by Ifeoluwa Olutayo
Anthony Azekwoh is a critically acclaimed artist exploring art through different mediums – writing, digital art, sculpture and much more. Ahead of the public viewing of his Owambe collection, we caught up with Anthony to ask about his inspirations, work ethics, future rap album and his plans for the future.
Ife: I think I just want to start off by asking about the inspiration behind the collection, cause as I look around, I can see elements from There is a Country and I know that with your second collection, there was a conversation around the state of our affairs, and getting us (the younger generation) to redefine what it means to be a Nigerian, pulling from Chinua Achebe’s There was a country and Orwellian elements in the Talk Series. I just want to get a handle on why some of the pieces from that collection are here alongside your sculptures.
Anthony: I feel like for us, a lot of the sculptures were meant to have been in There Was a Country, but they weren’t, mainly because of logistical issues. So when we finally got them going, it made sense for us to have a little showcase around them and be able to you know, share them with people. So, that’s like the spirit of why this also has a lot of echoes from There Was a Country, because yeah, it was meant to be one collection. So this is kind of like a second part, kind of centering on Owambe not only as a point of celebration but also recollection.
Ife: I definitely understand that but with what you’ve put together, is there a binding theme as far as this collection is concerned?
Anthony: As far as this is concerned, I would say that, you know, When it comes to Nigerians and how we process events, whether it be weddings or funerals, we’re a people used to celebrating. Celebrating the things that’s about to happen, celebrating the things that’s happened, but also mourning at the same time when it comes to death, you know, the people that we’ve lost. I feel like with this collection, you kind of see pieces like Lagbaja and there’s also pieces like Chinedu, also pieces like Dignity of Labour, where again there’s that touchpoint again, like here there’s a celebration of life, music and artistry but also of mourning, of things that happened, especially when it comes to Nigeria’s state of affairs. So, I’d say that the current theme, celebration.
Ife: I think that sums it up to be honest, like looking at Chinedu, it’s speaking about the events of the election period.
Anthony: Yeah, the election period was weird. I feel like as an Igbo person, you kind of hear these things and read about them, but to kind of see it happen in like HD, especially you know, when it came to the governorship candidate and they were saying like bro, look, hahaha your name is Chinedu, and I was just like this is weird, this is very weird. I made that piece the same week, just kind of angry and I feel like the sculpture radiates that same anger.
Ife: I think it does.
Zia: I feel like it’s staring into my soul.
Anthony: Period
Ife: An act of defiance.
Anthony: Yup.
Ife: I think that the very act of creation is a political statement, not that everyone would agrre with me. You will always create work in the context of the times and life you’re living, right? It’s very apparent in that piece, even though it’s a touchpoint for a specific period.
Anthony: fair enough, yeah.
Ife; Looking at the work in front of us right now, were there any particular challenges getting the work to this point?
Anthony: I think the challenges were mainly logistical. You know, of course these are all 100 percent marble sculptures, so moving them around is tricky. I mean, these two sculptures, Taiwo and Kehinde actually broke and we had to, yeah, reinforce them, but i feel like in the process of reinforcing, the works became even more beautiful, you know, being able to add these metal flowers around them, and these flowers really, if I may say, frame the sculptures beautifully.
Ife: Could you walk us through your creative process?
Anthony: I mean, for a lot of the sculptures, the process kinda changed a bit, you know. In the making of Chinedu, I was upset and there was a lot of anger, so for me it just starts with that thought, but sometimes I can nurse an idea for a while and think through it. So, whether it’s a painting or a sculpture, i can move some bits and elements around in my head and gauge what this would look like or feel like and by the time I’m putting my stylus to my tablet, the idea is almost fully formed. I could stew on it for a couple days, weeks, months even years, but when I get down to it, it could take a couple hours, sometimes 6, 10, or 12, sometimes more than that spread across a couple of days of me just really going at whatever it is I’m trying to reach and from there, it finishes.
Ife: I see that definitely. I know you already spoke about Chinedu, but outside of that particular one, are there any specific works here that hold a particular significance to you?
Anthony: Yeah, all of them hold their particular individual significance. Lagbaja was a very special one. Obi Asika, he said something to me when he saw the first sculptures, that he had never seen Nigerian culture represented in this way before and I feel like for me, that’s something I wanted to do, to be able to immortalize our heroes, our icons in a way that was new and unique. For example, Lagbaja. A lot of us grew up on his music, on his tunes, being enamoured with this person whose face we didn’t quite know and i felt that was something I wanted to represent in marble.
Ife: Yeah
Anthony: With Taiwo and Kehinde, twins are such an interesting part of our culture, even though I feel like seeing adult twins is weird, like grow up (laughs). I feel like still, the idea of twins is so interesting and I just really wanted to capture that in sculptures, with like having Taiwo and Kehinde looking at each other and mirroring each other in a way.
With Sijibomi, that was inspired by the Italian sculptor, Giovanni Strazza who sculpted The Veiled Virgin and I wanted to also represent a woman in gele draped in cloth and I wanted to have that flow in marble that felt very delicate. Dignity of Labour was inspired by Peter Obi’s speech. They were roasting him, saying “aha Labour party is full of labourers.” and the likes. He comes out and says like, nah, there’s dignity in labour, there’s dignity in working, in striving for what you believe in. so yeah, each one has a unique space in my heart. I’ve been looking at them for a long time, so yeah.
Ife: I do see that. I’d like to ask something, because you’ve expressed some ideas about what the work means to you, but are these all the ideas you expect the viewer or audience to get or feel when they walk through that entrance? As far as the work goes, how it’s arranged and put together for this collection.
Anthony: With how the viewers see it, I don’t know. I just hope that they like it (laughs). Because I have been looking at these works for a while. I won’t say that I’m tired of them (laughs), but like a long while; we’ve been planning this for eight months, just trying to get to this point. So, I’d just say that like, I like when people are awestruck walking through the door, going through the door and they’re like “Oh wow!” (laughs) so that’s fun (laughs). I’d just say that I hope they don’t burn me or something. That’s where we are.
Ife: This is great, just saying. I think this is your third solo–
Anthony: I wouldn’t say that this counts as a third solo, you know, in like music terms, I’d call this a mixtape.
Ife: (laughs)
Anthony: This is not like an album. I’d say we’re still on two. Homecoming and There is a Country. Becoming in Abuja was also more like a mixtape again. This is more like a nice lil “here’s another one”. The next solo, Hopefully, looking at 2025 or 2026.
Ife: Do you have any ideas on what the work for that one is going to look like?
Anthony: Honestly, I don’t. For me, after this one, I’m looking forward to resting and everyone in my life is always like I don’t get rest or accusing me of not resting.
Ife: But, mehn, track record. You don’t have a track record of resting.
Anthony (sighs): This time, I promise. I’m promising to all my guys and family, after this one, if everything goes well, you guys in December 2024 or January 2025, you’ll just ask, “Where is Anthony? We haven’t heard from him in months.” and I’ll just be on my bed smiling like “hahaha”
Ife: Laughs
Anthony: But I feel like that’s my goal. For me right now, for the work, I don’t know, maybe this is the last show ever, who knows? But I’m very much looking forward to be putting a nice little bow on everything and taking a step back. I’m also thinking about my writing as well. I’ve still being writing and I’m still very much a writer, but I just haven’t put anything out in a while.
Zia: Big fan.
Anthony: High five!
Ife: No emails in months
Anthony: (sighs)
Zia: Not even the emails, the short stories, the one with the witches.
Anthony: WItches of Auchi! That’s the one that’s been on my mind. I’m going to show you guys something. These are the ideas,notes and lil things for the stories,cause the stories are in my head; I’m just waiting for the time to put it down. With the witches of auchi in particular, I’m at a point where releasing things online without proper distribution doesn’t make much sense so for me, I’m trying to get to a point that everything is really solid. We’re gunning for physical stuff, to put stuff in people’s hands they can read and collect; that’s where we’re going with the writing.
Ife: When is the rap album dropping?
Anthony: So we’ve been speaking to labels and we’re gunning for, mehn I can’t say (laughs)
The drake kendrick diss period, I wanted to drop, but they were like bro, bro, bro, you’ll clear the playing field and ruin it
Ife: You’ve been teasing that album for five years.
Anthony: Don’t worry about that, don’t worry about that, we’re coming (laughs).
Ife: So as far as the work goes, the future is full of rest and possibly new Anthony literature.
Anthony: Yeah, I’m also creative directing for an artiste for the first time, his name is Shine. He’s a great artiste and for the first time, I’m finding myself handling each visual aspect of the work. So I’m excited for that to come out. So, hopefully next month, that’s happening.
Zia: I’m happy you mentioned music, because I know you’ve dabbled in the music space a bit. You’ve also had illuminati allegations, cheers (laughs).
Anthony: That’s when I knew I was set for great things this year (laughs).
Zia: So how does it translate from like being this visual artist to being the artist for the artiste?
Anthony: It’s interesting because I swore off music a year or two ago and as you can see, I lied.
Ife: Your friends not believing you is valid can’t lie.
Anthony (sighs): No one believes me. I feel like on my side, I go back and forth, but at this point, I’ve had to tell myself, that this is the kind of artist I am and I do (visibly cringed) like the music scene a lot. I like watching it happen, I’ve always loved music so it’s always interesting of course, it’s just that artistes make me angry, and I tell them.
I also think on the artist-artist side of things, the artists do like my work. It holds its artistic weight, merit and meaning. I feel like I have work like this, I have work with clients and I also have work with artistes, so I think it’s just chill.
Zia: if you had to pick a favourite child…
Anthony: None of them. I feel like all of them are intertwined. I don’t really think of them as separate entities. Like when I’m writing, it doesn’t feel different from painting; I just feel like i’m creating. So that to me, is how I think of them.
Zia: Looking at the work, it’s clear to see that some of these are making a statement. Was it intentional to make a political statement with these pieces or it just kind of happened in the process of things?
Anthony: I feel like, as a Nigerian right now, especially if you’re expressing yourself, you don’t really have that choice to decide whether or not. It’s a thing where things are clearly not great like for everyone right now, the rich, the liquid, the poor. No one is having a good time. For me, as an artist and person living here, I have to be honest in my work. It’s not great, it sucks. Chickwizz is like 2k now, we used to be a proper country, a bloody proper country. For me, as a people, we need to be able to face facts and say, yeah this is right or wrong, and something is definitely wrong with the country’s situation.
I also think it’s less of a political party problem and more of a cultural issue. Our culture seems not to be able to hold development properly and those are my thoughts as an individual and human being. Some of the pieces are definitely speaking to that but I’m not going into it like I’m a freedom fighter or something. I’m just saying, “I’m a human being, I live here and this sucks.” Chickwizz bro, it used to be like 500 in 2018, 2019. Even my inhalers mehn, as a child, it used to be like 400,500. They were disposable because we were just kids and stuff. Now it’s like 9k, some places sell it 12k. It’s not even the brand stuff. Ventolin because it was owned by GSK, it’s gone.
All I see now is this Aerolin brand, at the same price. I feel like this is a fucked up situation and that is where we are. I hope when people see the work this weekend for the first, who knows, when they stumble across it in 10, 20, 50 years, they get to see what the country was like at that point in time, (hopefully we’re still a country).
Ife: I think that’s what I really value about artists, preserving the moment, instants in time, across all mediums. One thing I’d like to ask as a closer is medium.
Anthony: Yeah
Ife: You’ve worked in traditional painting, digital, sculptures, in creating for artists and all of that, writing, and at some point, we’ll get the rap album.
Anthony (laughs): Yeah
Ife: With all of these various mediums of expression, are there any others you’re looking forward to exploring or experimenting with?
Anthony: Well, let’s see. I just kind of directed my first music visualizers, that was fun. I think directing is looking like an interesting space. I’ve always had a fascination for film; I be watching the directors’ cut, I stay for the credits (laughs). I feel like film would be an interesting space. Did you guys see X-Men ‘97?
Ife: Yeah.
Zia: That was insane.
Anthony: Yeah it was. I think animation is another medium I’d like to explore. Apart from that, I can’t say there’s any other things I’d like to explore right now, because I’m still focused on the resting part of things. At this point, there’s been a show every year since 2021 and it’s just like, at some point, I have to rest. I’m also kind of in a “being the best I can be” space while also making sure to recharge, rest up, spend time with everybody. It’s annoying (laughs).
