A PEEP INTO INNOCENT AKHIGBE’S TAPESTRY

Oba of Benin, Innocent Akhigbe 2019

Mathew B. Oyedele

Innocent Akhigbe’s delineation of African personalities is dramatic and mimetic. It recalls the importance of every moment of laughter, victory, action, purpose and bravery. It also highlights how time gets frozen by the hands of the artist.

One recalls the photographic collection of Ike Ude, a Nigerian born New York photographer, entitled, “Nollywood Portraits: A Radical Beauty” where he graciously created a dramatic atmosphere of light and colour. Contrarywise, Innocent’s portraits are mostly rendered in black and white, but his generous use of chiaroscuro is the main element that spices up his renditions. The process begins by planning and visualizing the subject on the loom before interlacing his weft back and forth to highlight the disposition of his subject.

Nelson Mandela, Innocent Akhigbe 2018

He confides that the artistic ambience in the city of Benin has offered him a great deal of philosophical knowledge. From his tutelage in textile design in the University of Benin to the support, criticism and encouragement by art enthusiasts in the city, Innocent remains grateful to the city as the crucible of his artistic exploration.

Bob Marley, Innocent Akhigbe 2017

He believes that the contemporary world has ignored tapestry as a medium of art that weaves narratives into patterns, forms and visuals. He therefore intentionally chose the medium as well portraits of African personalities as a way of telling African stories. “I do more of popular faces so as to sell a ‘not too common’ medium with common identifiable faces, bearing in mind that people can easily relate with the personalities and ultimately the medium”, Innocent said in a chat.

Wole Soyinka, Innocent Akhigbe 2016

Africa is rich with historical events that contributes to the advancement of the black race and Innocent is willing to explore these events as a form of education and enlightenment. “I am currently working on the documentation of African historical events with tapestry in order to bring tapestry home as a complete form of art and sell our historical events as a rich cultural heritage to the outside world. I was inspired by the need to project tapestry as an effective art form amidst painting, sculpture, photography and printmaking which has been used for the documentation of African historical events over the years”, he affirmed.

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NO HOME

My beloved house has treated me thus It has led me on the back of the wheels Ocean from my eyes Farewell, I bid. They exist in my head The slaughtering, killing, butchering, Murder. Heads assembled on the mattress Wrappers, west Scarfs, east Breast, dangled. Ahead is a lion Behind is a crocodile Where do I go? Where do I stay? There is no home Just a space to occupy For today I exist Tomorrow I know not.

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