The radical beauty of Africa in portraits Ik Ud
In 1996, I was commissioned
by the Guggenheim Museum
to execute a large body of work
called “Uses of Evidence.”
It was a cube –
a very well large cube, at that.
Each side had a window
in order for the spectators
to view the interior of the structure.
The exterior of the structure
was a collage of Africa and Africans
as portrayed in the Western
media and literature.
A look through the windows
revealed a sharp contrast:
within the cubes are tranquil,
civilized, domestic images
of African family members, friends
and Nigerian professionals,
ranging from writers, poets,
fashion designers, etc.
The thing is,
both the exterior and the interior
images are quite true.
But the images captured by Western media
overwhelmingly depict Africans
as basically primitive at best,
or barely distinguishable
from the African animals.
Not much has changed,
I’m afraid, since 1996,
when I executed this work.
I began my professional
photography practice in 1994,
but my passion and enthusiasm
for photography
goes back to childhood,
when my parents arranged
for us to be photographed
by a professional photographer
on almost a monthly basis.
It was also an opportunity for my siblings
to dress up in our latest gear,
made by our tailor.
Later, when I was in boarding school,
my friends and I bought Polaroid cameras,
and then I began to experiment
with self-portraiture,
or what I would call
“proto-selfie auto-portraits.”
(Laughter)
“Cover Girl 1994” was my first major work
that was critically well received
in the US and Europe
and quite instantly became
a part of the school anthologies
at universities and colleges.
With the “Cover Girl” series,
I wanted to reimagine the magazine cover
with imagery totally unexpected,
yet profoundly reasonable.
The “Cover Girl” series
proposed a different way
the African can be represented
in a more complex manner.
Like “Cover Girl,”
the “Sartorial Anarchy” series
is made up of self-portraits.
It is an ongoing body of work,
started in 2010.
In each image, I married
disparate costumes
from widely diverse traditions,
countries and time frames.
And in mixing eras, cultures,
I was able to bring harmony, as it were,
to their similarly
irreconcilable differences.
These differences became a source
of inspired artistic celebration.
For example,
in “Sartorial Anarchy #4,”
I mixed a boater hat,
inspired by the traditional
Eton-Oxford College Boat Race,
with a green Afghan traditional coat
and an American Boy Scout shirt –
a culture clash that works.
In “Sartorial Anarchy #5,”
I wore a macaroni wig,
inspired by eighteenth-century
macaroni headgear from England.
This was paired with
a British Norfolk jacket,
Yoruba Nigerian trousers,
and, improbably, a South African
Zulu fighting stick.
All harmoniously coexist on one body.
And with “Sartorial Anarchy,”
I began to invest more
into the organization of my pictures.
I also began to investigate
the vast possibilities of color:
its emotional values,
psychological impulse,
poetic allure
and a boundless capacity beyond
the realm of meaning and logic.
Now, enter Nollywood.
In October of 2014,
I returned to Lagos, Nigeria,
after over three decades away
and took photographs
of 64 Nollywood personalities.
I captured a cross section
of the industry,
as well as the next generation
of rising stars.
Nollywood is the first time that you have
a school of African filmmakers
truly, truly, profoundly in charge
of telling African stories.
In their varied movies –
from romantic movies, horror films,
gangster movies to action movies –
one sees Nigerians portrayed
with many layers of complexities.
All the Nigerian, or “Naija,” archetypes,
if you allow, are there –
from the divvers, the “Shakara,”
the coquette,
the gangsters, the rich,
the corrupt politicians,
the whore, the pimp –
all in their swagger.
And of course, you have the lowlifes
and the losers, too,
all vividly portrayed.
Nollywood is Africa’s mirror
par excellence.
Typically, I direct all of my portraits,
from the way my subject
conducts his or her head,
the way the neck is tilted,
the expression of the fingers,
the gestures of the hands,
to the gaze
and overall bearing and countenance.
Let me describe
some of the photographs for you.
Genevieve Nnaji.
She is the reigning queen of Nollywood.
Here, I was quoting from the grand,
Pharaonic African cultures
of the Nile Valley civilizations;
namely, Egypt, Sudan and Ethiopia,
so as to imbue her with a stately,
ironic, calm grandeur.
Taiwo Ajai-Lycett is
the grande dame of Nollywood.
Every aspect of her being
commands attention.
So I posed her with her back
to the audience.
Her face turned to meet us
with a redoubtable gaze.
She doesn’t need to seek our approval.
She’s all that.
Sadiq Daba.
There was an unspoken
authoritarian and imperial bearing
that Sadiq Daba exudes upon meeting him.
In this portrait, he simply sat
and allowed his massive,
massive Nigerian caftan
to signal his status.
Quite an accomplishment.
Belinda Effah.
Belinda Effah’s portrait allowed me
to indulge my passion for color,
dressed in a long, fitted blue dress
that emphasizes her curves,
seated on an upholstered
green velvet bench.
I gamely employed the multicolored carpet
and a vibrant color,
in order to evoke the splendor
of the multicolored painted bunting bird.
Everything was designed to harmonize
the figure of Belinda within the frame.
Monalisa Chinda is, shall we say,
the epitome of the luxe
existence and lifestyle.
Her picture, or portrait,
pretty much speaks for itself.
Alexx Ekubo is a sharp study
in simplified elegance and dignity
and a harmony in blue and white, as well.
Enyinna Nwigwe
is a Nollywood matinee idol.
There is whiff of the rake about him,
and that gives him an enchanting edge.
That’s what I felt when I designed
and organized the portrait.
Now, Nollywood is a new phase of Africa.
It is modern, post-modern,
meta-modern, bold
sexy, shrewd
and with a contagious
attitude worth catching.
As the finale of the project,
I assembled the Nollywood stars
into a group grand portrait
of 64 subjects,
called “The School of Nollywood,”
which was inspired
by Rafael’s “School of Athens,”
that was done circa 1509.
It is at the Vatican.
This grand group portrait
is the exact same size
as Rafael’s “School of Athens.”
It measures roughly 27 feet in width
by six and a half feet in height.
Nollywood also exemplifies
a type of modernity
never before seen in Africa.
Think of it:
there has never been anything
so ubiquitous
with such iconic optics
to come out of Africa
since the Nile Valley civilizations
of Egypt, Sudan, Ethiopia.
Outside of Nollywood,
the image of Africa remains frozen
in the old “National Geographic” mode
and safari perspective.
But as Africans continue to step
and see themselves portrayed by Nollywood
in their varied
and fantastic complexities,
they will, in turn,
propagate and perpetuate
the positive image of themselves.
This is what Hollywood did
and continues to do for the West.
As shocking as this may be,
it is almost a taboo in the art world
to show Africans in a modern framework –
that is to say, as polished, dry-cleaned,
manicured, pedicured and coiffed.
(Applause)
Part of my job is to keep
beautifying Africa for the world,
one portrait at a time.
Thank you.
(Applause)