Conceptual paintings by artist with reporter’s eyes
After a successful presentation of Dr. Bruce Onobrakpeya’s exhibition, Six Decades of Vision: A celebration of the art of printmaking in Nigeria, at the National Museum, Onikan Lagos last October,
After a successful presentation of Dr. Bruce Onobrakpeya’s exhibition, Six Decades of Vision: A celebration of the art of printmaking in Nigeria, at the National Museum, Onikan Lagos last October, Prof Ebun Clark-led Oluwani Creative Arts Foundation (OCAF), made a return to the Exhibition Hall of the Museum penultimate Sunday. This time, the foundation presented a rare collection of paintings by Jefferson Jonahan, which forms part of Prof Clark’s collection that spans 25 years.
The retrospective exhibition covers works majorly in pastel, oil, acrylic and charcoal on paper rendered in simple format yet conceptually deep. The works address different aspects of everyday life experiences such as The Errand Girl, Twenty naira palaver, CMS (Broad street Lagos), Baby girl, Wet Day, 70 Naira since morning and The Tussle. Interestingly, most of the works in this category are documentations of the happenings in the society as at when they were produced. They did not only mirror the state of the nation then, but also provide a visual documentary of common scenes on the streets and homes that speak volume of the nation’s trajectory. Like a reporter on the field, the artist took note of happenings around him, which many take for granted perhaps because of their fondness. His documentation forms part of the history of the socio-cultural life of the people over time, and it also serves as reference point while appraising the level of development or otherwise.
Paintings such as A dollar won’t go, 70 Naira since morning and Twenty naira palaver speak to such socio-economic issues confronting the overall development of the nation. To the uninformed viewers, these paintings are simple and common place, but they are much more conceptual in meaning. A lot of these works speak to people. And will continue to speak to people. Most of Jefferson’s works and the issues addressed are not just posers for the moment, but for the future as we are living part of these socio-economic experiences already.
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The artist’s coverage areas also include forest scenes like Silhouette, and Moon series, which focus on vegetation and nature; the Untitled series showing feminine figures wrapped in foreign national flags- a pointer to the current craze for migrating outside the shores of the country; the Wazobia section that shows portraits of different ethnic groups in the country; and the abstract paintings.
Preparing for this retrospective show did not come easy for the artist who has repeatedly turned down the plan by the foundation to present the body of works for public viewing. “I have been on this thing for the past six years. She has been throwing it at me. And I kept knocking it down. I kept knocking it down. She said no. You deserve it. You look after my collection as my curator. And again, you have done so well in the use and practice of this particular medium pastel. I said well, I will give it a touch. And after prayerfully considering it I consented,” he recalled.
While many artists find pastel as messy and unattractive medium to work with, Jefferson finds it as his first choice. “I am not 100 percent tied to pastel. But, pastel has been a part of my life and part of my story. When a lot of people were jettisoning pastel or shying away from it, I embraced it. At first it was not that easy. It was really messy. But, it gets to a point where you as an artist, when you speak the language of the material that you use. Then the relationship is formed. And that bond leads to a bond. And that bond can be romantic,” he said. According to the curator of the exhibition, Mr. Moses Ohiomokhare, at the core of Jefferson’s practice is an ‘unwavering respect for observation. His images emerge from a disciplined engagement with form and light, yet they resist mere representation. Figures, objects, and spaces are distilled to their emotional and structural essence, inviting the viewer into moments of stillness charged with presence. Subtle gradations of colours, velvety surfaces, and confident mark-making transform pastel into a medium of depth and gravity, challenging long-held assumptions about its limits.’
“Jefferson’s mastery lies in balance: between precision and softness, realism and poetic suggestion. His compositions breathe—allowing light to settle, shadows to speak, and textures to unfold slowly. Each work carries the trace of time and touch, reminding us that drawing is both an intellectual pursuit and a physical act. There is restraint in his approach, but also courage—the courage to let simplicity carry meaning,” he said.
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Oluwani Creative Arts Foundation (OCAF) was established by Prof Ebun Clark to preserve, promote, and celebrate African artistic heritage while nurturing the next generation of creative talent. Inspired by her lifelong commitment to theatre, literature, and the visual arts, she envisioned the Foundation as a platform that bridges tradition and innovation —supporting artists, researchers, and educators in exploring the richness of African culture. Central to her vision is the belief that African art is an integral part of the global artistic conversation, influencing and being influenced by cultures around the world.
Through exhibitions, educational programmes, and collaborative projects, the Foundation seeks to highlight these connections, fostering cross-cultural understanding and ensuring that Africa’s creative legacy continues to inspire and engage audiences everywhere.
Last week, school children experienced the powerful paintings of Jefferson in an inspiring encounter between art and young minds. The exhibition, which is one of its programmes aimed at nurturing the next generation of creative talent, features 97 works and remains open till today March 10th.
