ABSTRACT
The research is an attempt made to appraise the installation Art of Ayo Aina and to find out the socio-cultural relevance of his work to the Nigerian society. Related literature on the artist were reviewed coupled with oral interview. From this research work, the role played by the artist and the relevance of his work to the Nigerian society is highlighted through the analysis of styles and materials used for his installation works and the interpretation. Data collected for the study were analysed, and from the findings it was discovered that Ayo Aina was inspired by the huge pile of waste generated by the inordinate, consumerist mentality of the 21st century society. It was also. Discovered that the artist has been practicing other forms of art apart from installation, such as, painting, mosaic and relief murals. These are as a result of the artist‟s powerful creature ability, who attended the premier art school which exposed the artist to different art styles. The study also revealed that the artist has participated in about 17 groups and 4 solo exhibitions both within and outside Nigeria. The study revealed that Ayo installations are humorous, the installations reflects the reality of situation that addresses the socio-cultural situation in the society. For example globalization, hard lesson and child trafficking, the study discovered also the conceptual uniqueness in style of Ayo‟s installations, and its innovative art that critically pass across a message, such of work is Victim, Red Handed and Pump price. Installations made by Ayo Aina, which are emphasizing the need for change on certain areas of public and private life, should be brought to relevant authority and should be in places of national interest, like museums, galleries and public places to serve as objects of information and education. Based on the findings of the study, recommendations are advanced as to how the government of Nigeria can encourage the artist in the area of installation that addresses societal issues.
TABLE OF CONTENTS
Title page . . . . . . . . . . i
Declaration . . . . . . . . . ii
Certification . . . . . . . . . . iii
Dedication . . . . . . . . . iv
Acknowledgement . . . . . . . . . v
Abstract . . . . . . . . . . vi
Table of Contents . . . . . . . . . vii
List of Plates . . . . . . . . . . viii
Chapter One
Introduction . . . . . . . . . . 1
Background to the Study . . . . . . . 3
Statement of the Problem . . . . . . . . 5
Objectives of the Study . . . . . . . . 6
Justification of the Study . . . . . . . 6
Significance of the Study . . . . . . . 6
Scope and Delimitation . . . . . . . . 7
Chapter Two
Literature Review . . . . . . . . . 8
Some Installation Artists and their Works. . . . . . . 11
Modern Nigerian Installation Artists . . . . . . . 12
Some Female Installation Artists . . . . . . . 18
Ayo Aina Installation Art . . . . . . . . 25
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Chapter Three
Methodology . . . . . . . . . . 29
Introduction . . . . . . . . . . 29
Sources of Data . . . . . . . . . 30
Field Work . . . . . . . . . . 31
Research Instruments . . . . . . . . . 31
Interview . . . . . . . . . . 32
Chapter Four
Analysis of Data . . . . . . . . . 33
Introduction . . . . . . . . . 33
Analysis and Discussion of the Artist Works . . . . . 35
Globalization . . . . . . . . . . 36
Victims . . . . . . . . . . 37
Path to Glory . . . . . . . . . . 37
EFCC . . . . . . . . . . . 38
Free Lunch . . . . . . . . . . 39 New Improved A6 9ss Shit Recycler . . . . . . . 40
Hard Lesson . . . . . . . . . 41
Jolly Ride . . . . . . . . . . 42
Journey so Far . . . . . . . . . . 43
National Cake . . . . . . . . . . 44
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Pump Price . . . . . . . . . . 45 Child Trafficking . . . . . . . . . 47 Stigma . . . . . . . . . . . 48
Price of Freedom . . . . . . . . . 49
Red Handed . . . . . . . . . . 51 Relevance of Ayo‟s Installation . . . . . . . 52 Chapter Five
Introduction . . . . . . . . . 54 Summary . . . . . . . . . . 54 Conclusion . . . . . . . . . . 55 Recommendations . . . . . . . . . 56 Findings . . . . . . . . . . 57
Contributions to Knowledge . . . . . . . . 57
References . . . . . . . . . . 58
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LIST OF PLATES
Plates I Globalisation . . . . . . . . 35 II Victims . . . . . . . . 36
III Path to Glory . . . . . . . . 37
IV EFCC . . . . . . . . 38
V Free Lunch . . . . . . . . 39
VI New Improved A6 9ss Shit Recycler . . . . . 40
VII Hand Lesson . . . . . . . . 41
VIII Jolly Ride . . . . . . . . 42
IX Journey so Far . . . . . . . . 43
X National Cake . . . . . . . . 44
XI Pump Price . . . . . . . . 45
XII Child Trafficking . . . . . . . 47
XIII Stigma . . . . . . . . 48
XIV Price of Freedom . . . . . . . 49
XV Red Handed . . . . . . . . 51
CHAPTER ONE
Introduction
Installation is a kind of art that uphold the status of ideas beyond the significance of materials or productions. The late 1960s marked the beginning of a wave of social, ecological and cultural change that swept the world in artistic expression. The impetus of its growth stems largely from the advent of modern techniques and rapid pace of life which brought an accompanying guarantee for dissemination of new ideas and achievements. As with the various art movements, it appears that the wish to modify an existing art tradition had led to the full emergence of performance and installation art. Yusuf (2007) observed that, the emergence of both performance and installation art could be a result of artistic response to social influence and intellectual reasons. The word installation is relatively a new term in contemporary art emerging out of the discipline-blurring, irreverent artistic experimentations of the 1960s and 1970s. Wilson and Lack (2008) defined installation as the term used to describe mixed media construction or assemblage, usually designed for specific place and for a temporary period of time. Installations are works that often occupy the entire room or gallery space that the spectator invariably has to work through in order to engage fully with the work of art. However some installations are designed simply to be walked around and contemplated upon or are so fragile that they can only be viewed from a doorway or one end of a room.
Installation online (2014) defines installation art as an artistic genre of site-specific, three-dimensional works designed to transform the perception of a space.
Generally, the term is applied to interior spaces, whereas exterior interventions are often called land art; however the boundaries between these terms overlap. Installation art can be
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either temporary or permanent. Installation art works have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many installations are site-specific in that they are designed to exist only in the space for which they were created. Thus, it is actually where modern installation art takes its bearing from, site specific, that is, installations are constructions assembled on sites and usually gigantic. It sometimes involves the use of many materials or objects to form a whole.
Installation online (2013) states that installation, as a nomenclature for a specific form of art came into being not too long ago. Wilson and Lack stated that; in 1961 in New York, claes Oldenburg created an early environment, the store from which his counter and plates with potato and ham comes. One of the outstanding installations using light is that of James Turrell‟s Miscellaneous Materials (mixed media) light and sound have remained fundamental to installation.
Modern form of installation came to prominence in the 1970‟s. This form of art was traced to artists such as Marcel Duchamp and Kurt Schwwitter’s Merz art objects, and it was said to have been in existence since pre-historic times, but was adopted and made popular by the mid-twentieth century. Before this time, terms such as “Environment”, “Project art” and “Temporary art” have been used to describe installation art. From his works produced around 1957 onwards American artist, Allan Kapreve is said to be one of the originators of environment art. The creation of installations became a major art and in modern art from that time increasingly to about 1990 when many artists made experiments. This in essence, means that installation art has always been there, may be not with the characteristics and form in which it is
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created today. There is transformation, especially in the use of media and content. Out-door sculptures of some early masters examples of such artist are William Ordway Partridge (1861-1930), John Howard Amringe (1835-1915) and Kees Verdake, (1973-1979) are installations in nature, that is, they are designed to fit into specific locations. (Wikipedia, the free encyclopedia, 2014)
Ikiddeh (1997) in Muhammad (2006) asserts, that contemporary Nigerian art has come a long way, finding its path through the wilderness of experiments and schools of various orientations. It has through time matured into a formidable expressive force for both the artist and the society in which it is produced. In the light of what modern artists do, the idea, styles used in executing their works, the materials employed and the source(s) of motivational factors inspiration with which they were influenced to create art works, are among factors that the researcher has considered necessary to appraise the installations of Ayo Aina installation Art. The study assess, analysed and interpreted some of Ayo‟s installation art, tracing his educational background as well as his contributions to modern Nigerian art. It is believed that the analysis of some of his works will give room for better understanding of the artist and what he has done or been doing within the scope of ten years of active practice (2003 -2013).
Background to the Study
“Appraisal of Ayo Aina‟s installation art” is a research undertaken to study style, types of material used and an investigation of the socio-cultural relevance of his work to modern Nigerian Art. Socio-cultural is defined as interaction of socio and cultural elements.
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“From 1981-2002, as observed by Samaila (2004) some artists are identified by what they are doing, in painting, sculpture and prints to mirror the Nigerian society. Jerry Buhari is known today by his floral notes; Jari Jacob known for his corn stalk or bullet hole mosaic, Mu‟azu Sani is popular for his splashing, liquidize painting technique, Lasisi Lamidi is also identified by his experiment in welded sculptures of sawn canvases on welded metal rods; while Kenneth Okoli is recognized by his metal landscape on walls. The 1980 – 1990 is full of new forms, techniques and theme by emerging artists who are very eager in their search to new ways of expression. Since 1991 there has been an addition to the list of such emerging artists”.
Ayo Aina is no exception in this manner, a graduate of the premier art school which is now the Department of Fine Arts, Ahmadu Bello University, Zaria and who is the focus of this study. He was born on the 12th of August, 1969 in Kano State of Nigeria. Ayo graduated in 1990 with a Bachelor‟s Degree and in 1996 with a Master‟s degree, specializing in painting. Since leaving the university he has practiced as a full time studio artist , he was inspired by the huge pile of waste generated by the inordinate, consumerist mentality of the 21 century society and has participated in several art workshops and the Dakar Biennale in May 2010. Ayo has had 4 one-man exhibitions, showcasing his installations and paintings. “Deadline”, the most recent held at the Goethe Institute, Lagos in 2008 was acknowledged in the New York based art editorial Art forum. He is a recipient of several awards, including Nigerian Art Council Prize for the Best Student in Fine Arts, Ahmadu Bello University, Zaria in 1990. Ayo‟s works can be found in public places in Nigeria which includes, The National Library of Nigeria, The National Assembly, Abuja, International Trade Fair Complex, Kaduna, National Insurance Corporation of Nigeria (NICON) Pubic Limited Company (PLC), Abuja, Northern Nigeria Cement Company, Sokoto, Power Holding Company of Nigeria (PHCN) Headquarters, Kaduna, and in the Constitutional Court of South Africa and the Mojo Gallery, Dubai.
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Ayo Aina is also a prolific Mosaic Mural designer with over 50 large panels adorn banks such as Central Bank of Nigeria and Nigeria Export Import Bank (NEXIM) Bank Abuja, Federal Ministries of Finance and Justice Abuja respectively and institutions in Nigeria example Kaduna Polytechnic, Kaduna. He is a member of several professional bodies including the Nigerian society of Artists. He has participated in about 17groups and 4 solo exhibitions from 1988-2013.
Statement of the Problem
There has been an increasing number of trained artists in Fine Arts Department Ahmadu Bello University, Zaria as a result of the yearly turn out of graduates. The condition has been that as soon as most of these students graduate, nothing is heard about them as to whether they are practicing the art they were trained for, as art teachers, art historians or studio artists, (Samaila 2004).
Ayo Aina has been painting and exhibiting since leaving the university. Despite this, only few studies have been devoted to his style of expression and possibly no study to the knowledge of the researcher has been devoted to his installation art. Similarly, there appear to be no significant scholarly documentation on the artist and his works, except little information in a few books, magazines, newspapers and exhibition catalogues. Meaning that, there is lack of comprehensive and scholarly study on the installation art of the artist.
Aim and Objectives of the Study
The aim of this research is to appraise the installation art of Ayo Aina from 2003-2013 while the specify objectives are to:
i. trace the source(s) of inspiration of Ayo Aina‟s installation art.
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ii. examine the installation art style (s) of Ayo Aina.
iii. study the type(s) of materials used for his installations.
iv. analyse the socio-cultural relevance of his works to the society.
Research Question
i. How can the source of inspiration of Ayo Aina‟s in installation be traced?
ii. What are the styles involved in Ayo‟s installation?
iii. What are the types of material; used for installation by Ayo?
iv. How can one analyse the socio-cultural relevance of Ayo Aina‟s installation to the society.
Justification of the Study
The name Ayo Aina may sound familiar to only but few art enthusiasts in contemporary Nigerian art, due to lack of previous scholarly research in this area (installation). Hence, the research is justified to study the installation art of Ayo Aina. One may ask that, to what extent has Ayo‟s installation art impacted or contributed to the development of modern Nigerian art. An issue that no specific study has attempted to solve.
Significance of the Study
This research is significant in a number of ways. First, for educating, informing and broadening the minds of art enthusiasts to understand the socio-cultural and socio-economic content of Ayo Aina‟s installation art. The result that emerges from this study will contribute to the body of knowledge and theoretical background set by few available studies on modern Nigerian art. Hence serve as a valuable referral material for researchers.
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Scope and Delimitation of the Study
Despite the fact that Ayo has been practicing in other areas of art apart from installation art, for instance paintings, mural design and mosaic moral severally within the span of twenty years. The scope of this study is on some selected works of installation of Ayo Aina that cover a period of ten years (2003 – 2013). The reason is he started producing installation Art within this period. Therefore, the researcher further delimited the study to works on socio-cultural content of the Nigerian society. Critical issues of social and political injustices, and environmental effect are studied and analyzed.
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