Three-part interactive demonstration, talk and exhibition focusing on the fusion of Arts and Fashion.
About this event
Ancient Practices in Contemporary Platforms – Full Circle II
Art Workshop, Talk, Fashion Show
Details of the show
The fashion show will feature 10-15 different outfits. Outfits will be worn by models who would walk through designated areas of the exhibition room. Each outfit tells a different story of the immigrant's journey. There will be background music during the show and narration for each piece.
*The event will take place in person at Hudson Park Library.
** Face mask required
This workshop which marks the ‘Immigrant Heritage Month’ will be a 3-part interactive demonstration, talk and exhibition focusing on the fusion of Arts and Fashion with an underlying theme “Ancient Practices in Contemporary Platforms”. It includes a brief discussion on the history and practice of Uli and Nsibidi symbols of Southeastern/South Nigeria; an interactive painting session for participants and a fashion show with designs depicting the Uli and Nsibidi symbols.
Uli and Nsibidi is a system of symbols or proto writing (pictograms) originating from the southern and eastern parts of Nigeria. They were often used for body decorations, building murals, calabashes, metals (such as bronze), leaves, swords, tattoos, etc. In the past, Uli was mostly practiced by women while nsibidi is mostly associated with secret societies. Once taught in schools, these symbols became almost extinct however, they have been kept alive by several Artists who infuse these in their works.
The first segment of this workshop is a discussion/QA session where a couple panelists and I will discuss the history, practice, and preservation of this art and retaining this tradition.
In the second part, following a demonstrative session showcasing the process of the Artist’s work, this project gives an opportunity for the audience to share in the overall experience by painting on provided canvases.
Finally, accompanied by music and narration of the story behind each design, outfits will be displayed by a few models featuring unique designs with symbolic paintings on them during a brief runway show.
New York is home to people from different ethnic backgrounds. This represents an equally intriguing labyrinth of ideas which invite some curiosity about our cultural origins. Therefore, I am keen on preserving these unique aspects of our rich culture through a fusion of ancient symbols and contemporary fashion, showcased, and sustained through this documented workshop.
Udeaku Chikezie is a multi-disciplinary Artist who works in design, fashion, painting and photography. In 2000, she graduated from the University of Nigeria, Nsukka with a B.A. degree in Fine and Applied Arts (Painting Major). As an emerging Artist, she boldly began exploring painting on fabrics in what she saw as a long overdue fusion of Fashion and Art. Through this, she amplified her connections to the ancient Uli and Nsibidi symbols.
With a serendipitous detour into corporate communications, she easily gravitated towards the journalistic aspects of photography. Overtime, her interests in reportage morphed into a deeper interest in capturing human life conditions. Her first international exhibition began with an award from Agora Gallery where she exhibited photographic works which gave a glimpse of life in Nigeria. Following a representation by Agora, she participated in several exhibitions at New York Public Library, HUN Gallery, West Side Arts Coalition New York, etc. Her deep interests in photography propelled her to take courses with the New York Institute of Photography. In 2010, following debilitating health challenges, Udeaku minimized her Art adventures, however, she never stopped photography. Photography served as an outlet during her toughest days. She has published a couple photography books and is presently working on another, “Africa – The Labyrinth of Colors & Taste”. In 2016, Udeaku decided to restore her earlier fusion of Fashion and Arts with Photography as a part that fusion.
Besides her work as a Communications consultant, she is a participating member of the National Conference of Artists New York (NCANY) where she also serves as the Media Manager. Her most recent exhibitions include “The Diaspora Journey”, a Virtual Exhibit in celebration of Black History Month and the “12 Arts Beats” presented by the renowned Blick Arts Supply, New York and curated by Khuumba Ama. She is also a recipient of the City Artist Corps grant.
Udeaku’s greatest influences are her undergrad college lecturers Chike Aniakor, El Anatsui and Chijioke Onuorah. These renowned Artists encouraged the freedom she needed for this journey, one marked by unrestrained expression, uninhibited explorations, and infinite possibilities.
PORTFOLIO LINKS
Website: https://www.udeaku.com
Blog: https://enyidede.wordpress.com
Instagram: https://www.instagram.com/ude_aku/?hl=en
What ideas, concepts, or experiences does this body of work communicate?
My intention is to simply reset the space where these symbols can be viewed and appreciated, beyond the traditional spaces of their origin. As explained, originally these symbols were used for body decoration, mural paintings on the walls of buildings, or as means to pass on messages or secret codes to a select few. Sadly, as times changed, lifestyles and practices evolved making it difficult to sustain these practices. It becomes necessary to find new platforms to express, share, nurture and preserve these ancient symbols. I enjoy and utilize contemporary platforms for Photography, Fashion/Art fusions, Mixed-Media, Craft. While merging Art and Fashion, ancient aspects of my heritage can be maximally explored, shared, and preserved, as well.
What inspirations or traditions guided or influenced this body of work?
Nigeria is made up of over 250 ethnic groups tribes and has over 500 Languages. The cultural expressions are simply diverse. The diversity in my heritage influences my overall work. It is inspiring to learn of various cultures beyond mine. It is also worthwhile to preserve and nurture what we have, rather than exchange it for ‘other’ options. Indeed, cultural practices evolve and find new forms or platforms of expression, thus, it is necessary to support and honor this process. A transient aspect of the immigrant’s journey is the documentation of what was, what is and will be. It is for our growth that we get to share where we came from. It is also our strength to discover ALL we can become. Our history should not be diminished or glossed over; Our present journeys can be better documented and optimally explored; and future endeavors must find room for expression beyond what has always been.
Uli symbols are curvilinear traditional designs used by the Igbo people of Southeastern Nigeria. With the emergence and growth of Christianity as well as the spread and influence of modernization and colonization, the practice met a decline. However, a few local and contemporary Nigerian Artists kept these practices alive by incorporating them in their works. With little or no attribution, European/Western observers copied these symbols.
Highly renowned Artists of the ‘Nsukka Group’ played a strong role in retaining and sharing whatever I know about these symbols. As a graduate of University of Nigeria, Nsukka, I had the privilege of being taught by some of these Artists, including El Anatsui and Chike Aniakor, as well as those who had been equally influenced by them. As students, we were exposed to the symbols and a lot of us found great inspiration exploring and experimenting with them. It was somewhat disheartening to learn of the decline of this precious aspect of our heritage. With a natural interest in them, I found that beyond a surreal approach to painting, I enjoyed expressing myself through symbols. However, I also desired to examine more impactful ways of showcasing and preserving them. The seeds towards my future adventure in this quest came through the influence of my then professor, renowned Artist, Dr. Chijioke Onuorah who invited me to assist with his special project - a Fashion show themed ‘Ulukububa’ which means ‘Butterfly’ in Igbo language. This was a vibrant display of Fashion and Art fused in a most insightful approach. From the design process to the runway show, my involvement in the various stages of this remarkable event was a turning point in my career.
With a deeper foray in fusions of Art and Fashion, I found my platform. Through a mix of Painting, Fashion, Design, Craft and Mixed Media, I found a platform to explore, share, document and hopefully contribute towards the preservation of my cultural heritage for future generations to come.
How are the methods or techniques you use important to this body of work?
Acrylic is one of my favorite paints based on its versatility, ease-of-use, and durability on surfaces like fabrics. For this body of work, most of the pieces for the fashion show will feature acrylic paintings on fabrics. The fabrics will be a mix of plain, Batik, and Tie-dye. A few designs will be made from printed fabrics with ethnic motifs, otherwise known as Ankara, as well as woven textile, ‘Akwete’ and ‘Aso-oke’.
My color palette is diverse - dark hues, pastels, earth tones. Through these varying colors, materials and styles, the diverse aspects of my heritage may be experienced. Vibrance, Passion, Turbulence, Calmness, etc., embody the immigrant’s history and journey. I intend to portray these emotions through Colors, Designs and Narrative.
Overall, I am interested in learning from participants as we interact and explore these symbols.
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