E K'ABO

Nnenna Okore, Sample Material, 2008. Magazines and thread.

Nnenna Okore's new works "highlight wastefulness through beautiful and graceful forms we can readily relate to."

The October Gallery in London's West End currently has on display an exciting exhibition of artworks by Nnenna Okore (her solo London debut). It is titled Ulukububa - Infinite Flow, an exhibition of new works establishing the makings of textiles as an allegory for the interface among human, material and organic worlds. Translated, Ulukububa, an Igbo word (one of Nigeria's ethnic languages) is "butterfly," although it also suggests the idea of a free-flowing, never-ending entity.

At the October Gallery preview, the who-is-who of the art fraternity in west Africa and the UK was in attendance as there was much to mull over in this debut instalment of sculptural works selected by Nnenna Okore and the gallery. For many, it was an event to be seen at, as much as it was to see artworks. But it was also the first chance to look at the new works of one of the best artists to hail from Nigeria. Another famous Nigerian, Chimamanda Ngozi Adichie, award winning author of Purple Hibiscus and Half of a Yellow Sun, opened the exhibition.

Detail of Ulukububa (2008), clay and rope

E K'ABO: Why did Chimamanda-Ngozi agree to kick off Okore's Ulukububa Infinite Flow art exhibition?
Chimamanda: Nnenna and I grew up together in Nsukka-Nigeria and although I did not know her well, I was happy to support what is obviously a real and original talent with roots in a town I love. So, I was quite happy to say yes when the October Gallery asked me.

E K'ABO: Which work of art would you most like to own?
Chimamanda: Something by Bruce Onobrakpeya, I think. Bruce Onobrakpeya is the well known Nigerian artist whose exhibition - Where Gods and Mortals Meet: Continuity and Renewal in Urhobo Art, is the first to focus exclusively on the art of the Urhobo people of the Niger River Delta in southern Nigeria.

The art of Nnenna Okore is formidable. Other artists create, we like to say, a world all their own. Nnenna creates art all her own: it has different rules and different purposes from anyone else's. While her raw materials might be throwaways to you and I and other artists, (discarded materials - newspapers and magazines, ropes, sticks, old rags and clay and wax), they are considered usable commodities. Nnenna weaves these discarded materials together with such intricate care that the end products appear like some kind of ritualistic cultural/traditional artefacts.

The fact that celebrated sculptor El Anatsui was her teacher and mentor at the University of Nigeria, Nsukka, and her employer thereafter in his studio, cannot go unmentioned here. Winner of several awards, El Anatsui's magnificent bottle-top cloths were the highlight of the prestigious 52nd Venice Biennale Arts Festival. While El Anatsui has some influence on Nnenna's sculptural assemblages for the reason that she also transforms discarded materials into cultural objects forms and spaces, Nnenna art is altogether her own, because she experiments with methods and procedure.

Her invigorating and reconstructive approach to materials makes her one of the most exciting and innovative artists or her generation, working with inner-city recycling, specific to the Nigerian society.

In her delightfully produced Ulukububa - Infinite Flow brochure, Nnenna Okore states: "El helped me broaden my scope beyond the canvas, beyond the paper, and challenged me to bring my environment and other experiences into my works. That was a turning point for me, when I started making sculptures and installations. I looked around me, and discovered how much was there to be transformed into art." Her annotations in the information sheet say further: "Okore produces multitudes of interconnected forms, evoking natural, infinite rhythms of reproduction, and challenging the material boundaries of the object. Employing repetitive, manual techniques such as weaving, twisting, sewing, dyeing, waxing and rolling, Okore's practice makes reference to notions of human labour and production, exploring the processes, which transform the organic to the commodity, and the discarded commodity of cultural product."

Shield Me (2008). Newspaper, acrylic, colour, starch, yarn and rope.

One could not agree more. Okore's works are timely for they bring a focus to reckless consumerism, extravagance, and the transformation of materials, whipping up a picture diary for these grim times of economic meltdown.

There are 16 bravura sculptures on display in this exposition, ranging from the skilfully put together - ASHOEBI II 2008, clay and burlap -127x229x18cm at a whopping price of £26,750 + VAT, to the eye-catching sculpture ULUKUBUBA 2008, clay and rope - 216x165x20cm with a price tag of £19,000 + VAT. SHIELD ME 2008, newspaper, acrylic colour, starch, yarn and rope 145x137x28cm, a UK Channel 4 Art Collection, recently exhibited at Channel 4's headquarters in connection with the Big 4 project got heaps of attention. It is exceptional. By re-imaging everyday waste, as well as natural materials, this Nigerian artist's works consistently challenge environmental neglect and globalisation, more so at this time of threatening environmental catastrophe.

One of her most celebrated pieces is named Rope, which was made in Nigeria in 2006, out of rolls of newspaper wound together and glued. It is a typical Okore piece using recycling.

As she said: "My work often employs ordinary media like magazine and newspaper, which are disposed of in the United States, but are considered usable commodities in my native country, Nigeria. My works highlight wastefulness through beautiful and graceful forms we can readily relate to. Currently, I am investing in forms that explore, or are inspired by intimate spaces, shelters, architectural and natural environments, and ideas related to textures, colours, qualities and social values associated with African fabrics, using multiples and repetitive processes."

The tone of Ulukububa - Infinite Flow goes from humorous to sinister. A problem, however, is the price tag of he works, particularly in this time of economic downturn. On the other hand, while 'Ulukububa - Infinite Flow' isn't a flawless classic display, it certainly provokes thoughts about the challenges of the environment and globalisation.

Nnenna Okore, Ashoebi II (2008), clay and burlap.

Ulukububa- Infinite Flow October Gallery, 24 Gloucester Street London WC1N 3AL Tel: +44 (0) 2072427367 www.octobergallery.co.uk