Embarking on a captivating exploration of art, identity, and the narrative of post-colonial Africa, this article delves into the profound insights of Uchay Chima, a distinguished multi-media artist and the Artistic Director of The Museum of Contemporary Art Lagos. Known for his exceptional work that weaves together unconventional materials in thought-provoking installations, Uchay brings a unique perspective to the intersection of aesthetics, social responsibility, and cultural preservation.
He is committed to shaping the narrative of contemporary African art. His insights not only resonate deeply, but also spark a powerful realisation about the broader context of Africa. Uchay has eloquently spoken about “art being a reflection of the questions we ask”, prompting a revelation that this principle applies seamlessly to our continent. In contemplating the current state of Africa, it becomes evident that it reflects the questions we, as Africans, are both asking and neglecting — a mirror reflecting our dedication towards true sovereignty and prosperity.
As we engage in an insightful interview with him, we unravel the artist’s journey in discovering his identity through experimentation and exploration.

Furthermore, we delve into the pivotal role of art as a medium for intellectual and cultural shifts, exploring how Uchay navigates the delicate balance between aesthetics and advocacy for social causes. The conversation extends to the influence of Western art on African perceptions and the ongoing global dialogue surrounding the repatriation
of cultural artifacts. Finally, we gain a glimpse into some of Uchay’s upcoming work and his mentorship of young artists.

Finding Yourself Through Art

Fungai: Can you share about your journey in art — how integral
experimentation and exploration have been in discovering your
artistic identity?

Uchay: My artistic journey started from kindergarten. I vividly recall going through coloring books and drawing in them. I drew on almost everything around me — walls, books, furniture…name it — any available space. I was quiet but restless; always looking for where and what to draw. Oh, did I get in trouble for drawing on people’s walls? Your guess is as good as mine.
I grew up in Enugu, a city located in South-Eastern Nigeria. Also known as
the coal city, Enugu is derived from two Igbo words Énú Ụ́gwụ́ meaning
“hill top”, denoting the city’s hilly geography. The city was named
after Enugwu Ngwo, under which coal was found. And for this discovery,
many Europeans resided in the city, building the train station for the
distribution of coal. Over the years, coal has been abandoned due to the
discovery of crude oil in the Niger Delta and sighting the effect of climate
change and global warming.
I have no doubt in my mind that growing up in Enugu, played a huge role
in moulding the artist I am today. I have a rather pronounced sentimental
attachment to this city that has also been home to quite a few Nigerian
artists and writers. Renowned writer Chinua Achebe spent a period of his
life in Enugu, as did celebrated poet, Christopher Okigbo. Award-winning
writer, Chimamanda Ngozi Adichie, author of “Half of a Yellow Sun” was
born in Enugu and spent a good number of her formative years in the city,
as did many other outstanding Nigerian artists. The Aka Group of Exhibiting Artists was based in Enugu and Nssukka, a nearby town.
In 1986, I was fortunate to see the Aka Group show at the Presidential
Hotel in Enugu. My 15-year-old self could hardly contain the immense
feeling of awe I had while staring at works of great masters, the likes of
Nsikak Essien, El Anatsui, Bona Ezeudu, Chris Afoba, Obiara Udechuckwu,
Tayo Adenike, Boniface Okafor, Obiora Anidi and Tony Umuanna. I
remember feeling like I had been transported to another realm and was
looking at the work of spirits. My mind could barely contain the thought
that humans like me had created such intricate work. They were the first
professional artists I ever met and my adolescent mind quickly captured
them as heroes. They have remained so over the years.
While in junior high school, I read the book “The Depths of Glory” (A
biographical novel of Camille Pissarro) by Irving Stone, which changed my
life forever. I made up my mind to pursue a career as an artist no matter
what. By the time I got to senior secondary school, I had started making
artworks to sell to friends and family. Later my intentions became clearer
when I finally enrolled in the Fine and Applied Arts Department of the
Institute of Management and Technology in Enugu. And I have been on
this journey ever since, giving it my all as a full-time studio artist.
Going to art school exposed me to the basics for my practice. It was like an
introduction to the circle of art. The introductory level is where a lot of
artists decide to stay and work like every other artist, doing the regular. At
one time, I went to a gallery to sell some of my pieces. The owner of the
gallery checked out the works and said to me that I was doing the regular
thing every other artist in town does. That there was nothing unique about my work at that time. I went home searching my heart. I began to do
some studies. I began to ask questions. The questions you ask determine
the answers that you get. I began to visit some outstanding artists, going
for studio visits. I read books and art magazines. I began to explore and
experiment. Experimentation most times launches you to something
different from the ordinary…A NEW GROUND to walk on. I explored
materials both conventional and unconventional — sand, wax, paper,
charcoal, strings, rope, glasses, acrylics, oil, enamel, saw dust and any
material that I could find around me. It wasn’t long before my confidence
and boldness grew wings. I began to discover new feathers.

Fungai: Art is deeply personal, reflecting the artist’s inner self. While some artists imitate others, some find inspiration to develop their own
style. How can an artist find their own voice?

Uchay: It’s easy to follow where the path leads. But it’s extraordinary to pave a road through the rock, which is what most outstanding folks have done
throughout history. The truth is that some start by imitating others and
remain on that level, while some by imitating others along the way discover their own uniqueness. On the other hand, many have found their own voice by experimentation, by researching and putting in the work, by
putting in an amount of energy, intention, and intensity founded in their
background and life experiences. Talent alone cannot do it. There’s a
difference between talent and skill. I found out that if you spend more time
on your work, with focus and effort; your skill grows and as your skill
grows, your visibility will evidently point to originality. You don’t have to be
a copy…be yourself!

Fungai: You’ve mentioned that “Art is in the questions you ask, that
determine the answers you get.” When you consider the broader
context and examine the black individual, what should we be
asking ourselves to challenge the prevailing narratives that define
our struggles?

Uchay: Answers are on the surfaces once they are revealed. You don’t find
treasures on the surface, you dig deep. Questions reveal answers. In our
time, the challenge that is staring at us more than any other is the
question of identity. Who are we? I guess this is one of the major questions
we should be asking. The greatest discovery will come when we begin to
see ourselves the way we are. Most times we throw away what we have
and who we are in search of who and what we are not. If we look inwards,
we will find a lot of treasures in what our background gives us, our
environment, our upbringing, our experiences, our struggles and our way
of life. A million and one findings can be drawn from the above if you can only go in search of what matters, asking the right question, digging deep,
querying… That’s how fresh discoveries that can enhance the now and the
future can be made. Originality is revealed to those that go in search of
depths of existence.

Art as a Medium of an Intellectual and Cultural Revolution

Fungai: In your work you focus on social responsibility. Personally, I
believe an artist has the imperative to not only entertain, but also
inform the audience — especially in the case of Africans. How do
you find the balance between aesthetics and advocacy for social
causes in your work?

Uchay: Art is a powerful tool and a universal language we can use to connect a huge gap. I found out that my audience connect well with me in both categories. While artistic aesthetic involves beauty and the stylistic choices, an artist employs to make his work beautiful, emotional, expressive, and valuable to the observer; working to advocate social issues in a way to grab people’s attention, spark conversation and communicate complex ideas. In my practice, I incorporate both. Often times, I aim to make them work hand in hand. For example, when I make works that explore relationships and human connection, I look for materials that I believe are synonymous with the notion of bonding, togetherness, intimacy, entanglement, and oneness. These materials include string, rope, and thread along with paintings. I believe that the resonance of my preferred materials infers that we need to reevaluate and more importantly, strengthen our relationship with those around us and support one another through the current global difficulties. On the other hand, I will add colors and figures to further add aesthetics attributes to the work.

Fungai: Museums in the West are self-appointed custodians of our art. To justify their possession of African artefacts they argue the uncertainty of rightful acquisition, our lack of proper storage facilities, and our inability to stop corrupt politicians and the elite from taking these artefacts for personal gain. Given recent efforts by Germany to return the Benin bronzes, what are your thoughts on the issue of repatriation?

Uchay: There’s no arguments that justify European museums not returning the historical Africa’s ancient artifacts. No one can keep what does not
rightfully belong to him overtime, especially when they are looted items. It
will quickly begin to lose its value as time goes. I believe that in order to
rectify a dark colonial history, there has to be the reparation of stolen
artifacts from Africa.
Whether there are facilities to store these historical artifacts or not, those
that it rightly belongs to will make adequate arrangement to store and
preserve them in order to display them to the local people to experience
the part of their heritage that they have been denied from experiencing for
Centuries.

Upcoming Work

Fungai: You mentor and support young artists to preserve the culture. Is
there anything you find yourself learning not just from the
experience, but from observing the artists themselves?

Uchay: The future belongs to the young. That’s one of the reasons I mentor and support young artists. They are enthusiastic and restless. The world will
stand for a young person who possesses these qualities. I often see these
in them. I organize series of art workshops from time to time.

Fungai: Do you find our art tokenized or confined by labels like “Afro-
futurism”, or our diverse heritage simply reduced to just being
African art? Especially in moments when these descriptors are
irrelevant to the context in which the art is presented.

Uchay: The late Bisi Silva, the founder of Centre of Contemporary Art, Lagos spoke to me at one point in my career to distance myself from any element that would spot me out as an African Art. We are living in the best of times and there is no reason to allow anything to put a limitation on your practice.
There are some ways you will choose to work and people will label you.
The world has become a global village. Apart from my name, people do not tag me an African artist. I have been addressed many times as a Nigerian
artist, but not once as an African artist. Bisi said, “People should see your
work and not be able to tell in one look the continent you came from.”

Fungai: You’ve been working on a book for the past six years. What can
you tell us about it, and what impact do you hope it will have on
readers?

Uchay: We all are gifted and talented, but many may never unwrap and use those gifts. Some never recognise that they have gifts just like everyone else.
Others spend their whole lives bemoaning the commonplace package their
gifts come in. Many more will longingly covert the gifts of others wishing
theirs were as shiny, as uniquely packaged, or as pretty as someone else’s
without taking the first step to unwrap theirs.
Still, there are those who have not only recognised that they have a gift,
but have also taken steps to look beyond the average package it comes in.
Having unwrapped the gift, appreciated it, taken care of it, and nurtured it
to the point that it has become a beautiful work of wonder, many will now
see and treasure it.
You too may see these people and be amazed by how much talent they
seem to have, or how elegantly they have showcased their talent, that you
either long to be like them or believe that such display of ability is beyond
your reach. Many times, we do not see the amount of work that goes into
sharpening the beautiful finished product we so admire.
In this book, “Jars of Clay”, I call on you to recognise your gifts and talents,
put in the work; do what it takes to grow them and share it with the world.