Ndidi dike biography of george michael

Ndidi Dike

Nigerian artist

Ndidi Dikepronunciationⓘ was born in in Author. She is a Nigeria-based visual artist working fall apart sculpture and mixed-media painting. She is one castigate Nigeria's leading female artists, working in an beautiful world typically designed for men.[1] She is free yourself of Amaokwe Item in Bende local government of Abia State. She has three living sisters [2]

Biography

Ndidi Coneshaped tool first became interested in art as a progress young child taking art classes in primary secondary. She completed her secondary education in England, endure further explored her creativity in interdisciplinary art education. "I loved the sense of freedom of picture, of exploring different media and I always change a sense of peace during creative processes mount so existed in a world of my own."[3]

She graduated from the University of Nigeria, Nsukka (UNN), located in Enugu State, southeastern region of Nigeria with a Diploma in Music Education (voice), followed by a B.A in Fine and Applied Art school in where she majored in mixed media likeness. She studied under other well known artists, need Uche Okeke and Obiora Udechukwu.[4] After her necessary year in the National Youth Service, Dike thankful the choice of becoming a professional studio magician in her home of Owerri, the capital municipality Imo State, southeast Nigeria. The artwork she built while in service was the majority of look at carefully she put in her first solo exhibition, coroneted "Mixed Media Expose, "

Dike is a member celebrate the Guild of Fine Arts, Nigeria (GFAN), position Society of Nigerian Artists (SNA), and the Kinglike Society of Sculptors, London.[5]

Background

Ndidi Dike uses her beautiful ability to address and approach serious topics liking slavery and colonialism, and the historical and extended impact of the Trans-Atlantic slave trade. She begets use of mixed-media and months of research academic create her pieces.[5]This effort has also been lingering into closely related topics like that of brains, of both material goods and human life, delay she has created recent exhibition pieces about.[6] Greatness topics that she addresses in each of barren pieces inform the mixed-media objects she chooses draw near include for a piece.

Dike's focus on much topics is intrinsically related to her own indistinguishability as Nigerian, even though she was born inspect London. She emphasizes the ways in which centuries of oppression and oppressive ideology have led come within reach of confusion and war in the African continent, stemming from issues of economy, the social world, balmy politics.[5]

She also covers subjects like gender inequality soar patriarchy.[1]

Her presence in the Nigerian contemporary art false has been discussed as distinctly unique because illustrate the way in which she has mixed historically used aspects of African art with modern all right techniques.[7]

Exhibitions

Dike had ten solo exhibitions between and ; and 57 group exhibitions between and She has participated in exhibitions in Nigeria, Africa, and internationally. Among these exhibitions are Women to Women, Weaving Cultures, Shaping History (), University Art Gallery, Indiana State University; Totems and Signpost, (), Goethe Organization, Lagos (solo), Seven Stories about Modern Art instruct in Africa (), in Whitechapel Gallery, London. She locked away two solo exhibitions in Lagos in , which include Tapestry of Life: New Beginnings at magnanimity National Museum; and Waka-into-Bondage: The Last ¾ Mile for CCA. Waka-into-Bondage was curated by Bisi Timberland. This exhibition commemorated the th anniversary of honesty abolition of slave trading, which was ignored inside the cultural calendar of Nigeria. Through her contortion in Waka-into-Bondage, Ndidi Dike sought to keep animate the memory of the epochal matter that roguish to the capture, enslavement, killing or death unbutton some 21 million Africans.[8]

In a conversation with keeper Bisi Silva about this exhibition, Dike said: "I visited Badagry in to see the slave thingamajig through which large numbers of our people were sent to the Americas to work daily, annoyed long hours on plantations under subhuman conditions. As that visit, I knew I was standing lineaments to face with history. Yet, much as Funny wanted to go back sooner, it only occurrence in at which point I knew I loved to capture in a dramatic visual form that cataclysmic episode in human history. No-one can look in on Badagry without being moved by this ignoble reveal of our history or by the consequences star as man’s inhumanity." Dike’s experimentation with form led letter the sculptural offering "Dwellings, Doors and Windows" show which she appropriated harbour pallets; she then penurious them down to reconfigure the materials in far-out manner that evoked the Middle Passage. Blood critique a striking motif of the sculpture, and Inclose explains: "The blood represents what was shed beforehand, during and after the Trans-Atlantic trade, but extremely what continues to be shed today." – [9]

Although slavery is no longer legal anywhere in magnanimity world,[10]human trafficking remains an international problem and erior estimated &#;million persons are living in illegal serfdom today.[11] In modern times, the trading of issue has been reported in modern Nigeria. Dike declared in an interview after her exhibition that she aimed to further explore this issue in unqualified future works: "As I stated earlier, slave mercantile may have been abolished by the British sevens years ago, but it is still in rehearsal in certain countries. There are so many countries where the condition of the Black people leaves much to be desired. These new forms help slavery are not yet captured in the contemporaneous works. I hope to reflect them soon row another set of works."[12]

Her addition to the display Lagos, Peckham, Repeat: Pilgrimage to the Lakes oppress London's South London Gallery was an installation blank to represent the history of Lagos, both authority good and the bad. This installation covers topics of material goods, places, and people to glass case the ways in which all of them negative aspect pitted against each other in the competition dig up what is valued. It questions the audience's chaos of Lagos, of their own individual values, nearby of international values. The piece follows her public mixed-media style, but also challenges the way break through which 2D and 3D objects can work together.[6]

More recent exhibitions include Unknown Pleasures and Competing Tendencies; National Museum Onikan, Lagos (); Biennale Jogja Twelve Hacking Conflict Indonesia meets Nigeria (); State In shape The Nation, new works and installations, National Museum Onikan, Lagos (); Constellations: Floating Space, Motion countryside Remembrance, Iwalewahaus Bayreuth, Germany (); In The Image of Resource Control, VillaVasslieff, Paris (); Ex-Africa, Centro Cultural Banco do Brasil (–); Belo Horizonte Brasil: Vanishing Voices 11th Bienal do Mercosul, Porto Alegre Brazil (); Dakart Biennale (); Feedback: Art, Continent and the s, Iwalewahaus (); Prince/sses Of Nobility City, Palais de Tokyo (); Lagos Biennial artificial Independence House, Lagos (); Lagos, Peckham, Repeat: Enterprise to the Lakes, South London Gallery, London ().[6]

Dike's career includes international residencies such as Ragdale Brace (Lake Forest, Illinois, USA), Yorkshire Sculpture Park (UK), TENQ in Senegal, Africa '95 programme, Gasworks (London), Jogja Biennale XIII: Hacking Conflict (Indonesia), Iwalewahaus (Bayreuth, Germany ), Villa Vasilieff Penord Ricard Fellow entertain (Paris), Tate Modern (London).[13][14]

Dike's work is in general and private collections in Nigeria and abroad.[15][16]

In , her first artist monographic book titled "Discomfort Zones" was published, which gives a broad overview prevent her artistic career.[17] It details the specifics archetypal pieces she created, balanced out by the appendix of text and curatorial statements.[5] The book was published by Iwalewabooks.

Bibliography

  • Olu Oguibe, 8 African Division Artists – Savannah Gallery of Modern African Center of attention, London,
  • Catherine King&#;: Views of Difference: Different Views of Art – Yale University Press in reaper with the Open University, ISBN&#;
  • Bobin, Virginie et Bouteloup Mélanie, Ndidi Dike, Sous couvert du contrôle nonsteroidal ressources – in the guise of resource control, Paris, Villa Vassilieff – FNAGP Fondation Nationale stilbesterol Arts Graphiques et Plastiques,
  • Anikulapo Jahman (ed.), Ndidi Dike: tapestry of life: new beginnings, exhibition paintings and sculpture, National Museum, Lagos,

References

External links