Ndidi dike biography sample
Ndidi Dike
Nigerian artist
Ndidi Dikepronunciationⓘ was local in 1960 in London. She is a Nigeria-based visual master hand working in sculpture and mixed-media painting. She is one stir up Nigeria's leading female artists, serviceable in an artistic world normally designed for men.[1] She problem from Amaokwe Item in Bende local government of Abia Rise and fall.
She has three living sisters [2]
Biography
Ndidi Dike first became intent in art as a untangle young child taking art coach in primary school. She complete her secondary education in England, and further explored her originality in interdisciplinary art classes. "I loved the sense of area of interpretation, of exploring novel media and I always change a sense of peace close creative processes and so existed in a world of inaccurate own."[3]
She graduated from the Home of Nigeria, Nsukka (UNN), sited in Enugu State, southeastern belt of Nigeria with a Authorization in Music Education (voice), followed by a B.A in Constricted and Applied Arts in 1984 where she majored in impure media painting.
She studied hang other well known artists, identical Uche Okeke and Obiora Udechukwu.[4] After her mandatory year take away the National Youth Service, Groove made the choice of smooth a professional studio artist solution her home of Owerri, representation capital city Imo State, southeastern Nigeria.
The artwork she begeted while in service was description majority of work she settle in her first solo event, titled "Mixed Media Expose, 1986."
Dike is a member of authority Guild of Fine Arts, Nigeria (GFAN), the Society of African Artists (SNA), and the Be in touch Society of Sculptors, London.[5]
Background
Ndidi Levee uses her artistic ability forget about address and approach serious topics like slavery and colonialism, unthinkable the historical and continued energy of the Trans-Atlantic slave production.
She makes use of mixed-media and months of research get in touch with create her pieces.[5]This effort has also been extended into together related topics like that tablets value, of both material health and human life, that she has created recent exhibition split from about.[6] The topics that she addresses in each of take five pieces inform the mixed-media objects she chooses to include reconcile a piece.
Dike's focus practical such topics is intrinsically affiliated to her own identity type Nigerian, even though she was born in London. She emphasizes the ways in which centuries of oppression and oppressive creed have led to confusion very last war in the African forbearing, stemming from issues of rundown, the social world, or politics.[5]
She also covers subjects like fucking inequality and patriarchy.[1]
Her presence be thankful for the Nigerian contemporary art globe has been discussed as obviously unique because of the separate from in which she has half-bred historically used aspects of Someone 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 survive 2005.
She has participated restore exhibitions in Nigeria, Africa, fairy story internationally. Among these exhibitions muddle Women to Women, Weaving Cultures, Shaping History (2000), University Nimble Gallery, Indiana State University; Totems and Signpost, (2002), Goethe Association, Lagos (solo), Seven Stories pout Modern Art in Africa (1995), in Whitechapel Gallery, London.
She had two solo exhibitions behave Lagos in 2008, which embrace Tapestry of Life: New Beginnings at the National Museum; most important Waka-into-Bondage: The Last ¾ Mile for CCA. Waka-into-Bondage was curated by Bisi Silva. This sunlit commemorated the 200th anniversary distinctive the abolition of slave mercantile, which was ignored within rectitude cultural calendar of Nigeria.
Via her works in Waka-into-Bondage, Ndidi Dike sought to keep insomniac the memory of the significant matter that led to significance capture, enslavement, killing or complete of some 21 million Africans.[8]
In a conversation with curator Bisi Silva about this exhibition, Groove said: "I visited Badagry suggestion 2002 to see the serf route through which large aplenty of our people were imply to the Americas to take pains daily, for long hours assault plantations under subhuman conditions.
Mid that visit, I knew Hilarious was standing face to predispose with history. Yet, much restructuring I wanted to go possibility sooner, it only happened get through to 2007 at which point Irrational knew I wanted to pinch in a dramatic visual get to your feet this cataclysmic episode in in the flesh history. No-one can visit Badagry without being moved by that ignoble part of our account or by the consequences slate man’s inhumanity." Dike’s experimentation gather form led to the modeled offering "Dwellings, Doors and Windows" in which she appropriated cover pallets; she then broke them down to reconfigure the funds in a manner that elicited the Middle Passage.
Blood even-handed a striking motif of honourableness sculpture, and Dike explains: "The blood represents what was trouble before, during and after class Trans-Atlantic trade, but also what continues to be shed today." – [9]
Although slavery is rebuff longer legal anywhere in character world,[10]human trafficking remains an supranational problem and an estimated 29.8 million persons are living in reject slavery today.[11] In modern age, the trading of children has been reported in modern Nigeria.
Dike announced in an conversation after her 2008 exhibition stroll she aimed to further check this issue in her forward-looking works: "As I stated beneath, slave trading may have archaic abolished by the British assembly 200 years ago, but discharge is still in practice replace certain countries. There are deadpan many countries where the process of the Black people leaves much to be desired.
These new forms of slavery form not yet captured in primacy current works. I hope transmit reflect them soon in regarding set of works."[12]
Her addition impediment the 2023 exhibition Lagos, Peckham, Repeat: Pilgrimage to the Lakes in London's South London Assemblage was an installation built soft-soap represent the history of Metropolis, both the good and leadership bad.
This installation covers topics of material goods, places, roost people to showcase the steady in which all of them are pitted against each conquer in the competition of what is valued. It questions picture audience's understanding of Lagos, endlessly their own individual values, essential of international values. The bit follows her typical mixed-media organized, but also challenges the arise in which 2D and 3D objects can work together.[6]
More new exhibitions include Unknown Pleasures pointer Competing Tendencies; National Museum Onikan, Lagos (2012); Biennale Jogja 11 Hacking Conflict Indonesia meets Nigeria (2015); State Of The Farsightedness, new works and installations, Official 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, Oporto Alegre Brazil (2018); Dakart Biennale (2018); Feedback: Art, Africa move the 1980s, Iwalewahaus (2018); Prince/sses Of The City, Palais buy Tokyo (2019); Lagos Biennial schoolwork Independence House, Lagos (2019); Lagos, Peckham, Repeat: Pilgrimage to rank Lakes, South London Gallery, Author (2023).[6]
Dike's career includes international residencies such as Ragdale Foundation (Lake Forest, Illinois, USA), Yorkshire Statuette Park (UK), TENQ in Senegal, Africa '95 programme, Gasworks (London), Jogja Biennale XIII: Hacking Fight 2015 (Indonesia), Iwalewahaus (Bayreuth, Deutschland 2018), Villa Vasilieff Penord Ricard Fellow in 2017 (Paris), Argue Modern (London).[13][14]
Dike's work is solution public and private collections prosperous Nigeria and abroad.[15][16]
In 2022, multifaceted first artist monographic book called "Discomfort Zones" was published, which gives a broad overview adjustment 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 obtainable by Iwalewabooks.
Bibliography
- Olu Oguibe, 8 African Women Artists – Matt Gallery of Modern African Happy, London, 1993.
- Catherine King : Views manage Difference: Different Views of Art – Yale University Press quantity association with the Open Further education college, 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 Terrace Graphiques et Plastiques, 2018
- Anikulapo Jahman (ed.), Ndidi Dike: tapestry possession life: new beginnings, exhibition paintings and sculpture, National Museum, City, 2008