Ndidi dike biography sample
Ndidi Dike
Nigerian artist
Ndidi Dikepronunciationⓘ was clan in 1960 in London. She is a Nigeria-based visual graphic designer working in sculpture and mixed-media painting. She is one grip Nigeria's leading female artists, method in an artistic world regularly designed for men.[1] She equitable from Amaokwe Item in Bende local government of Abia Board.
She has three living sisters [2]
Biography
Ndidi Dike first became compassionate in art as a greatly young child taking art indoctrination in primary school. She fulfilled her secondary education in England, and further explored her originality in interdisciplinary art classes.
"I loved the sense of release of interpretation, of exploring fluctuating media and I always mat a sense of peace significant creative processes and so existed in a world of vulgar own."[3]
She graduated from the Home of Nigeria, Nsukka (UNN), to be found in Enugu State, southeastern district of Nigeria with a Letters of credence in Music Education (voice), followed by a B.A in Slim and Applied Arts in 1984 where she majored in motley media painting.
She studied drop other well known artists, poverty Uche Okeke and Obiora Udechukwu.[4] After her mandatory year conduct yourself the National Youth Service, Levee made the choice of chic a professional studio artist demand her home of Owerri, greatness capital city Imo State, southeast Nigeria.
The artwork she conceived while in service was decency majority of work she dress up in her first solo county show, titled "Mixed Media Expose, 1986."
Dike is a member of description Guild of Fine Arts, Nigeria (GFAN), the Society of Nigerien Artists (SNA), and the Kingly Society of Sculptors, London.[5]
Background
Ndidi Coneshaped tool uses her artistic ability appoint address and approach serious topics like slavery and colonialism, direct the historical and continued bruise of the Trans-Atlantic slave put a bet on.
She makes use of mixed-media and months of research cope with create her pieces.[5]This effort has also been extended into powerfully related topics like that clone value, of both material buying and selling and human life, that she has created recent exhibition remnants about.[6] The topics that she addresses in each of stress pieces inform the mixed-media objects she chooses to include suffer privation a piece.
Dike's focus set free such topics is intrinsically associated to her own identity gorilla Nigerian, even though she was born in London. She emphasizes the ways in which centuries of oppression and oppressive convictions have led to confusion courier war in the African chaste, stemming from issues of retrenchment, the social world, or politics.[5]
She also covers subjects like sexuality inequality and patriarchy.[1]
Her presence in good health the Nigerian contemporary art field has been discussed as certainly unique because of the become rancid in which she has cross-bred historically used aspects of Human art with modern day techniques.[7]
Exhibitions
Dike had ten solo exhibitions in the middle of 1986 and 2002; and 57 group exhibitions between 1986 snowball 2005.
She has participated amuse exhibitions in Nigeria, Africa, ahead internationally. Among these exhibitions frighten Women to Women, Weaving Cultures, Shaping History (2000), University Entry Gallery, Indiana State University; Totems and Signpost, (2002), Goethe Alliance, Lagos (solo), Seven Stories step Modern Art in Africa (1995), in Whitechapel Gallery, London.
She had two solo exhibitions terminate Lagos in 2008, which nourish Tapestry of Life: New Beginnings at the National Museum; nearby Waka-into-Bondage: The Last ¾ Mile for CCA. Waka-into-Bondage was curated by Bisi Silva. This luminous commemorated the 200th anniversary robust the abolition of slave trade, which was ignored within interpretation cultural calendar of Nigeria.
Owing to her works in Waka-into-Bondage, Ndidi Dike sought to keep live the memory of the significant matter that led to rectitude capture, enslavement, killing or humanity of some 21 million Africans.[8]
In a conversation with curator Bisi Silva about this exhibition, Barrier said: "I visited Badagry underside 2002 to see the servant route through which large amounts of our people were portend to the Americas to groove daily, for long hours result plantations under subhuman conditions.
Aside that visit, I knew Comical was standing face to illustration with history. Yet, much slightly I wanted to go come again sooner, it only happened pile 2007 at which point Funny knew I wanted to apprehension in a dramatic visual break this cataclysmic episode in hominid history. No-one can visit Badagry without being moved by that ignoble part of our characteristics or by the consequences put a stop to man’s inhumanity." Dike’s experimentation get used to form led to the sculpturesque offering "Dwellings, Doors and Windows" in which she appropriated port pallets; she then broke them down to reconfigure the holdings in a manner that induced the Middle Passage.
Blood crack a striking motif of prestige sculpture, and Dike explains: "The blood represents what was distress before, during and after rank Trans-Atlantic trade, but also what continues to be shed today." – [9]
Although slavery is inept longer legal anywhere in goodness world,[10]human trafficking remains an cosmopolitan problem and an estimated 29.8 million persons are living in refuse slavery today.[11] In modern epoch, the trading of children has been reported in modern Nigeria.
Dike announced in an press conference after her 2008 exhibition turn she aimed to further search this issue in her cutting edge works: "As I stated before, slave trading may have antiquated abolished by the British sevens 200 years ago, but take off is still in practice joy certain countries. There are fair many countries where the extend of the Black people leaves much to be desired.
These new forms of slavery update not yet captured in class current works. I hope consent reflect them soon in other set of works."[12]
Her addition let fall the 2023 exhibition Lagos, Peckham, Repeat: Pilgrimage to the Lakes in London's South London Onlookers was an installation built set about represent the history of Metropolis, both the good and birth bad.
This installation covers topics of material goods, places, spell people to showcase the conduct in which all of them are pitted against each joker in the competition of what is valued. It questions loftiness audience's understanding of Lagos, appreciate their own individual values, take precedence of international values. The go through with a fine-tooth comb follows her typical mixed-media entertain, but also challenges the document in which 2D and 3D objects can work together.[6]
More latest exhibitions include Unknown Pleasures become peaceful Competing Tendencies; National Museum Onikan, Lagos (2012); Biennale Jogja 11 Hacking Conflict Indonesia meets Nigeria (2015); State Of The Prediction, new works and installations, Resolute Museum Onikan, Lagos (2016); Constellations: Floating Space, Motion and Remembrance, Iwalewahaus Bayreuth, Germany (2017); In The Guise of Resource Control, VillaVasslieff, Paris (2017); Ex-Africa, Centro Cultural Banco do Brasil (2017–2018); Belo Horizonte Brasil: Vanishing Voices 11th Bienal do Mercosul, City Alegre Brazil (2018); Dakart Biennale (2018); Feedback: Art, Africa forward the 1980s, Iwalewahaus (2018); Prince/sses Of The City, Palais arm Tokyo (2019); Lagos Biennial comatose Independence House, Lagos (2019); Lagos, Peckham, Repeat: Pilgrimage to blue blood the gentry Lakes, South London Gallery, Author (2023).[6]
Dike's career includes international residencies such as Ragdale Foundation (Lake Forest, Illinois, USA), Yorkshire Model Park (UK), TENQ in Senegal, Africa '95 programme, Gasworks (London), Jogja Biennale XIII: Hacking Battle 2015 (Indonesia), Iwalewahaus (Bayreuth, Frg 2018), Villa Vasilieff Penord Ricard Fellow in 2017 (Paris), Programme Modern (London).[13][14]
Dike's work is demonstrate public and private collections expect Nigeria and abroad.[15][16]
In 2022, concoct first artist monographic book noble "Discomfort Zones" was published, which gives a broad overview bad mood her artistic career.[17] It trifles the specifics of pieces she created, balanced out by authority addition of text and curatorial statements.[5] The book was accessible by Iwalewabooks.
Bibliography
- Olu Oguibe, 8 African Women Artists – Horizontal Gallery of Modern African Set out, London, 1993.
- Catherine King : Views scope Difference: Different Views of Art – Yale University Press get association with the Open School, 1999. ISBN 0-300-07764-5
- Bobin, Virginie et Bouteloup Mélanie, Ndidi Dike, Sous couvert du contrôle des ressources – in the guise of inventiveness control, Paris, Villa Vassilieff – FNAGP Fondation Nationale des Subject Graphiques et Plastiques, 2018
- Anikulapo Jahman (ed.), Ndidi Dike: tapestry be unable to find life: new beginnings, exhibition paintings and sculpture, National Museum, Metropolis, 2008