x 6.5 cm each
2009

From the Archives : Colonial-era Photoraphy

ImageA young Luba woman in the Belgian Congo
Photograph by Emile E. O. Gorlia (1910)
EEPA 1977-0001-135-01

Eliot Elisofon Photographic Archives

National Museum of African Art

Smithsonian Institution
 
This photograph of a young, unnamed Luba woman was taken in approximately 1910 by Judge Emile E. O. Gorlia from Belgium in what was then the Belgian Congo and is now the Democratic Republic of Congo. Gorlia was acting as an alternate to the public officer at the time, in Lusambo, a community in Congo’s Kasai province. He was a keen amateur photographer and photographed in detail the experience of being a government official in the Belgian Congo. This particular photograph was taken during his first tour in Africa. It shows a young Luba woman whose name we are unlikely ever to know, wearing bold earrings, a nose ring, and impressive necklaces. There are few details that provide more context to this woman’s story.  All we know is where the photograph was taken—which is not necessarily the same as where the anonymous young woman was from, as populations in Eastern Kasai at that time were being uprooted and displaced due to wars with Arab populations in the north.
 
 
It is interesting to consider this photograph alongside the work of Congolese artist Sammy Baloji, who has seductively and evocatively drawn attention to colonial-era images in which Africans are too often reduced to stereotypes and landscapes appear as wild or unpopulated. In his piece in Earth Matters, Portrait # 2: Femme Urua sur fond d’aquarelle de Dardenne [Luba woman against watercolor by Dardenne], Baloji overlays an 1898 photograph of a Luba woman over a contemporary watercolor of the landscape representing the two conflicting representations of reality.   

Earth Matters Around the Web : The Polar Vortex?

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Happy New Years everyone! And a cold new year it has been. In the United States, temperatures around the nation plummeted to extreme lows as Arctic air was caught in cycle that caught our country off guard. As with most extreme weather phenomena, there are two ways that most Americans look at them. On the one hand, extreme weather phenomena and their increasing occurrence are, if not directly linked to man-made climate change, in keeping with scientific predictions of what the symptoms of climate change will be. However, climate change is still a flashpoint, divisive issue. For every person who views the extreme weather event known as the polar vortex as a potential symptom of climate change, there is some preposterous claim, here are the top two:

1)   The cold weather disproves that global “warming” is a real phenomenon.

2)   The “polar vortex” is a hoax perpetrated by leftist media to promote the climate change agenda.

Obviously, as a blogger for Earth Matters, I am not of the opinion that the polar vortex was a leftist hoax or that it disproves climate change. But let me back that up with a brief critique. First, the term “global warming” has been passed over to the term “climate change” because the weather phenomena that global warming are linked to are incredibly complex. Second, if we choose to use “global warming”, as many of its critics do, we have to consider that the term “global” does not refer exclusively to the United States. As pointed out in a recent article on Slate, temperature around the world reached record highs in 2013.

As we enter 2014, it is unlikely that climate change phenomenon or the debate around it will cease. But as you begin the new year, please ask yourself one question when you consider all the things we all do that contribute to so-called “global warming”… is it a risk you are willing to take?

Guest Voices : US Botanic Gardens

Today’s guest post, the first of 2014, comes from Dr. Beth Burrous who is one of the Earth Matters partners at the US Botanic Garden in Washington DC. The US Botanic Garden currently has African plants that you can see up close, plants that have become especially important to our daily lives and show how much earth really does matter!

African Plants in Everyday Life

We frequently reap the benefits of African food and medicinal plants, a topic I explore when conducting tours at the U.S. Botanic Garden.  A few of the many beneficial African plants are highlighted here.  Come to the U.S. Botanic Garden to take a look.

Chocolate – Equatorial Africa supplies about 75% of the world’s cocoa beans that are used to make chocolate. While the chocolate plant (Theobroma cacao) is native to South America, it grows well in Cote d’Ivoire, Ghana, Cameroon and Nigeria.  Beans are harvested from cocoa pods .  After fermentation, drying, roasting and grinding, the beans are made into edible chocolate products.  Nearly all cocoa is grown on small (5-10 acre) family farms.  Preliminary studies suggest that eating dark chocolate (the darker the better) may promote cardiovascular health.

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Roasted cacao beans                                   Cacao bean pods

Vanilla – Vanilla “beans” are the fermented and dried fruit of the vanilla bean orchid (Vanilla planifolia). The beans are used for cooking and to make “vanilla extract.”  While the vanilla orchid is native to Central America, about 65% of the world’s vanilla beans are grown on the island of Madagascar.

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Vanilla bean

Coffee – Historians believe that the coffee plant (Coffea arabica, robusta) is native to Ethiopia.  Nowadays, ripe coffee plant berries (“cherries”) are aged, dried and roasted to make coffee “beans” for brewing coffee. But long before the invention of a brewed coffee beverage, people used the caffeine-containing coffee “cherries” as medicine. Islamic medical texts from the year 1000 C.E. prescribe coffee cherries as a stimulant and digestive aid.  Preliminary studies suggest that consuming moderate amounts of coffee (about 3-5 cups per day) may prevent certain types of cancer, dementia and Type 2 diabetes and prolong longevity.

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Roasted coffee beans                                                  Coffee cherries

Periwinkle (“Vinca”)Catharanthus roseus is a popular landscape plant native to Madagascar. It is also the source of cancer-fighting medicines.  The drug vinblastine is used to treat cancers including Hodgkin’s disease, various lymphomas, breast cancer and testicular cancer.  The drug vincristine is used to treat cancers including Hodgkin’s disease, leukemia, neuroblastoma and a rare childhood muscular tumor.  Manufacturers use about five tons of periwinkle plant material to make one ounce of drug.

Periwinkle public

Periwinkle

Foxglove – This common garden plant (Digitalis purpurea ) is native to Northwestern Africa.  It is the source of the heart medicine digoxin (digitalis), used to treat heart failure and irregular heartbeat.

Digitalis public

Digitalis

Deadly NightshadeAtropa belladonna is native to Northern Africa.  “Belladonna” is derived from Italian and means beautiful woman because long ago, the plant was used in eye drops to dilate the pupils.  While all parts of the plant are highly poisonous, several medicines are extracted from this plant and close relatives.  Atropine is used to resuscitate patients with extremely low heart rate, and U.S. troops carry atropine-loaded syringes to treat nerve gas poisoning.  Scopolamine is used in trans-dermal patches to treat motion sickness, and may be useful in treating severe depression.

A Belladonna public

 

Belladonna

Earth Matters Around the Web : The Geography of Nelson Mandela

The Earth Matter’s exhibition consists of five sections that take a symbolic journey through the world as interpreted by African artists. The fourth section in the show is titled “Strategies of the Surface”, which includes works focusing on the landscape and authored by artists from Jacobus Pierneef to Otobong Nkanga and IngridMwangiRobertHutter. Using these two works as examples, the latter work is an apartheid era landscape painting that, many contend, paints a colonial picture of South Africa, devoid of the indigenous inhabitants that challenged colonial claims to the land. The work by Nkanga describes geography from the detached, inhumane point of view of military strategy, conflict, and claim. The work by IngridMwangiRobertHutter focuses on land, belonging, and borders.

In these many interpretations, the emphasis is on the relationship between the land and people, race, and culture. With the passing of Nelson Mandela, it is a an apt opportunity to remind the world that much of the late freedom fighter’s work was about a similar geography, the landscape of people. This landscape is something that Mandela changed greatly, erasing the imaginary lines that separated and imprisoned people. Today, while disparate communities still exist, gone are the so called “homelands” which divided South Africa according to the edicts of racial segregation. Indeed, Mandela’s impact on South Africa’s geography is one of his greatest legacies.

Humans, however, are not the only species affected by geography. In a recent article by National Geographic Editor in Chief Chris Johns, for example, the author tells about his meeting with Mandela and the Peace Park project in Africa. Peace Parks are transnational reserve areas that allow wildlife to move freely across the continent. As Johns notes, the idea of Peace Parks—reserves that transcend political borders, enabling animals and people to move freely across a single ecological unit—resonated with Mandela. This article, which also sheds light on Mandela’s love of nature and his yearning for it during his imprisonment, captures a nuance of Mandela and his legacy that might be overlooked in many of the popular articles that have flooded the internet. The article can be found at http://news.nationalgeographic.com/news/2013/12/131205-mandela-south-africa-apartheid-appreciation/ and more information on the Peace Parks project can be found at http://www.peaceparks.org/.

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Jacob Hendrik Pierneef, 1886–1957, South Africa

South West African Mountains, 1944, Oil on canvas

Private collection, courtesy of Bonhams

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Otobong Nkanga, b. 1974, Nigeria

Limits of Mapping, 2010, Wood, acrylic paint, metal

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IngridMwangiRobertHutter, b. 1975, Kenya

Static Drift, 2001, Chromogenic prints on aluminum

Collection of Heather and Tony Podesta, Falls Church, Virginia

Guest Voices: Chelsea Ellsworth

Today’s guest post comes from former NMAfA intern Chelsea Ellsworth. Having joined the NMAfA team at one of the busiest and most crucial times – during the install of the show – Ellsworth got a first hand view of all the work it took to execute this ambitious exhibition. One of the most ambitious pieces, perhaps, was Moroccan artist Hassan Echair’s site specific installation Ascension. Not only was it one of the most ambitious pieces, it was also the first artwork at NMAfA installed via skype, with the artists supervising the installation in DC all the way from Morocco. Below, Ellsworth gives us an account of some of her experiences with this work and with Earth Matters.

My name is Chelsea Ellsworth and I worked as an exhibits intern at the National Museum of African Art in Washington, D.C.  I helped the exhibits team to install the show Earth Matters from January to April and had the opportunity to work specifically with one artist in particular, Hassan Echair.  Hassan Echair created a piece entitled Ascension that was to be reproduced for this exhibition at NMAfA but, as he was located in Morocco, we had to prepare his piece for him remotely.

At the start of my internship, I was asked to source and purchase materials for Hassan to make this piece here at our museum.  As time went on, I was assigned additional projects in the preparation of this piece.  As I worked on these projects, I had many questions for Hassan that I sent via email.  Some of these were translated using an online translator but others were so complex that I sent them to some friends who spoke French so that they could translate them more accurately.  Despite the language gap and the physical distance, Hassan and I were able to communicate in order to prepare his piece for the exhibition.  Eventually, Hassan notified us that he would not be able to come and install the piece, leaving its completion to us.  As a result, I had the exciting opportunity to create and oversee this piece while working with the Exhibits installation team.

As the rest of the team was busy working on other aspects of this exhibition, I took responsibility for this piece and got to work preparing all of the components for assembly.  My supervisor, Kevin Etherton, and I worked together each day to assemble this piece and to prepare it to show to Hassan.

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Kevin Etherton and Chelseal Ellsworth installing Ascension

 

We continued to communicate via email with Hassan but we got to a point where photos and emails were no longer enough to get this piece completed.  We then scheduled a day when we could have a French translator and a Skype connection with Hassan in Morocco.

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Artist Hassan Echair supervises the installation of his work via skype

 

That day was very interesting as I was able to communicate with Hassan directly for the first time and see his reaction to what we had done with his design.  I was anxious to hear his feedback and worried that he would find something terribly wrong, but I was glad to hear that he loved the work we had done and was pleased with how his piece had turned out.  He gave us some minor alterations here and there and then sat down with me on Skype and demonstrated how to properly tie his bamboo poles together, something that would have been very difficult to figure out through email.

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Hassan Echair (b. 1964, Morocco)

Ascension, 2006, Bamboo, quartz, cord, paint

 

I loved working on this piece and I am glad to say that we completed Hassan’s piece and he was pleased with the results.  I loved having the opportunity to speak with Hassan and to see his reaction to our weeks of hard work and I am glad that we were able to create this fantastic work of art together.

Guest Voices: Ledelle Moe

Today’s guest post comes from South African artist Ledelle Moe. Although born in South Africa, Moe’s heritage is geographically diverse, as are the many places she has lived. Often dealing with place and identity in her work, Moe created a stunning outdoor sculpture for the Earth Matters exhibition. Below are her reflections on the meaning of this work and her creative process.

 

land_displacements6

Ledelle Moe (b. 1971, South Africa)

Land/Displacements, 2012–13

Concrete, iron, Collection of the artist

 

In preparing to write for this blog, I have reflected on journeys travelled. Outside of the everyday of “being” in a place, the conscious trips I have taken feel like important pilgrimages. The ones I will site touch base with the beauty and history of South Africa.

On the 6th of October, I travelled with a friend to Robben Island for the day. During this trip an ex-political prisoner guided the tour through the cells. Nelson Mandela’s autobiography-“Long Walk to Freedom” came to life as my feet walked through the place that he has written about in so much detail. The book itself is a history lesson and an adventure story. It follows a man whose bravery and convictions, trials and triumphs are explained in a way that makes you feel as though he is writing you alone. Image

I re-“read” the book as an audiotape while driving across the country last year in preparation for making the work at the African Museum. His story and my journey from Cape Town to Durban had overlapping points such as Mthatha and I felt awe at being able to access this amazing country to revisit it and acknowledge its richness no matter how complex and difficult the history.

The trip to Robben Island left me with a heavy weight of the history of the prison and South Africa and as a result I felt compelled to try and understand the people that were victims of horrific injustices. In each cell there is now an image of the prisoner and a paragraph in their own words of the time spent there. Since then I have been drawing small pen and ink cameos of each person. This helps me to slow down and remember and walk through this history.

Both the visit to Robben Island and the trip across country reminded me of the thoughts Carol Becker articulates in her book “Thinking In Place” In this book she speaks about the impulse to travel to a place that holds a personal and political history, her reflections being, that through the act of making a pilgrimage to a place a possible reconciliation with the past and history of that place is possible.

During my cross-country trip last year I stopped in a town called Elliot, not far from Mthatha. It was this landscape that I used as inspiration for the work at the African Museum. The land itself makes up the base of the Drakensberg Mountains and has a unique place in the evolution of colonial South African territorial history and land claim. It marks one of many junctures of land ownership issues that are pervasive throughout South Africa.

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The small figures that are attached to the larger form of the sculpture were made from an accumulation of soil that I gathered along the trip. In taking the soil, I acknowledge the place I am in, while also removing a small part of that place and displacing it. In doing this, I felt it was a small gesture of “land claim”- of taking what is not mine and acknowledging that act. This investigation was a reflection of the migrations of my own family.

The articulation of the work itself, I hope speaks to a connection and disconnection, and of collective and individual grouping of peoples as they move transiently through and from the land.

As I sit here on table mountain writing this, I can reflect on this geography, explore this history and yet its with this distance that I begin to understand the place I have called home in the States in more focus. Similarly, when in the States the distance allows me the perspective to understand South Africa. It is with this paradox and duality that I feel very grateful to be able to participate in the show “Earth Matters” – that asks us to consider the earth under our feet and acknowledge it.

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Guest Voices: Adejoke Tugbiyele

Todays guest post comes from fine artist Adejoke Tugbiyele. In 2013 Adejoke assisted world-renowned, Ghanaian artist El Anatsui with the installation of his sculpture “Ala”, in the Smithsonian Gardens.  As she prepares to show with artist Nnenna Okore at the Joburg Art Fair, Adejoke shares her experience working with El Anatsui in this week’s Guest Voices.

Working with El Anatsui

Working with El Anatsui was a dream come true.  It could not have felt any better to do so at The Smithsonian, National Museum of African Art. Before me stood, on the one hand, an artist whose reputation deems him an institution by himself, and on the other, an institution which promotes and preserves the legacy of artists like El Anatsui.  I do not come from a family of artists.  Like many children of Nigerian parents, I was encouraged to go into the medical field.  In fact, I went to college as a pharmacy major for two years right after high school. Clearly, that was not the role the universe intended for me.  I quit and eventually went on to study architecture.

Why is this significant?  It is significant because despite my telling him that I was graduate sculpture student at Maryland Institute College of Art (MICA), El kept introducing me to people as an architect. As any graduate student would, I showed him images of my work during one of our strolls through the Museum’s African art galleries, asking for a critique of some sort. A man of few words… he merely smiled.  Sure enough, and before I knew it, he was requesting detailed sketches and technical drawings of his pryamid installation for the Smithsonian Gardens. This task was not as easy at it sounds.  I often had to switch back and forth between a metric ruler to one in inches and feet, the latter being the system I’ve used most of my life here in the United States.  El didn’t care and remarked that our system in the U.S was “very colonial.”

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Adejoke Tugbiyele

Water Go Find Enemy (2013)

Perforated metal (woven), palm stems, brass wire and copper wire

During the installation we became short on the mirrored plexiglass that was used in the construction of El’s pyramid, a delicate material which was meant to be inserted underneath of sheets of cassava graters in pre-specified areas. I sketched out a rough estimate on paper of the total number of existing mirrors and those needed, and sent them to Anthony Stellaccio, the project manager for Earth Matters.  We corresponded back and forth and a decision was finally made on how many more mirrors to purchase.  I was glad that my experience in design and construction management came in handy in supporting Karen Milbourne (curator), Anthony, and their team at the Smithsonian.

Over time, it became apparent why El valued my help.  While installing the pyramid in Washington D.C, he was simultaneously preparing for two other exhibitions in Amsterdam and London respectively.  That London project recently won him the prestigious £25,000 Charles Wollaston Award for his work, TSIATSIA – searching for connection, 2013.  El took several breaks to his hotel room to manage the London project from D.C. and he must have anticipated that he would have to do the same in Amsterdam.  I was thrilled when he said I could join him in Amsterdam as his assistant (or architect, I suppose) to manage the installation at ArtZuid.  This was paid work, whereas at the Smithsonian I was one of the four or five volunteer assistants selected by Karen Milbourne.  I should also mention that the South African artist and one of the artists in Earth Matters, Ledelle Moe, initially recommended me to Karen.  Ledelle was a professor of Sculpture at MICA and gave me very inspiring critiques in my studio.

I can’t thank the Smithsonian Museum enough for the wonderful opportunity of working with El Anatsui.  The volunteer program is very special and one that I highly recommend graduate students should take advantage of.  The exhibition Earth Matters is genius in its selection of artworks that represent a continent whose land has, and will, always matter.

-Adejoke Tugbiyele

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Adejoke Tugbiyele and El Anatsui                                       Doug Johnston, Adejoke Tugbiyele and El Anatsui

NMAfA_EM_GardenProject-2345

El Anatsui (b. 1944, Ghana)

Ala, Site-specific installation, 2013

Adejoke Tugbiyele

Master of Fine Art, Sculpture (2013)

U.S. Fulbright Student Fellow (2013-14)

Website: www.AdejokeTugbiyele.com

Guest Voices: Charles Okereke

Today’s guest post comes to us from photographer Charles Okereke. Based in Nigeria, Okereke’s world Once in a Blue World was featured in the Earth Matters exhibition. Charles was also feature earlier on our blog -https://earthmatters2013.wordpress.com/2013/08/21/earth-matters-around-the-web-charles-okereke/.

Now Okereke comes to us with his own words and meditations on his powerful and personal, world-conscious photographs. Be sure to visit Okereke’s blog for more works of art and news about this renowned photographer at charles-okereke.blogspot.com/.

Earth, a Dying World?  

by

Charles Okereke

 

The Earth was made as a dwelling place for all creatures, which also includes man.

Of all the creatures dwelling therein, Man is the destroyer when he was otherwise crowned with sovereignty. This arrogant attitude indicates an excess of self-worth, and has made man a plunderer rather than a nurturer.

Human beings are the only creatures that have set rules apart for themselves and refuse to conform to laws that guide creation’s movement and sustenance. Man is similarly the only creature that is out of tune with the eco-system and plagued with a one-sided narrow intellectual outlook.

What is sensed and termed as catastrophes globally today are but a retroactive consequence of a misalignment of the forces of nature – mankind so to speak, has dug its own grave, like dying Worlds.

Hdramhindra Blasted-2010 copy

Hdramhindra Blasted (2010)

This period of recompense will be felt globally in every facet of human endeavor, not only environmentally or climatically. But it will likewise reflect in socio-political affairs, which can already be surmised in the upheavals that are perennial occurrences today.

 

Man has been living in an exclusively selfish mentality, devoid of the understanding of the powers which he uses daily, ignoring nature’s principles and adjusting thereby. Economic affairs are collapsing; nations are in conflict, and there is uprising everywhere.

Dis-integration-2010 copy

Dis-integration Cameo (2010)

 

These are visible reverse processes, as the system has to automatically be put back into orderliness by eliminating the inferior and the destructive, be they man or animals, worlds and planets, landscapes and mountains, rivers and oceans, man against man, nations against nations, economic shifts and the rest of them – all these are manifestations of the activities of the Lords of the elements, which man sees as warfare in nature, and perceives one-sidedly as cruel in their manifestations and activities.

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Collapse of Andromeda Emperial (2011)

Even in routine designs, we know there is a designer with a purpose who strives to make his designs adaptable and useful to the original intention for its creation; how much more for an automatic pulsating life form like the Earth with her inherent regulatory system. Mankind can only learn by compulsion and   experiences in the coming years to adapt naturally.

My concern comes from the simple understanding that we are all connected and a part of the ecosystem, and by my sense of duty to maintain a healthy and natural world.

Saturn Anchored-2010 copy

Saturn Anchored (2010)

 

The work of the photographer of this generation becomes increasingly perilous as understanding narrows. As an artist, I use photography as a tool to highlight this observation and neglect, a state of inertia among the people and to bring about an awakening to consciousness, and of the need to be more proactive on issues that concern us as human beings.

Vasitha-2010 copy

Vasitha (2010)

My work speaks metaphorically, as I tend to perceive the images in a sort of tragic-comic innuendo, which if deduced based on surface perception will not reveal much, unless penetrated. I work as an artist not in a stark documentation of the assaulted environment, but from deductions which expose and interpret without being overly offensive or derogatory in presentation. I work to instigate a re-examining of hitherto traditional precepts which do not further, but hinder our species’ progress towards a healthy maturity.

Likewise, the Planetarium subseries, from my Unseen World series uses common objects littering my local environment to illustrate planets in stages of birth, development and disintegration – effects of the activities of the creatures dwelling therein. This places a grim picture before the people of earth illustrating the urgent need to care for Mother Earth and, perhaps, in this process, provide hope for a rebirth and rejuvenation.

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Count Down Versuvus (2011)

The fight for a readjustment to the natural order is a constant shift in the consciousness of mankind, as this period is declared a compelling time for obedience, and can never relent to the wills of men, but of a final culmination of purification, which will not cease until there is a change. More is yet to come that will silence man, until he learns the true principles of adaptation.

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Rebirth of Orpheus (2010)

In my immediate environment, I act more in the sense of an activist for a cause. My pronouncements and photography has marked me out as a crusader of sorts. But these are issues of intolerance which affect all regions, although it could be more heightened and perceived in some areas.

Paradise Utopia-2011 copy

Paradise Utopia (2011)

 

Hence I stand on my duty post armed with the potentials to perceive, deduce and freeze the moments through imagery.

By Charles Okereke, 2013

http://www.charles-okereke.blogspot.com