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Bruce Onobrakpeya

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Bruce Obomeyoma Onobrakpeya is a renowned Nigerian artist. He works as a painter, sculptor, and printmaker. His career has spanned over 50 years of creative practice. He is a major figure in the contemporary art renaissance in Nigeria. His work has been shown in famous places like the Tate Modern in London. He also exhibited at the Smithsonian Institution in Washington, D.C. His art helps people understand Nigerian identity and African culture.

Onobrakpeya is highly skilled in the art of printmaking. Printmaking is a process used to produce images from a prepared plate. An artist creates an image on a plate first. They then transfer that image onto paper using printing or embossing. This method allows an artist to make many copies of one artwork. Sometimes these copies use different colors for each print. Onobrakpeya has spent much of his life innovating new ways to use this process. He seeks to create techniques that are uniquely Nigerian.

His artistic journey began in Agbarha-Otor in Delta State. He was the son of an Urhobo carver. As a child, his family moved to Benin City in Edo State. He studied art at Western Boys High School under Edward Ivehivboje. Later, he attended the Nigerian College of Arts, Science and Technology in Zaria. In 1958, he joined the Zaria Arts Society. This group was also known as the Zaria Rebels. They wanted to "decolonize" art by moving away from European styles. They sought to create a personal expression of Nigerian identity.

Onobrakpeya's studio practice is divided into several distinct periods. His first period was Mythical Realism from 1957 to 1962. During this time, he used lino cut prints to depict folklore and landscapes. From 1962 to 1967, he entered his Sunshine Period. This stage focused on workshop experiments and bronzed lino relief. Between 1967 and 1978, he worked on the Mask and the Cross series. This period included Christian themes and his Plastography Period. From 1978 to 1984, he created historical vignettes called Symbols of Ancestral Groves. These works often depicted royalty from the Benin Kingdom.

Later periods of his career addressed more complex social issues. From 1984 to 1988, he created the Sahelian Masquerades. These pieces highlighted environmental destruction and desertification. In the 1990s, his Mask Series addressed the subject of change. From 1995 to 1999, his work reflected Social Unrest. He used large paintings to respond to political instability and military dictatorship. Finally, his Installations Period began in 1995. In this stage, he arranges discarded materials to create art. These installations draw attention to the importance of protecting the environment.

Onobrakpeya is a prolific inventor of new art techniques. In 1966, he developed Bronzed lino Relief. This technique uses old lino blocks with a bronze color patina. He also created Plastocast Relief using resin. This involves casting a painted low-relief design with resin. In 1967, he discovered a deep etching technique called Plastograph. This happened after a hydrochloric acid accident in his studio. He also created Additive Plastograph using sandpaper and glue. Another major innovation is Metal Foil Deep Etching. This uses aluminum foil to create embossed, three-dimensional images.

His contributions to culture are supported by many prestigious awards. In 2006, UNESCO gave him the Living Human Treasure Award. He was the second winner of the Nigerian Creativity Award in 2010. This award was previously won by the writer Chinua Achebe. In 2017, he received the Nigerian National Order of Merit. This is the highest award for scholastic excellence in Nigeria. In 2024, he received the U.S. Exchange Alumni Lifetime Achievement Award. This recognizes his work in the cultural relationship between the U.S. and Nigeria.

Beyond his own art, Onobrakpeya works to support other creators. He established the Bruce Onobrakpeya Foundation in 1999. He serves as the president of this organization. The foundation is an artist-led non-governmental organization. It organizes the annual Harmattan workshop in Agbara Otor. The goal is to encourage the growth of art and culture. It helps artists gain new skills and increases public awareness of African art. His work ensures that the next generation of Nigerian artists can thrive.

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