OCTOBER 2024 EXHIBITION:
Waves of Change: Artistic Journeys From Nigeria to Britain
“Waves of Change: Artistic Journeys from Nigeria to Britain” explores the artistic journey of Nigerian artists in the UK from the mid-20th century to the present. The exhibition highlights the rich interplay of identity, migration, and cultural integration examining how these artists navigate their dual heritage, addressing Britain’s troubled historical ties with Nigeria—namely Atlantic slavery and colonialism —while also documenting their lives in Britain. Their works also engage with significant Nigerian events like the Nigeria-Biafra war and the challenges of military rule, alongside celebrating the country’s diverse cultures and landscapes. Migration remains a deeply contentious issue, influenced by historical injustices and present-day challenges. Displaying a range of media from
painting, and collage to installation and mixed media, the body of work transcends individual personal experiences to form an interwoven narrative of our collective journey.
Anchoring this exhibition are the works of Uzo Egonu (1931-1996), described by Rasheed Araeen as “perhaps the first person from Africa, Asia, or the Caribbean to come to Britain after the War with the sole intention of becoming an artist.” Appointed as a life counsellor to the International Association of Art—an honor he shared with Henry Moore and Joan Miró—Egonu arrived in Britain as a teenager shortly after World War II. His work embodies what Olu Oguibe refers to as a “judicious synthesis of visual languages,” merging his experiences in the West with the “painful turmoil’s” of post-colonial Nigeria. Egonu’s diverse oeuvre, which includes both painting and printmaking, incorporates geometric patterns and explores themes ranging from urban scenes in London to mmuo (Igbo masquerade), as seen in one of his featured oil paintings and the lithograph
“Second Sacrificial Cocks”. The solitary figures in works such as “Woman with Umbrella” and “The World in Perspective” reflect the isolation Egonu would at times experience as a Black artist in post-war Britain.
Chinwe Chukwuogo-Roy MBE (1952–2012) was a prominent Nigerian-British artist known for her official portrait of Queen Elizabeth II, commissioned for the Queen’s Golden Jubilee in 2002, making her the first Nigerian artist to achieve this honor. Her experiences as a refugee during the Biafran War shaped her art, which often explored identity and resilience. After moving to Britain in 1975 and earning a BA in Graphic Design, she gained acclaim for her distinctive style and notable commissions,
including portraits of Kriss Akabusi. In 2009, she was appointed MBE for her contributions to art and education. Her legacy endures through works like “Migrants No Entry”, featured in the ‘Waves of Change: Artistic Journeys From Nigeria To Britain’ exhibition.
Dr Hassan Aliyu’s “The Apple Crumbles Like an Odyssey Aboard the Bibby Stockholm”, reflecting on how historical patterns of migration—driven by global inequalities and colonial legacies—continue to shape the experiences of migrants today. Notably, the gap between aspirations for a better life and the promises of rights and citizenship sharply contrasts with the harsh reality, marked by the erosion of local cultures and the breakdown of commitments made to these migrants. This history resonates with the concept of an “Odyssey”—a long, arduous journey marked by struggle and survival, where the destination proved far less welcoming than anticipated.
Toni Ndikanwu’s “Round Holes In Square Pegs, the story so far” further expounds this theme, embodying the diasporic experience of leaving home in search of the ‘golden fleece’. The wooden tiles collectively represent the diverse experiences of Nigerians in the diaspora with each tile representative of unique histories, aspirations, and expressions of the journey. The weaving together of the tiles symbolizes the unique alchemy between Nigerian diaspora communities and their adopted homelands. In tribute to the resilience, courage, and enduring impact of immigrants.
Imoesi Imhonigie’s “Harmony Across Horizons” piece is one of hope, determination, and the transformative power of the human spirit, illuminating the path migrants helped pave in post-war Britain. The painting, which references the voyages many embarked on in the immediate post-war period, depicts the ship through a blend of colors, lines, and forms, symbolizing both the strength of the vessel and the transient nature of travel whilst also portraying unity and shared purposed through the five indistinct human figures connected in a circular formation.
Dr Ade Ogundimu’s “Abeokuta to Willesden” is a mixed media installation that embarks on a personal and cultural journey across continents and time exploring the cross-pollination of cultures, tracing migration’s impact on Britain’s growth, particularly during and after the World Wars. Contrary to the narrative that Africa has solely oral cultures, this work highlights the continent’s rich history of written expression. Founded on his imagined legend: ‘The Personal Myth of Gudums’* the
adinkra, uli and nsibidi scripts from West Africa are etched into the charred wood and painted on the canvas strips are a powerful reminder of the continent’s literary heritage. With elements of the installation echoing early trans-Atlantic journeys, this work serves as both a deeply personal and yet collective voyage. In a similar vein, Lara Ige-Jacks’ “Greener Pastures” explores the migrant’s deep connection to their roots, grounded in a strong sense of self, heritage, lineage, ancestral values, and beliefs. The Yoruba motifs are an homage to that legacy. The cowrie shells and beads used in this piece, inherited from her grandfather, embody the ancient values of protection from evil spirits, as well as symbols of wealth and good fortune—wishes that resonate with those embarking on journeys to other lands.
Dotun Adebite’s “Intergration” explores the politics of integration, considering the possibilities presented to Nigerians living in a new and foreign environment whilst
projecting their rich cultures, history and values. Highlighting the flamboyant aspect of the Nigerian culture, the inclusion of woven fabric in conjunction with shapes of flat colors; flowing, interlocking, overlapping as well as intercepting, serve as expressions of the possibilities of “Intergration”.
The painting “Transcending Boundaries” by Chike Azuonye celebrates the Nigerian people, along with those from other parts of Africa, who responded to Great Britain’s call for assistance in rebuilding after the Second World War. These individuals crossed the Atlantic, navigating rough seas to reach a new home in Britain. Azuonye incorporates uli and nsibidi design motifs from Eastern Nigeria, referencing the cultural heritage of these migrants. This work serves as a reminder that Nigerians have enriched Britain, a country that has in turn provided refuge to many.
In Michael Echekoba’s “Aspiration” the use of Nigerian motifs, such as tie-dye fabric and nsibidi, represents a cultural connection to Nigeria and a reliance on spiritual and ancestral protection. Nsibidi, in particular, being an ancient system of communication, a deep connection to “home”, even as the migrants navigate a foreign space. This artwork communicates themes of identity, displacement, and the persistent hope for a better future, encapsulating a story that is as much about individual journeys as it is about the enduring impact of migration on communities across generations. The use of acrylic and textured mediums to depict age and distress seeks to evoke the emotional and physical toll of migration. The distressed texture could symbolize the passage of time, the weight of history, and the scars left by displacement and alienation.
Raymond Soko’s “Aureol 2024 – treacherous waters” deliberates upon the reasons that compel the phenomenon of Nigerian migration to the UK from the mid- 20th Century, contrasting that with the present day ‘Japa’ (must get up and leave) syndrome, where many are forced to leave Nigeria due to the country’s grinding and harsh environment. As Soko notes “getting to the UK border does not guarantee entry”, referencing the precarity of many migrants making journeys to Britain.
On a lyrical note, Obi Okigbo’s “Geometry of life -H2O” is a solemn contemplation of the deep waters, the great ocean, the rivers crossed, it’s devastating yet cleansing and purifying nature. This piece aims to magnify the inseparable bond between everyone and everything, embodying oneness symbolized in these archetypes inherent in the mysteries of creation itself.
Lara Ige-Jacks “Greener Pastures” explores the immigrants strong connection to their roots anchored on their sense of self, heritage, lineage, ancestry values and beliefs. The African motifs are a homage to that legacy. The cowrie shells and beads used on this piece were inherited from her grandfather passing on the ancient values placed on cowrie shells as protection from evil spirits, for abundance of wealth and good luck, which every migrant would wish for themselves.
The Journey
Encapsulates the transitional journey of selflessness and restlessness from my place of origin to my new environment through art. In quest for a peculiar identity, irreplaceable and as an imprint along the sea shore even though caught up in a new civilization. There is a wind of change, the rippling it formed and the impact from the source it generated will leave a legacy for continuity. This is my journey, telling the story from my never ending installation. The story is not to be sold but to be told.
kunle Adegborioye -‘Mother’s dream of El Dorado’ is a mixed media painting executed exclusively for the NASUK 1/54 exhibition, on the basis of a personal story. As a young man, I had a dream of travelling to Europe which was eventually realized due to my mother’s efforts, doing everything within her capabilities to support me – sweet mother! However the expectation of instant success as an artist was faced with harsh and unforeseen challenges faced by many other young Nigerian artists with the same ideological dreams. The driving force behind this painting is to highlight the emotional aggrandizement that mothers traverse to support their children in life.
Waves of Change underscores art’s role in social commentary and change. The exhibition invites reflection on the dialogues between past and present and across cultures. Celebrating the resilience and creativity of Nigerian artists in the UK, Waves of Change: Artistic Journeys from Nigeria to Britain offers a unique perspective on the intersection of Nigerian and British cultures. It’s a testament to the enduring power of art to transcend boundaries and connect us all.
The exhibition is curated by Assoc. Prof. Louisa Uchum Egbunike
Touring Exhibition: Legacies of Biafra
Displayed at Brunei Gallery, London Jan – Mar 2018; Gallery Oldham, October 2021 – March 2022; Iwalewahaus Bayreuth, Germany May – October 2025