Toni Ndikanwu and I met when we sang together in the Saint Denis Cathedral choir in Athens. When I wrote 9 Days to Heaven I asked him to paint me some pictures to illustrate it. Toni’s work is diverse. He’s always doing new things.

For more information on Toni Ndikanwu’s work please contact me.

African Symbols and Messages from an Artist’s Perspective

By Teresa O’Driscoll

Once again, the Nigerian artist, Toni Ndikanwu, in his latest exhibition entitled “Symbols and Messages” shows us the heartbeat of Africa with vibrant lexigraphy and a rich-hued palette. This time he is displaying two very different approaches in his work. In an oil on canvass series he has seemingly abandoned his sculpture roots for a strict two-dimensional effect. Whilst in another, of mixed media - employing his unique concoction of bonded plaster and acrylic paints - he has built up a classic three-dimensional relief that recalls those roots. Yet the two are united in the common employment of symbolism. 

“In these works, more than 40 pieces altogether and most of them new, I have deliberately steered away from representation and naturalism,” says Ndikanwu. “I did this because I wanted to concentrate on highlighting the symbolism in African traditionalism in all its parts.” The artist favours the use of traditional African calligraphy called, Uli. “Sometimes I use its literal meaning,” he says. In this case he will use the hieroglyphic type line drawings of parts of animals, insects, plants or the human body to spell out a message. “Other times I will use it as a decorative pattern and also add colour to enhance the design and visual appeal,” he explains. “And in other works I may focus on colour to tell a story.” He also employs Uli in more oblique ways such as the outline of the whole composition. Spheres often provide a counterpoint in an otherwise angular expanse. “In this way I keep things moving up and down,” he comments. 

“Every painting is like a song,” says Ndikanwu, “and I am trying to give rhythm, balance and harmony.” Then he indicates one of the series and says, “In this particular one the main ingredients are lyrics.” That begs an explanation so he continues, “Rap for instance, is loaded with words, and similarly the symbols I used here are the lyrics, which I see as music. The words tend to address most of the things that were going on in my mind at the time I was doing the painting such as finances, religion and my beliefs.” He hones in on a few specific symbols. “Look at this lizard,” he says. “This is a reptile that falls from a great height without being hurt and then just moves on, so in Africa it means ‘I’m doing the best I can in every situation.’ Now see this leaf, it’s shaped like five unequal fingers and is likened to the many different types of people. And there is a spider’s web, which if you find it in your house you clear it away but the spider comes back and builds it again, so it is known for its persistence.” He then points to an area with many small lines and says, “My concept of different brush strokes is that they represent the many things that can happen in one part of a whole. A single piece tends to have a lot of parts, like the nut we have in Africa which is called a kolanut. When somebody visits you break the nut and say prayers and then share it out and everyone gets blessings. However, if something bad happens to them on the way home it is said that they got the bad part of the kolanut because it has both positive and negative in it.”

At first glance, in many of these new pieces the artist seems to have forsaken his predilection for the human presence. However, Ndikanwu’s admission that he is scrutinising human attitudes through these works is the clue that humans are in fact present, just more elusive than usual. Some are, as in his previous works, portrayed as living images. Whilst others appear as a hint or an abbreviation. But though seemingly understated, the unfailing inclusion of these people in each work is the clue to their importance as part of its entirety. In fact, in order to grasp the meaning of the whole scenario, it is often a good idea to track down the figure or figures then view the work from that focal point. 

Specifically in the oil on canvass pieces, there is a general absence of space as well as depth. Every available inch has been taken up with intricate designs. This makes for a general feeling of busyness which the artist says reflects his lifestyle at the moment as he has lots of things happening around him and not all of them under his control “In these works I am facing any problems that I’m having head on and just letting them come out onto the canvass,” he says. Some respite from the whirlwind of activity has been created though by the use of areas of earth tones which inflect a note of calmness or solidity and maybe even a pause. Whilst in the mixed media section pale or dark tracts accentuate the broad outline of each study. In both sets, a staccato of strokes in white, pastel or bright hues quicken the pace. Meanwhile, the addition of curves and random orbs catch the glance and slow the stanza down.

Overall, it can be said, that the works state the case for the continuing significance of communication. To that end, the Nigerian Embassy are supporting this exhibition. There is also a possibility that it may be sent to other countries as a representation of Nigerian culture. The Athens venue is the cultural club of the open programme “DIAVASI.” “I would like to send my appreciation and thanks to the Nigerian Embassy and the organisers of DIAVASI for all their support,” Ndikanwu concluded.