By Solomon OKPO
Young artists under the mentorship of renowned visual artist and history scholar, Godwin Abia, are receiving practical training in creative arts as he advocates for greater investment in Nigeria’s burgeoning visual arts sector.
In a recent interview, Abia, who holds a degree in History and International Relations from Lagos State University, shared insights into his artistic journey, his pioneering use of unconventional materials, and the urgent need for the Nigerian government to diversify its economy through support for the creative industry.
“I am a divinely self-taught artist,” Abia began, reflecting on his early years. “I never attended art school physically, but I received several revelations in dreams. My artistic roots go back to primary school craft classes, but I formally started with bone collage, pushing it to its limits for two decades.”
Abia gained initial acclaim in 1995 through a feature in African Vision Magazine under the title An Artist with a Mission. Since then, he has exhibited works at Didi Museum, Nimbus Gallery, Bishop Vining Church, and numerous private salons both locally and internationally.
Despite his passion for bone collage, technical and infrastructural setbacks, including erratic power supply and fuel scarcity, compelled Abia to evolve. “I diversified into painting and mixed media, seeking divine guidance to explore new artistic expressions. That’s how my current style, Graven Painting, was born.”
According to Abia, Graven Painting involves an intricate process of sketching, engraving, priming, and texturing materials before applying layers of impasto-rich colors. The result is a striking relief effect that he describes as “super and unique,” offering collectors a richer and more versatile visual experience than the bone collage technique.
His new style has garnered increased interest from both local and international collectors. “This medium allows for work on canvas and board, making it more adaptable and valuable,” he said. He plans to unveil the technique in an upcoming exhibition to attract wider patronage.
Abia also made a strong case for policy reforms to support the arts. Citing articles he previously authored in The Guardian, Hallmark, and Vanguard, he emphasized the role of visual arts in national development.
“Nigeria’s over-reliance on oil is unsustainable. The arts offer an alternative economic base that’s been largely ignored. I propose the establishment of an Art Investment Fund that treats art as a valuable asset. Government and financial institutions must recognize the sector’s potential,” he argued.
Abia also urged for tax incentives for hospitality businesses that promote local art, mandatory visual arts education for all Nigerian children, and an active policy of cultural promotion through foreign embassies.
“A society that ignores creativity produces poor technology and leadership. To build a prosperous future, we must cultivate creative thinking and invest in arts infrastructure,” he concluded.
With artists like Godwin Abia forging new paths through faith, resilience, and innovation, the Nigerian art landscape stands poised for a creative renaissance, if only the nation will seize the moment.
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