An Exhibition and Retrospective of Works by Yusuf Grillo T H E S P A C E An Exhibition and Retrospective of Works by Yusuf Grillo T H E S P A C E Sponsored by Supported by “Yusuf Grillo: Universalising Yoruba Consciousness” – Kunle Filani On behalf of Arthouse Contemporary, it is my great honour and privilege to present The superstructure of Yusuf Grillo’s artistic creativity his formal and thematic erudition within the Yusuf Grillo’s newest solo exhibition, entitled Igi Araba. As one of Nigeria’s legendary is built on a solid conceptual foundation that is cast cultural milieu of a dynamic ethnicity. Born in the master artists, Yusuf Grillo has led a prolific career that has shaped the discourse of with the finest alchemy of talent and intellect. A cosmopolitan city of Lagos, he grew up in the core modern art in the country. This exhibition marks the first solo exhibition of Grillo in over phenomenal genius, Grillo is gifted with a sixth sense Lagos metropolis; an urbane settlement historically forty years, a long overdue project that showcases the development and evolution of that enables him to effortlessly envision life’s complex christened Brazilian Quarters. Grillo’s grandfather his artistic practice. dimensions. He continually searches for the ideal, returned from Brazil to their African homeland after the novel and the experimental in art. He engages the abolition of the slave trade. Most of the victims This exhibition is the culmination of lengthy discussions with Grillo over the last two diverse materials and methods to interpret seemingly of the illicit trade came back to West Africa with years in developing this project. One of the foundational aims of Arthouse Contemporary simple and profane subject matter that are actually specialised skills, broader world view and western has been the renewed attention of iconic artists from the modern period in Nigeria, this coded in complex humanistic philosophies. education. Such diverse knowledge was rare in exhibition includes a book publication that undertook extensive research and critical pre-colonial Nigeria. The Yoruba Brazilians adopted analysis of Grillo’s rich artistic career. This follows Arthouse Contemporary’s goal in Grillo is one of the artists that appropriately defined the design of modern Brazilian architecture for their preserving Nigeria’s art history for the next generation. modern African art as a synthesis of the old and houses and operated an urbane and sophisticated the new. The old was the indigenous cultural lifestyle. Their children also shared in the nuanced This exhibition also includes a video documentary that was produced by the Foundation artistic practices of Africa, while the new was the prestige of their progenitors. They considered for Contemporary & Modern Visual Arts. We extend our immense gratitude to Eurocentric stylistic variables that were promoted themselves as worthy inheritors of a dynamic, Mr. Olayinka Fisher for offering such an important resource for future scholars of by the West all over African countries, especially social and cultural patrimony. Not unlike those in Grillo’s art. during the colonial years of the twentieth century. the Diaspora in Brazil, the Lagos settlers and their The Zaria Art Society, founded by a group of young subsequent offspring were also very sensitive to We would also like to thank our sponsors for their continued support of the art in Nigeria. art students in the late 1950s in the present day Yoruba traditions. The Brazilian Quarters in Lagos Access Bank has made vital contributions to Arthouse Contemporary since its initial Ahmadu Bello University, Zaria, Nigeria, became therefore became an arena for the convergence of stages, and they continue to make such projects possible. Special thanks to epochal with their theory of Natural Synthesis, which Yoruba cultural practices, manifesting in seasonal Mr. Herbert Wigwe, Managing Director of Access Bank, for his tireless dedication to guided their art practices after graduation. Members religious festivals, rites and rituals. It was within this Nigerian culture. We would also like to thank Kia Motors, KFC, and Veuve Clicquot for including Yusuf Grillo were not held hostage by the mix of socio-cultural diversity that Yusuf Grillo was their vital contributions to this exhibition. popular European conceptual art paradigms. Rather, born in 1934. they individually explored their indigenous cultures With Igi Araba, we are proud to showcase this long deserved retrospective of a and appropriated its inherent art styles to suit Suave, urbane and cosmopolitan, Yusuf Grillo was celebrated national treasure. modern artistic tendencies. brilliant and multi-talented. By the time Grillo enrolled for higher study in Fine Arts in Zaria in 1956, he was Yusuf Grillo interrogates the traditional style of far more exposed to the undercurrents of creativity Sincerely, Yoruba carving and translates the forms into than most of his schoolmates. He had been taught two-dimensional paintings, using excellent by some of the pioneers of modern art such as Aina Kavita Chellaram draughtsmanship to achieve schematic images that Onobulu, an itinerant art teacher to many secondary are seemingly arrested in restrained motion. The schools in Lagos. He also learned and benefitted forms, often classified as Stylised Naturalism, have from the artistic practices of Akinola Lasekan and elongated figural images cast in elegant poses. He J. K. Oye. creates overlapping planes both in the foreground and the background of the composition. The figures The lecturers in Zaria were all British with the and images are made to resonate with a sublime exemption of Miss Etsu Ngbodaga, a young Nigerian effusion of mauves. lady who was a British-trained art educator. The curriculum was imported from the Royal Art School CREATIVE BEGINNINGS and replete with colonial imprints. Propelled by the A historical narrative of Grillo’s contributions to prevalent wind of independence in the late 1950s, contemporary African art must contextualise the radical members of the Zaria Art Society, of whom Grillo was a prominent member, took PAINTING AND STAINED GLASS: A SYMBIOTIC IMAGING YORUBA CONSCIOUSNESS and its derivative shades of purple and green. This is academic liberty to explore indigenous themes. RELATIONSHIP Perhaps the most enduring legacy Grillo bestowed on characteristic of the tie-dye and batik textiles that are They also incorporated formal characteristics of It was Kavita Chellaram, the director of Arthouse contemporary Nigerian art is his faithfulness to Yoruba popularly produced in Abeokuta. It is also observable African art and craft traditions into their Contemporary, who first suggested that a painting culture without ossifying traditions. He represents a that Grillo’s colours also identify with the Yoruba Aso synthetic style. of Grillo be reproduced in a stained glass technique. creative bridge that filled the transitory gap between Oke type, which often comes in strips of Prussian According to Grillo, this represents “a new thought dynamic Yoruba wood carving traditions and blue and deep purple. Four of the Zaria Art Society members, including from old images; a new vision of same idea”. He contemporary Yoruba art. Yusuf Grilllo, were to become very famous in later recalled that back in his schooling days in Zaria, Yusuf Grillo’s subject matter is generated from years due to their diverse creativity and exemplary a lecturer named Clifford Frith had hinted that his Although Aina Onabolu and Akinola Lasekan were everyday life events around him. He is also commitment to the development of contemporary paintings looked like stained glass because of the Yoruba men who pioneered modern Nigerian art, their fond of making social or religious comments by Nigerian art. The others are Uche Okeke, scholar linear angularity of planes that defined his pictorial naturalistic forms are not typical of the Yoruba canon alluding to biblical or Islamic stories. His religious and Uli exponent; Demas Nwoko, the self-inspired compositions. This triggered his interest in stained as established in wood carving. The only artist who conceptualisation of themes is interpreted both architect who adapted Nok culture in his forms; and glass, coupled with the continuous tutelage under experimented with two-dimensional simulations of in content and form with the matrix of Yoruba the prodigious printmaker and installation artist Bruce Paul Mount, Grillo’s respected mentor in art. Paul Yoruba images was Ayo Ajayi. However, his forms are visualisation. He makes puns in a humouristic Onobrakpeya. Grillo stood out as a great painter with Mount was a British multi-talented artist who a direct adoption of the traditional carving style which manner by engaging day to day issues with poetic a distinct capacity for excellent draughtsmanship. introduced informal art lessons into Yaba College of diminished his paintings as imitative. On the other commonalities. The titles of his works are often He equally demonstrated versatility as a competent Technology in the 1950s. He handed the lessons hand, Grillo’s form was creatively expedient, original slangs and expressions that are derived from street sculptor, muralist and stained glass designer. over to Grillo in 1962 when he and some of the and modernist in outlook. usage. As a devout Muslim, Grillo equally explores expatriate staff relocated to Europe due to the post- Islamic themes from both the faith and the practice MATRIX, PRAXIS AND CHARACTERISTICS independence indigenisation policy in Nigeria. Apart from creatively adopting and modernising the perspective. As a member of the Zaria Art Society, his interest in traditional wood carving style, Grillo also celebrates the interrogation of indigenous ideals was kindled After attending a training workshop in Bradford in the sartorial comeliness of Yoruba attires. He always Grillo’s creative adaptation of themes situates the by like-minded colleagues. He experimented with Britain to learn more about stained glass techniques, selects appropriate indigenous dresses to enhance universal in the local, while the indigenous is also Cubist forms, using bolder geometric shapes. Grillo adapted the techniques to suit more readily his thematic relevance. The range of garments used made global. He espouses a humanistic philosophy His use of angular structures found appropriate available materials such as plexiglass. He is now by Grillo includes casual, ceremonial, ritual, religious that recognises human beings as social animals with correlation in the Yoruba wood carving style. He the most famous stained glass designer in Nigeria, and royal dresses. He particularly extols the virtues of a generic attitude to life. Grillo uses Yoruba culture successfully domesticated the Western naturalistic having done many splendid installations in various women by depicting them in fashionable clothing. He as a humanising pedestal to unify divergent races, style by employing motifs of Yoruba traditions in churches. In spite of being a devout Muslim, Grillo even creatively adapts the typical Yoruba attires by religions and societies. his paintings. Typical of his formal characteristics is grasps biblical concepts with ease and interprets the modernising the design to suit the various ambiences the use of Yoruba dresses, which accounts for the commissioned themes with a recognizable imprint of of human attitude and character. For example, Grillo Grillo’s comportment is replete with wisdom and peculiar sartorial elegance of his figures. Relics of his painting characteristics. exaggerates and elongates sizes, styles, folds and piety while discussing philosophical and religious culture such as traditional drums, ritual staffs and Grillo thus started a series of stained glass paintings knots of the head gears and clothes worn by some mysteries. His heart is as immaculate as the appurtenances, and icons of royal and economic that were conceptually and stylistically generated imprudent and impudent ladies. white dresses he always wears. With his unique motifs constantly manifest in his paintings. from his paintings. Interestingly, there seems to be contributions to the development of contemporary The themes of his works are often derived from a symbiotic dialogue between the old paintings and The backgrounds of Grillo’s paintings are deliberately Nigerian art and art education, it will surely be everyday human conditions but exemplified within the new glass works. Indeed, Grillo started to see geometrised using a simple and complex interface of written of him that “a creative genius walked this a Yoruba indigenous context. His use of colour is fresh formal possibilities in his old paintings due to structural rectangles, squares and triangles. Subdued contemporary path”. mature, tamed and cool. He lavishes shades and certain artistic structural challenges that he was able forms of local architecture commonly found in urban tints of violet, green and blue in selected portions of to resolve in the glass interpretations. The end result towns and cities in Yorubaland are indirectly implied. * Kunle Filani (MFA PhD) is an artist, critic and art the composition, thereby not only creating thematic is that some of his old paintings were retouched with He uses the principles of convergence and dispersal historian. emphasis, but also generating profound textural and moderate adjustments in form, while the stained to create three-dimensional illusions by harmonising visual aesthetic qualities. glass derivatives also assumed formal and both areal and linear perspective points. pictorial originality. Yusuf Grillo is a master of compositional Even in the use of colour, Grillo’s inspiration comes arrangement. He orchestrates series of geometric Grillo certainly didn’t spin out stained glass copies of from the Yoruba chromatic tradition. He derives planes in his pictures both as forms and as the paintings; his intellectual and innovative faculty his colour schemes primarily from blue, purple and BIBLIOGRAPHY design elements. He fuses the fore-figures with is too superior for self imitation. He transformed green and merely accentuates contrast by selecting Dike P.C. and Oyelola P (eds) (1998) The Zaria Art Society: A New Consciousness, National Gallery of Art, Lagos the background through a seemingly innocent the painting elements and principles into a more the correlates in the colour wheel. Grillo valourises tonal differentiation or hard edge demarcation. technical and overwhelming method of production. purple even in its imbued royalty and makes mauves Dike P.C. and Oyelola P (eds) (2006) Master of Masters, Yusuf Grillo: He obliterates visual partitions by unifying his The translucent nature of glass added to the glow of more sensitive to our affective domain. Any observer His Life and Works, National Gallery of Art, Lagos compositions with suggestive ambivalent structures. his subtle use of colours. of Yoruba culture will immediately notice the tonal Filani Kunle (2015) Interview Sessions with Yusuf Grillo at his Ikeja, affinities of Grillo’s pigments with the indigo dyes Lagos Residence in July and August 2015. ADEBAYO YUSUF CAMERON GRILLO – THE QUINTESSENTIAL MASTER ARTIST AND EDUCATOR Adebayo Yusuf Cameron Grillo was born in 1934 Yaba College of Technology, Lagos, where he rose in the Brazilian quarters of Lagos. In 1960, he to head the School of Art and Printing. He played a graduated in visual arts from the then Nigerian pivotal role in consolidating the enviable academic art College of Arts, Science and Technology (now program of the Yaba College of Technology. Grillo is Ahmadu Bello University Zaria). Since graduation, also the founding president and fellow of the society he has dedicated his life to producing masterpiece of Nigerian Artists (SNA). paintings, stained glass and sculptures and in devel- oping and educating young and upcoming artists. As an artist, Grillo makes use of his western art techniques and training while combining Yoruba and Grillo and his peers belong to the privileged other Nigerian traditional characteristics. He takes class of Nigerians who had first class ter-tiary the subjects of his artworks from the human activities education in Nigeria, and who have since thereafter around him with particular regularity of the Lagos significantly contributed to the growth, revolution and cultural scene. The beauty of Yusuf Grillo’s painting development of Nigerian modern art. Grillo’s class of is found in figuration, which on most occasions take graduates of the art school in Zaria constitutes the him months or even years to work on. Grillo generally founding members of the Zaria Art Society that are avoids producing artworks of photographic realism. now widely celebrated by Nigerian art historians as He loves the use of dark colors, predominantly blue, the “Zaria Rebels”. The society was a collection of purple and black, and produces phenomenal works like minds of Nigerian art students in the college who which have formal elements of European modernistic collectively decided to revolutionize and conceptualize features while incorporating African forms and their works of art along Nigerian culture, tradition, aesthetics. His works often features half-length or motifs and scenes, in strong and successful full-figure subjects, depicted in a tightly-cropped resistance against the general philosophy of teaching picture space, revealing very little information about at the school. While the expatriate lecturers were the surrounding environment of the subject. naturally predisposed to impacting European art concepts and methodology on the young minds of Grillo’s paintings testify to an enduring interest in the Zaria school, this set of students rather preferred the volumetric, architectonic qualities of solid forms. Yusuf Adebayo Cameron Grillo to develop their own style based on the fusion of Generally, he stylizes and elongates his figures which African concepts and civilization, combined with the are observable in their slimness, grace, elegance and Widely regarded as one of Nigeria’s most celebrated contemporary Eurocentric methodology and skills of Europeans. beauty. Nothing better shows the wealth, ingenuity artists, Yussuf Grillo has led a prolific career that has shaped the This is the basis of what has now come to be known and timelessness of the art of Yusuf Grillo than the discourse of modern art in the country. Emerging to prominence and in the lexicon of Nigerian art history as the “natural seemingly innocuous manner of titling in his art and international recognition in the 1960s and 1970s, Grillo’s work is deeply synthesis” of the “Zaria Rebels”. It is this general the deep iconography and meaning that are loaded influenced by the characteristics of traditional Yoruba philosophy and background that helps us to understand the form in them. Iconography and meaning in the work of sculpture. As a member of the Zaria Arts Society, popularly known and shape of the works of Yusuf Grillo and his Grillo could appear very simplistic, innocuous and as the Zaria Rebels, Grillo combined his training in the Western- contemporaries. deceptive. However, a deep study and research representational style with a focus on Nigeria’s unique and rich artistic into them will reveal the genius in Yusuf Grillo, history. He is particularly known for the specific use of the color blue in After graduating with a federal government the master artist. his paintings, a reference to adire and resist-dye textiles used in Nigeria. scholarship from the Nigerian College of Art, Science and Technology in Zaria, Yusuf Grillo returned to the This retrospective exhibition, taking place in his After extensive education in Nigeria and the UK, Grillo served as Head same school in 1961 to acquire a post graduate early 80s, may yet be the grand finale of his of the Department of Art and Printing at Yaba College of Technology diploma in education. This decision of Grillo was illustrious career as an art teacher, administrator and for over twenty five years. His iconic stained glass and mosaic works made in compliance with the federal government master artist. I feel honored as a collector to have have been commissioned for a number of public buildings in Nigeria policy at that period of encouraging govern-ment benefited immensely in the enjoyment, pleasure including churches, universities, government buildings, and the Murtala sponsored art graduates into becoming professional and appreciation of the deep depth of the unique Mohammed International Airport. Grillo has also served as the founding educators. Hence, after completing his postgraduate creativity of the works of this great living legend and president of the Society of Nigerian Artists, the professional body for all diploma in education in 1961, Yusuf Grillo combined icon in our shores. practicing artists in Nigeria. studio practice with teaching at Kings College in Lagos. He eventually ended up lecturing at the Prince (Engr.) Yemisi Shyllon D. Litt “Let it all hang out” — ‘No holds barred.’ -Yusuf Grillo Lagos Island’s bustling social life, along with the fashions and trends of women, plays a major role in Grillo’s codification process using mimetic conventional signs and symbols. Baraje, an oil painting on a square format canvas, recalls the memory of Crescendo, a similar composition of an “ariya” scene. The painting is based on an antithesis composition in a diagonal arrangement of multiple leveled planes featuring dancing drummers and figures. The spatial design in oblique squares of blue are skillfully worked into a reflective distant stream of ultramarine light blue lines, suggestive of window reflections of the dancers in a “cocoa dome” or “kakadu spot”. The legs of the dancers in body twists and bending waists are in frenzied gyration. Baraje, Kusimilaya, Sindodo and Owanmbe in Ariya are common scenes on Friday outings in Lagos Island. The movements and twists of both the drummers (Agidigbo/ thousand-wire) and the dancers (sisi Eko- omolomo) are composed to direct the eyes around the dance floor in swirling nuances of cyclical energies and vibrations in motion. Unlike the warm colour scheme of Crescendo, Baraje uses a blueish, violet- tinted lavender and white scheme. There is a mathematical divide of the canvas into planes that counterbalances both the colours in light and shade as well as the formation of people on the dance floor. The drummers in the distance and foreground are masterly costumed to contrast and complement the chosen blue and violet- purple colour scheme of the painting. The gestural twists, genuflections and hands raised high are in complete surrender to the spirit of dance. BARAjE Stain Glass 2015 192.5 x 115.5 cm. (46 x 76 in.) BARAjE Oil on board 2011 47.75 X 47 in. AdiE iRAnA Oil on board 137.2 x 137.2 cm. (54 x 54 in.) Adie Irana epitomises the memorial rite of passage, particularly the Yoruba philosophy to facilitate the transition of the dead to the afterlife. The solemn procession of such a spiritual journey to the funeral home or burial ground of the deceased is led by a maiden with a white pigeon or chicken. This is an emotional, melancholic and nostalgic sacred rite, where she intermittently plucks the feather of the bird. After the interment of the deceased, who is said to have joined the ways of his or her ancestors, the featherless bird is cooked with the rest of the food for the ceremonial feast. There is an expression that says that all those who took part in the eating of Adiye Irana cannot go scot free, because they owe it to also translate someday. It is both a warning and a prayer. It is a warning in the sense that someday you will translate or join the way of your ancestors to live in the world beyond, since African tradition says that death is an ephemeral illusion of dropping the physical body. If the procession is to be led by one’s child, it is a prayer that when you pass on, may you have an offspring who shall perform the memorial rite of passage. This ceremony draws a parallel between adults and children in their viewpoint and understanding of life. While the adults see it as prayer and warning, children see it as a scary event to avoid, including the food from the ceremony. Whether you eat it or not, someday we will all translate. The obvious importance given to the use of PERSPECTIVE LINES is a salute to Pa Aina Onabolu, whose main subject when he was teaching was PERSPECTIVE - ONE POINT (Parallel Perspective) and TWO POINTS (Angular Perspective). Impeachment is about “POWER MUST CHANGE HANDS”. -Yusuf Grillo iMPEACHEMEnT Oil on canvas 1994-2014-2015. dElivERAnCE Oil on canvas 1994-2014-2015. dOn’T PiCK AnY, MUM Oil on canvas 2008-2015 60 x 48 in. Opo-Don’t pick any mum is a painting on canvas that continues Grillo’s examination of identity and gender issues related to marriages. It follows a story of the inheritance tradition of widows as part of the estate left behind by the dead. The scene depicts a widow and daughter in a dilemma of choosing from three symbolic covered calabashes provided by the husband’s family representative. Such a gesture is offered to a widow in a traditional setting, perhaps as a favour to replace the lost husband with another relation of the husband since she was married to the family. The state of confusion written on her face is shown with blueish sober expression, while the child whispering to the mother’s ears is depicted in a complementary pinkish colour, warning her mother not to pick any. Looking closely in detailed scrutiny of this painting, it reveals that all the faces of figures in the surrounding background (of the focal foreground figures) are looking in a direction of the top left corner of the canvas. The use of such dramatic spot illumination is associated with most paintings of early masters. It provides direction, mystery, suspense and the expansiveness of an artwork, suggesting hope, optimism and expectation of the unknown. Like the theatrical lighting of the stage in an opera, this suspense creates inclusion of the onlooker as a participant observer, suggesting a continuous guess of the expectation. KABiYESi And OlORi Stained glass 194 x 109.5 cm. (76.5 X 43.2 In.) (right) KABiYESi And OlORi Oil on canvas 2010-2012 54 x 44 in. (left) Kabiyesi and Olori are two interchangeable works executed in oil and stained glass. The element of design is probably the most important non- verbal code used by Grillo to achieve a highly sophisticated character of the subject matter. Grillo is inseparable from his works. The seeming elongated male figures in his paintings take after his stature, while his wife’s physiognomy and dress characteristics have perhaps provided a lifetime model for Grillo’s female figures. Both artworks (stained glass and oil painting), rendered in a purple and green coloured scheme, seems to recall the artist’s family portrait.