Deconstruct: Arinze Stanley Solo Exhibition
Corridor Contemporary | September 2 – November 5, 2022
Curated by Damian Munoz, Gallery Director
Corridor Contemporary proud to present Deconstruct - a solo exhibition of works in charcoal and graphite on paper by renowned Nigerian hyperrealist Arinze Stanley.
“As I continue my quest on exploring contemporary matters affecting my society, I am also very compelled to exalt the resilient spirit of our youth in my new body of work.
I believe the youths are the building blocks of every nation. As a Nigerian youth, I feel most compelled to project the positive image of our youths through this body of work in my attempt to dismantle the stereotype around the Nigerian youth. I believe our leaders of tomorrow are the biggest assets of today.”
-Arinze Stanley
Essays:
Arinze Stanley’s Visual Odes to Resilience
Okechukwu Uwaezuoke - Arts & Review editor, THISDAY
A trio of practically identical black-clad female figures, shrouded in an aura of unapproachability, stands on a low pedestal in the foreground in front of a hardly perceptible, densely packed mob of demonstrators. Above them, a lightning-stricken sky broods, ominously hinting at an impending apocalyptic scenario.
Even at first glance, it is evident that these black amazons with Sphinxlike countenances are the artist’s metaphors for the three branches of government: legislative, judicial, and executive.
Talking about metaphors, the graphite pencil work by Arinze Stanley Egbengwu, titled "Communion," swarms with them. In the work, such familiar objects as the scales, blindfold, toga, double-edged sword, cobra, bricks, garri, (a local meal made from ground and fried cassava roots), and an assault rifle assume hidden - and sometimes familiar -meanings. For instance, while the symbols often associated with Lady Justice essentially retain their meaning, the artist associates other symbols like the cobra with "the venomous elements of backwardness," the human skull with not only with death but also with "the impact of religious bias and sentiments on the legislative arm" and the assault rifle with power.
Thus, the Imo State University graduate expresses the Nigerian youth’s perplexity in the face of the glaring ineptitude and corruption among government officials. Of course, there is also the not-so-veiled allusion to the anti-police brutality protests – tagged EndSARS – which paralyzed socio-economic activities all over Nigeria for weeks.
Indeed, isn’t this what the solo exhibition, titled Deconstruct, which features ten large-sized portraits, seems to be all about? For the 29-year-old artist, lionising the highly misunderstood Nigerian youths, to whom he credits a "resilient spirit," is an attempt to reconstruct their much-maligned image. And, perhaps, in the process, he will be able to disentangle their image from the web of misconceptions and stereotypes that cling tenaciously to them.
Back to the three vixens in the work "Communion." On the left-hand side, facing the drawing is the depiction of the legislative arm in the garb of a chief priestess, who wields a mace (or, perhaps, the staff of Moses) as a testimonial of leadership. But then, this mace is attached to a skull, which represents the deaths caused by lousy legislature and leadership. She is also holding the snake of a cobra, whose body is wound around the feet of her companions.
Next to her stands the barely identifiable Lady of Justice as the representation of the judiciary arm. What was supposed to have been her blindfold now hangs loosely beneath her jaw, proclaiming her compromised credentials. Grains of "garri" (a local meal made from ground and fried cassava roots) fill one of her justice scales while the other, filled with water, tilts the balance to one side. This is a nod to the popular Nigerian street slang phrase "Water don pass garri," which alludes to imbalance. Meanwhile, her rumpled toga, proclaiming her insouciance, clings to her well-built frame as if she had been involved in a scuffle. Her downward-pointing sword seems to pierce through a sheet of paper labelled MCMXCIX (or 1999) in roman numerals which, to an informed viewer, is a veiled reference to Nigeria’s Constitution of that year.
On the right, the third lady, as the executive arm, wields an intimidating assault rifle, allegedly homemade, that denotes unbridled power.
Curiously, despite the menacing, combative demeanor of these three, they seem to be apathetic about the potential threat of the snake (corruption) curled around their ankles and hindering their possible forward movement.
Moving on to "Fruits of Labour," another work in this exhibition, the work depicts a white-clad priestly-looking woman sitting on a brick box filled with fruits - seemingly floating above a body of still water - in a futile attempt to achieve an impossible task: crack palm kernel shells with foam. Two additional hands (with the fingers spread menacingly) seem to project from both sides of her head.
While the work symbolizes the futility of trying to survive in Nigeria, it also gives a tacit thumbs-up sign to the Nigerian youth for their resourcefulness, even in an impoverished country that has been blessed by nature with under-utilized natural resources.
Arinze Stanley's hyper-realistic charcoal and pencil depictions of black figures evoke solemnity and poignancy while roiling with complex emotions that are frequently connected to the experience of modern-day black people. Although he started drawing when he was six years old, using graphite pencils and materials from his family's paper business, it took a firsthand encounter with police violence for him to decide to use art as a form of activism. Then, there was the widely-reported Lekki shootings - also called a "massacre" depending on who is telling the story - which left him with a feeling of helplessness. Thus, the commitment to social justice and political activism became the theme song of his studio practice.
Besides, the fact of living in Nigeria, especially in a Mammon-driven city like Lagos, ensures that these issues remain on the front burner. Inevitably, these frustrations find themselves expressed as a kaleidoscope of emotions on the faces of his subjects.
Self-taught and guided by the three principles, which he refers to as the three P's: patience, practice, and persistence, he has developed his photorealistic technique over the years.
Essentially, he incorporates his own ideas into his compositions while working with live models and reference photographs. This is despite the fact that he can take anywhere from two to four months to complete a single portrait.
As a result, these visual arts equivalents of an ode to Nigeria's resilient young were created for the exhibition Deconstruct, which will be held at the Corridor Contemporary gallery in Philadelphia, Pennsylvania, US.
Arinze Stanley Deconstructs Assumptions in His Search for Essences
Agwu Enekwachi - Abuja-based artist, curator, and culture writer
The renowned art historian, Chika Okeke-Agulu, in an essay titled “The Quest: from Zaria to Nsukka,” described the Nigerian art scene as a big arena where 'masquerades' of various make are in fluxes of performances. The masquerades are beautiful, intriguing and different and complimentary to one each other. They represent the multiple styles, individual artists and their unique messages. Indeed, to speak about Nigerian art is to acknowledge its diverse ecosystem, which encapsulates numerous artistic currents. Art, a divergent and dynamic agent, when fertilized in a multicultural society like Nigeria, with over 250 tribes, is bound to have some intermixtures of local and global influences. This results in unique and vibrant exchanges. The art of Arinze Stanley is one of such currents that that make the art arena in Nigeria very exciting.
The two cruxes in Arinze's art are his style (hyper-realism) and message (protest art). Hyperrealism, in the form it is practiced by Arinze Stanley, is an emergent art genre in Nigeria. It originated from realism which is a movement in art, that sought to draw or paint “real-life” subjects without disguises. Hyperrealism started trending in Nigeria around the early 2010s, and Arinze happens to be one of the few Nigerian artists who embraced it. The artist's journey into this art form was aided by local and foreign influences, some of whom he met online. He first learnt about the style in 2012 and from then on, built on this knowledge by reading available literature, while under-studying the works of British artist of Nigerian origin, Kelvin Okafor, as well as other foreign artists namely Joel Rea and Marco Grassi. His art like those of his contemporaries has gathered unique personal vernaculars and local peculiarities.
Arinze Stanley’s first solo exhibition was held at Omenka Art Gallery, Lagos in 2016 to the awe of many art lovers in Nigeria. A year after, Oresegun Olumide’s fascinating hyper-realistic paintings was also unveiled in 2017 through his social media posts. Arinze’s and Oresegun’s art went viral in Nigeria and beyond. The mid 2010s witnessed an explosion of hyperrealism. Five artists who gained massive following from then on include Kelvin Okafor, Stanley Arinze, Oscar Ukonu, Olumide Oresegun and Ken Nwadiogbu. From his self-taught status, Arinze has through focused practice made boundless progress in his relatively new journey to imagine his own creative world; a place of beauty where he sometimes says uncomfortable truths to reveal layers of social realities.
Although Arinze does not feel restricted by his adopted art style, some people view hyperrealism as limiting, because it tends to lend itself to portrait making, but the artist’s boundless willingness to experiment has seen him weave powerful narratives around his compositions. After his earlier works which were mainly portraits, Arinze has been working on themes which address issues of concern to society. They are “Machine Man,” which looked at the effects of oil exploration in Nigeria’s Niger Delta region. His second themed exhibition was titled “People and Paper.” In this exhibition, he looked at migration and the commodification of the Nigerian youth. The artist has also worked on the “Bullets and Denim Series,” which are commentaries on police brutality in Nigeria. His work has become a veritable visual language with which he transforms transitory but pivotal moments or age-old problems that are facing the youth into inspiring works of art. While his past exhibition themes dwelt on protesting against the systemic issues and their consequences that have rubbed off negatively on the Nigerian youth, his current exhibition entitled Deconstruct presents Arinze’s visual exhortation of the youth. The works praise the resilience and bold spirit of the youth amidst unemployment, corruption and inept governance and poor infrastructure. The artist is deeply aware of the stereotypes linked to the youth his country and it formed a major plank of his contemplation for his latest body of work, which aims at deconstructing these stereotypes by showcasing the resilience and ambitious spirits of the young people of his country. Some of the titles in the Deconstruct show include “Portraits of Resilience,” “Communion,” and “Fruits of Labour.”
Should Arinze be called a protest artist? Why not - if his practice is defined by art addressing society’s problems. As one can see, his past three solo exhibitions were all dedicated to the critique of the social conditions in Nigeria. Protest artists are not new to Nigeria or other countries, but they are usually few because many avoid confrontation with powerful agents of the state or their supporters. In Nigeria, artists and musicians have historically used their art to lend a voice to the many socio-political problems confronting the country, especially in the post-colonial era. At one time or the other, artists have created works that critique society, although only a few are consistent in making such art. But it is the concern for society that makes protest art deep and worthy, especially in this age of political and social correctness. Some notable Nigerian artists and musicians have created protest art, but only a few make it the core of their practice. Artists like Olu Oguibe and Obiora Udechukwu, and musicians like Fela Anikulapo Kuti and Majek Fashek are examples of Nigerian protest artists.
Some months ago, Uwagboe a renowned protest artist talked to me about a young hyper-realist who makes protest art. That was how I encountered Arinze Stanley. Although his neat-‘canvas’ approach does not show angry people like Uwagboe’s highly textured paintings, their art forms speak to the Nigerian social conditions. It was not difficult therefore for Uwagboe to spot the message in his art. Arinze lives in Lagos, Nigeria's former capital and center of commerce, which has a bustling youth population. This megacity has been the hotbed of activism since the 1970s. Protests happen intermittently there which is usually to checkmate obstinate governments. A youth-led protest called EndSARS took place recently in 2020. It was a protest against the brutality perpetrated by the now disbanded Police unit known as SARS. The protesters recounted instances of extrajudicial murders without trials. The protest was powered by the youth through the urgency of social media. Arinze believes that as a youth, his art should champion what affects them because they are the life force of every society and should be heard.
As we encounter the skillfully rendered works that make up the body of work for Deconstruct, Arinze Stanley’s third solo exhibition, it is easy to get enthralled by the works, and hopefully drawn to the messages embedded in each of the works. They will speak to the viewers in various ways and in doing so inspire in everyone a positive image of the youth, who the artist is a good ambassador of. But for Arinze, art is what he loves and most importantly, loves to share.
About Arinze Stanley:
Arinze Stanley Egbengwu (b. 1993) is a Nigerian artist based in Lagos who is known for his hyper realistic pencil and charcoal portraits of black subjects that embody the complex emotions associated with the contemporary black experience.
Stanley began drawing at the age of six, using graphite pencils and materials from his family’s paper business. The self-taught artist developed his photorealistic style by employing what he calls the three Ps: patience, practice, and persistence. Stanley works from live models, reference images, and his own imagination to create these methodical works: He often spends up to two to four months completing a single portrait. His subjects’ emotions—which range from subtle to exaggerated—clearly register in these works, even when their faces are depicted dripping with thick liquid, obscured by woven paper masks, or pierced by bullet holes.
Inspired by his personal experiences living in Nigeria, Stanley’s practice speaks to the realities of police brutality and systemic racism and conveys his commitment to social justice and political activism.
Press:
COLOSSAL: Hyperrealistic Portraits by Arinze Stanley Glorify the Resiliency of Nigeria’s Next Generation
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Cold Summer: O’Neil Scott Solo Exhibition
Corridor Contemporary | June 2 – July 31, 2023
Curated by Damian Munoz, Gallery Director
Corridor Contemporary is proud to present Cold Summer - a solo exhibition of new works by O’Neil Scott.
“Cold Summer is an exhibition that celebrates love, resilience, perseverance and how the complexities of these themes intersect with the black experience. Each painting should evoke a push and pull as they blur the line between caution and comfort.
Many of the paintings in the exhibition feature prominent uses of yellow, whether in the form of bright accents or as the dominant color in the composition. Regardless of the specific approach yellow takes on a symbolic meaning of love and protection. The summary warmth and brightness of the color represents the love and joy within, while the cautionary qualities of the color serve as a reminder to stay alert, be protective and look out for one another in the face of adversity. Through the use of this color as well as abstraction and narrative, the hope is to highlight the beauty of humanity and inspire viewers to reflect on their own experiences, finding strength in their own journey.
Ultimately, Cold Summer is the balance of contrast. Allowing for contemplation and reflection that hopefully inspires a brighter future and serves as a reminder of the enduring power of love and resilience even in the coldest of seasons.”
-O’Neil Scott
About O'Neil Scott:
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Person to Person: An International Survey of Portraiture
Corridor Contemporary | October 1 – November 15, 2021
Curated by Damian Munoz, Gallery Director
Corridor Contemporary Philadelphia is proud to present our latest group exhibition Person to Person: An International Survey of Portraiture.
The exhibition features both local and international artists Alex Katz, Arinze Stanley, Silvio Porzionato, Yigal Ozeri, Elizabeth Bergeland, O’Neil Scott, Ira Upin, and Paul Fuentes.
The notion of the portrait dates back to the very genesis of pictorial representation and is therefore, arguably, the longest standing subject in the history of art making. In Person to Person, we explore a diverse range of approaches to contemporary portraiture.
Working in a wide range of modes and mediums, the artists featured in Person to Person express their own unique philosophy and pictorial approach to portrait-making through their works. Whether capturing the essence of a sitter, paying homage to a visionary artist, critiquing societal norms/trends, depicting familial bonds, or subverting historic modes and traditions of portraiture, each of the works featured engender fascinating discussion regarding interpretation, artistic method, and society/culture at large.
Simultaneously, the featured portraits bring forth intriguing thought and dialogue regarding the human condition as well as our complex, nuanced relationships with our ever-evolving world.
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No Middle Class: King Saladeen Solo Exhibition
Corridor Contemporary | November 11 – January 28, 2023
Curated by Kimberly McGlonn, Ph.D and Damian Munoz, Gallery Director
Corridor Contemporary proud to present No Middle Class - a solo exhibition of works by Philadelphia-native King Saladeen.
“My work has always been concerned with commemoration, with remembering, and with showing my pride in my story. With “No Middle Class” I want to bring you with me into my meditations on the landscape of my childhood, but I also want to give you a lens for seeing some of those struggles and all the existing promise. While the works I present in “No Middle Class” demonstrate my self-taught technique in their textured, multi-media approach, they are also an incredibly exciting homage to the city of my childhood and a full-circle moment for me.”
-King Saladeen
Essay:
King Saladeen’s Meditation on Purpose & Place
Kimberly McGlonn, Ph.D. Drexel University
About King Saladeen:
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Press:
CBS: Raheem "King" Saladeen Inspiring Young Black Artists to Dream Big
ABC: Philadelphia Artist Illustrates Stories of His Neighborhood in Solo Exhibit
