Nimi Izulu, Finding Delight Amid Despair In Shege, Sapa

Recently, the Omenka Art Gallery, Ikoyi, Lagos, played host to the exhibition of Nimi Izulu titled, Shege and Sapa. Renowned as ‘The Paintertainer,’ Nimi’s style is a dynamic blend of visual artistry and captivating performance. Whether crafting iconic portraits on stage or pushing boundaries at extreme heights, he employs his unique ‘Elginism’ technique — a form of graffiti-writing-on-stencil — across diverse mediums such as canvas, glass, plastic, wood, or metal. With a keen eye for social issues, Nimi employs satire as a powerful tool to illuminate and critique the complexities of Nigerian politics. In the show, over 15 works, which satirise Nigeria are deployed, with titles such as, Passport (107 x 91 cm acrylic, spray painting on canvas) illustrating the ‘Japa’ social phenomenon: the migration of young talented Nigerians in search of survival, neglecting the devastating consequence it has on the nation. Nimi emerges as a sharp-witted commentator on the intricacies of the Nigerian political landscape when he steps away from his live painting endeavours. The painting showcases the Nigeria passport with the green colour and an inscription, titled, ‘Japa Community of Nigeria State’, JACONS. It interrogates the ‘essence and being’ of the passport, especially, as it becomes just a mere parody of what it should be. Another artwork on display is Palliathieves (152 x 122 cm Acrylic, spray painting on canvas), which depicts how the Nigerian government hid palliatives during the pandemic. Point and Kill (91 x 91 cm) describes the #EndSARS protest and the Lekki toll gate killing, with a pictorial painting of President Tinubu, his predecessor, Muhammadu Buhari, and former Chief of Army Staff, Tukur Buratai, all pointing hands in denial facing each other. Also, The Seal of the Citizens (91 x 91 cm), Pure Sapa (152 x 122 cm), and Central Bank of Shege and Sapa (119 x 89 cm) portray the scarcity of naira note that killed many citizens, as well as the National Cake (91 x 91 cm). The show unfolds as a visual narrative with Nimi delving into the intricate web of ‘Shege’ experiences, from the unsettling revelations within the banking industry to the repercussions of fuel subsidy removal by the current administration. “I felt like the Nigeria passport should be named Japa Community of Nigeria States, because every young person in Nigerian currently, if given the opportunity will relocate and the government is not worried about the consequences this has on our families, society and the economy. The Japa syndrome has divided couples and families. Meanwhile, our youths are the strength of the nation, but with the Japa syndrome, Nigerian is losing her strength,” he says. Through his artistry, he skillfully navigates the nuances of societal challenges, offering a unique perspective that blends humor with astute observation. Whether through visual commentary or other forms of expression, Nimi utilises his platform to spark conversations, challenge norms, and bring attention to the pressing issues affecting his homeland. In doing so, he not only showcases his versatility as an artist but also exemplifies the transformative potential of art as a catalyst for social change. Beyond these personal narratives, ‘Shege and Sapa’ serve as a powerful platform for him to address broader societal issues. The low standard of living, instances of police brutality, the fervour of the #EndSARS protests, and the shortcomings in the distribution of COVID-19 palliatives are all vividly illustrated and dissected. In her curatorial statement, Stephanie Owho, said: “Shege and Sapa, an audacious audio-visual body of work by Nimi Izulu, invites viewers into a compelling exploration of the multifaceted struggles faced by ordinary citizens in post-pandemic Nigeria. Through a masterful blend of satire, afro pop-art, and a diverse array of mediums including sound installation, film, paintings, sculptures, and new media, Izulu offers a thought-provoking commentary on the challenges that have defined the socio-political landscape of Nigeria in recent years.” She said, “the title itself encapsulates the essence of the exhibition. ‘Shege,’ a potent Hausa curse word, transcends its linguistic origins to embody the pervasive discomfort, heartbreaks, and shame experienced by individuals navigating the complexities of contemporary Nigerian life. Complementing this, ‘Sapa,’ a pidgin slang, crystallizes the prevailing narrative of financial hardship and economic struggle, resonating with the collective consciousness of those grappling with the harsh realities of being broke in a post-pandemic era.” According to Owho, “Izulu, in his distinctive Afro pop-art style, Izulu skillfully employs the Nigeria coat of arms as a recurring motif, symbolically anchoring each piece to the socio-political context. This deliberate visual choice serves as a poignant reminder of the intrinsic connection between the artist’s message and the nation, weaving a narrative that reflects both pre-pandemic political dynamics and contemporary pop culture.” Nimi’s artistic journey began with formal training in Fine Arts at Yaba College of Education, Lagos, where he subsequently embarked on a quest to explore unconventional techniques and tools. Portraiture, a recur- ring theme in his works, reflects his studies in psychology and an acute awareness of the innate narcissistic tendencies within human nature.