Dele Giwa was parcel-bombed, during the Ibrahim Babaginda junta (1985-1993) - a brazen murder yet to be resolved. The fountain pen symbolized that avant-garde journalist, Dele Giwa, among the quad that introduced weekly newsmagazine journalism into the Nigerian market, with the flagship Newswatch, now defunct. Dele Awojobi, the University of Lagos mechanical engineering whiz, who practically cut short his illustrious life, by “over-thinking” the Nigerian quagmire, during the 2nd Republic (1979-1983). In “Dele-Cases”, the academic cap symbolized the late Prof. He pushed the linguistic pun of: “Dele” for “daily”, to tell a grim but simple tale: many of Nigeria’s daily tragedies need not happen! That remarkable piece of telling symbolism birthed in 1989. The artist captured that grim, bitter-sweet drama in simple black-and-white strokes.īut perhaps the most densely poetic, yet ultra-simple in colourful strokes, is “Dele-Cases” - the tragedy of three “Deles”, as creatively captured by another Dele, from his artistic observatory. But other youths sometimes turned their festive homes into grief when it all turned fatal - and their ill-fated ram, near-fatally butted, is rushed to the slaughter, with life seeping out of it! Now, that could be lethal sports! Many a youth preened and crowed over their champion ram, which somehow had out-butted and subdued others.
The very first, “ Kuru pa kuru”, beams ram fighting, a sporty yet dangerous treat on the Lagos landscape - cultural kaleidoscope? - each time the Ileya Muslim festival was in the air. That much was clear from the pieces of audacious art on display. Toni Anthony would later segue into the artist’s large presence, on Yaba Art’s very wide canvas, in the unending dialogue between the Gown, from where Toni Anthony’s strokes jutted out and the Town, the community that the painter moulded into endless experimentations and improvisations, as decreed by his creative muse, in bouts after bouts of creative perspiration.
#Arte kaleidoscope free
Ogunde’s elder brother testified at the event that “King of Boys” might have dated back to his sibling’s student days, when he lived in the boys’ quarters of an uncle’s official quarters, on the Yabatech campus - a facility the free and feisty soul threw open to all and sundry. The monikers belonged to a latter era: the Yaba years.
Never Anthony, his baptismal - who even knew that, at the bloom of boyhood at the cusp of teens: the age of questioning and experimentation the epoch of rebellion?
But perhaps only the Oko-Oke boys, his old classmates, would call him that: just Ogunde. That’s his real name: Anthony Bandele Ogunde. From the starting point, though late, Kaleidoscope offered nothing but sumptuous and filling visual feast.įor starters, the exhibitor’s many monikers were as kaleidoscopic as his bewildering oeuvre of cross-media art: Ogunde.
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