For the founder of Udubrae Art Gallery, Plateau State, Jos, Ezekiel Udubrae, interpreting the environment is the soul of his art. One of the directors at the National Museum, Jos, and the chapter
Chairman of the Society of Nigerian Artistes (SNA), Jos, he has a story to tell on making headway in the midst of violence.more...
Despite the challenges posed by Boko Haram, the people of Jos, he said, loves the arts, which explains why Jos is referred to as Home of Peace and Tourism, always attracting visitors to the city’s tourist cites.
Udubrae is full of ideas. Speaking with him in Jos, he trips memory lane on what it took him to establish a gallery, importance of archeology in the society, his works and challenges faced by artistes. “I started my first gallery in Jos Museum in 1998,” he begins, “when I was transferred from Ibadan to Jos Museum, and it was after my retirement in 2010 that I established Udubrae Art Gallery, consisting of my works and works of other artistes within and outside Plateau State.”
In his gallery, you will find paintings and ceramics. Occasionally, artistes come to hold exhibitions there. The artist admits being a product of the National Museum Jos, where he started his career as a clerical officer. Benin, in 1975, and later proceeded for further studies.
After graduation, he was converted to the Education Unit of the Museum in Ibadan as the Education Officer in Ibadan. Later, he was transferred to the Institute of Archeology and Museum Studies as a lecturer, where I retired as Head of the Department. “I still have a cordial relationship with the museum staff and the people in the museum. Whenever tourists come to the museum, they also visit my gallery,” he says.
The importance of artworks to Nigerians cannot be overstated. “Artworks are the history of the people,” he says. “Creativity begins with man, and it is the product of his handworks that tells the story of his past. We are only replicating what our forefathers have done, as they were known as craftsmen during their days. The works of those craftsmen have gone places beyond where we expected them to be, because of the type of the works they produced. Currently, we, who are their followers, have produced ours, and the generation yet unborn will see the creativity that have been put in place.”
Curiously, there are still some who see artworks, especially sculptures, as being fetish. But Udubrae is keen on drawing a line between voodoo effigies and subliminal artworks: “Artworks or sculptures are not fetish, but it is what they are being used for or applied to that makes them fetish. All sculptural pieces are not fetish; they are just illustrations. It is the creativity of man that he sees around him that he has put down in form of sculptures; they are not used for any celebration, rather they are used for decorative purposes. Some people use sculptural works for their own personal needs, that is, worship.”
Without archeology, said the artist, you cannot write our history. The importance of archeology is also underscored by the fact that whatever is already in place can be re-validated by archeologists. “It is reconstructing the history of the people. Archeology is very necessary in the life of the people, especially when construction work is going on, and relics are discovered; it is the archeologist who will be called to go to the site to go and interpret or see the usefulness of those works,” he says.
In this regard, the authorities are doing their best in upgrading the knowledge of the archeologists in Nigerians museums. He adds, “Other institutions send in their archeologists for training at the Institute of Archeology and Museum Studies.”
As a painter, he works with colours as a painter, but, currently, he is experimenting with other media, such as sawdust, glue and waste-to-wealth, by using what is in my environment to create works that people would admire. I use those waste materials people have discarded to produce artworks that they later admire and cherish.” What is the basis of his artworks? He responds, “My works are man's interpretation of the environment, and most of the works that I do create the essence of the people around me. When visitors/tourists come to my gallery, they want to see the people in the environment that they live in Nigeria. For example, my paintings depict the traditional buildings of the Berom people or Taroh people.
“Up north here, grasses grow all over the places, and they use the grasses to cover their huts. Another work depicts Benue dancers, and it shows their costumes; and it takes about a month for me to complete the work, because oil painting takes time for it to get dried.”
The messages in my artworks are aimed at preserving today for tomorrow, because it is the activities of the people of today that I am concentrating on and, tomorrow, the unborn generation will see the type of artworks that existed before their time. I also showcase that there is need to maintain people in the country.”
Interestingly, he has been holding exhibitions since 1978, even when he joined the services of National Museum. Indeed, it has to do with the foundation he had. He concedes, “When I was in primary and secondary schools, my uncle encouraged me in the arts, because I was talented. I have exhibited widely that it was through one of my exhibitions that I won an award in Oyo State in 2002/2003 during my National Youths Service
“When I was in Ibadan, I had so many exhibitions with Alliance Franciase and, since I came to Jos, I have had various exhibitions. I have participated in various group exhibitions, such as the one that took place at the National Museum, Lagos, by members of SNA, Jos, in 2013. We also had another one in Port Harcourt in 2014 and, last month, we had another group exhibition entitled Peaceful 2015 Elections, where we showcased the essence for peace during the elections through our works.”
The major challenge faced by Jos artists, he says, is finance, “because the materials for artworks are imported and, due to the recession in the country, the materials are expensive. Another challenge is the coming together of people for exhibitions because it is not easy to bring people to attend exhibitions in the country and we want to bring the younger generation to come together and associate with themselves so that they can grow and learn from the elderly ones.”
Do Plateau indigenes love artworks? He answers in the affirmative. “They love artworks, because Plateau State is the home of Peace and Tourism and, without artworks, the tourists will have nothing to thrill and entertain them. That is why there are many flourishing industries, for istance, the Terrcotta Village, that goes with leather works. Also, there are pottery works that are means of meeting the needs of tourists who come to Plateau State.
He believes artworks can be another source of generating revenue for the country, because artworks are valueless: they appreciate everyday, and they add value to the people's economy. It is necessary to encourage the artistes and the craftsmen to produce artworks, because they are sources of revenue to the country,” he says, adding that, at this stage in our national life, he regretted that it is not possible to use artworks as collaterals in the banks, because the banker will not see the value.” Yet he is optimistic that will come for that, “but, with time, artworks will be used as collaterals in the bank because artworks have much value in them.”
To you, Plateau State is a haven of unrest. To him, it doesn’t hold water, “Life is normal on the Plateau, and it is those people who are far away from here who see there is unrest in Plateau. It is only occasional that you see bombings here and there, and the security operatives are doing their best in ensuring that lives and properties are safe in Plateau State.”
Udubrae candid advice to up-and-coming artistes is that they should continue to work, because what they produce will be their means of livelihood tomorrow. “Also, it is what they produce today that people will see and talk about them. Without production of artworks, the artist is just an art historian. It is the works that people use in judging the performance of the artist. Also, they cannot organize any exhibition if they have not produced any work. Therefore, they need to work and produce artworks. They should also overlook the problems that they are facing today, because, tomorrow, the future will be bright for them.”
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