10 Questions with Olumide Egunlae

Born in 1968 in Ado-Ekiti, Nigeria, Olumide discovered his love of art at the young age of 8 years through his father and Uncle (Prof. Michael Olusegun Adejemilua) and his "Ona Art Movement" He was later influenced by his painting lecturer Prof. Tola Wewe and classmates Dr. Olumide Ayeni and Dr. Morris Olayiwola Oyalegan.

Olumide Egunlae is a painter and art educator based in Banjul, The Gambia, West Africa, whose works celebrate and treasure his African traditions, backgrounds, values, and culture.
He focuses his paintings on the local eccentric and ordinary rites of his people and portrays what his ancestors have built for average African communities. He finds the beauty in them and translates them into his colorful and beautiful paintings.

After 20 years as a Visual Art Teacher, Olumide returned to his easel and brushes on a full-time basis. He Graduated with a Bachelor of Art and Education - Fine Art (B.A.Ed) in May 1991 from the Federal University of Education, Ondo, Nigeria. He obtained his Master in Divinity (M.Div) in 2012 and has just completed a Doctoral Degree in Expository Communication (D.ExCom), all on Scholarship from The Faith Seminary Tacoma, Washington, USA. He is the CEO/FOUNDER of The Adonai Art Foundation. The Gambia (AFAG) a licensed Charitable Organization/NGO.
He is a member of the Society of Gambian Artists and a member of the Rotary Club of Banjul.

saatchiart.com/africanpaintings | @olumideegunlae

ARTIST STATEMENT

“My paintings are all about my feelings and an expression of the fire of the love for painting that burns within me on a daily basis.

My life is all about art when I meditate, quiet, walk, talk, or sleep. Though I carry the fire of art all alone in my brain every second, I have been opportune to display a fractional part of the fire within me here today for everyone to see.

My paintings are dialogues of my mind as viewed, perceived, or seen from things, lifestyles of the people, and the worlds around me. When I capture the images in my conscious mind, I find a special way to analyze and engage those images carefully into my canvas.

Through this free-form approach to my paintings, I explore the use of balance, lines, shapes, colors, and heavy textures and give a lot of chances and freedom to experiment with my colors which results in real unconscious juxtapositions of colors and other elements in the whole work.” - Olumide Egunlae

INTERVIEW

First of all, tell us about your background. When did you start getting involved with visual arts, and how?

I was born in February 1968 in Ado-Ekiti, Nigeria. I was born into an Art family. Therefore the practice of art has been part and parcel of my being from birth. I discovered my love and journey in art at the very young age of 8 through my father, Samuel Ajibola Egunlae, who lived all his life as a Fine Art teacher/educator and author of several books in Art and Design and my uncle, Michael Olusegun Adejemilua a painting Professor who was one of the founders of "Ona Art Movement" in Nigeria.
In 1976, when I was in the 4th grade, I was very instrumental to all my teachers. They contracted and solely relied on my "little expertise," with most of the teaching aids based on drawings and paintings for the whole school. I proceeded to High School in 1979 and graduated with distinction in Fine Art in 1984.
In 1987 I was admitted into the Bachelor of Art and Education program of the Adeyemi College of Education of the Obafemi Awolowo University, Ile-Ife, Nigeria, where my art career was perfected by Professor Tola Wewe. I was also influenced greatly by a colleague (classmate) Dr. Olumide Ayeni.

How did your family and the environment you grew up in influence your work?

Growing up in Ado-Ekiti, Nigeria (my home town), an ancient town that is characterized by traditional beliefs based on oral rather than scriptural as passed from one generation to another through festivals, folk tales, and songs, one would not be surprised to see my works depicting some of these cultural facts.
Before I was born, in the ancient town, Ado-Ekiti, people believed in various gods and the use of magic. Animism can simply be described as the core concept of my birthplace and Africa at large, as witnessed in the worship of many deities, nature, and ancestors. More so, our ways of life are also characterized by elements of fetishism, incantation, and invocation of ancestral spirits.
In view of the above about my community, I have focused long enough on the various religious, traditional beliefs and practices of my kinsmen. I have come a long way with African ways of life, and there is nothing more I love than creating artworks that reflect my environment and the practices of my people. My painting practices are therefore inspired by the lifestyles and cultures in my surroundings and communities.

How would you define yourself as an artist nowadays, and what is your personal aim?

I define myself as an explorer. A revolutionist, an encourager, and a "fertilizer for art growth." Africa is a totally different continent where Art and artists are not respected or honored. I have decided to work as an artist (a painter). I know the fire burning in me, and I have determined to articulate my genuine inner voice through my paintings to tell original stories about my personal experiences and the occurrences in my community.
As an explorer, I've been involved in the particular exploration of colorful ways for executing my paintings in my own style, exploring nature. Natural literacy is simply learning what happens in an immediate natural terrain without the use of technology or formal instruction. This personal approach of freedom by turning to nature to acquire the wisdom to execute my painting in my own way has been a great success in my works.
As a revolutionist, an encourager, and a "fertilizer for art growth" for the African youths, I will love my readers and observers, especially from the Western world realize that art, as defined in Africa, is not the same as defined in Europe and The Americas.
It is very disheartening and sad that the subject of fine or visual art, as taught in African primary and secondary schools, is not actually viewed or taken as a way for development, for educating and preparing students to become artists. The subject of fine or visual art in most African schools, if not all, are just "ART FOR ART SAKE."
For the above reason, my aims and objectives as an art promoter, and an encourager, as a painter and art educator, is to encourage and revolutionize the subject to give meaning and a sense of purpose to the lives of African children and to use art to help our younger artists understand our world and our immediate environment. This has prompted me to create a group called "Artists in Schools" in The Gambia, West Africa.
I have been placing professional artists into schools and colleges to carry out lessons and workshops in conjunction with the art teachers working in the schools. These artists-in-schools specialize in directing these workshops free of charge to suit the needs of individuals or groups of students, whether they are interested in a one-day workshop, an art week, or a much longer term. 
In view of the above factors, I have registered an Art Foundation. The Art Foundation is committed to training vocational skills and securing job opportunities for its students within the fields of art and design, encouraging cultural exchanges, and connecting communities, and shall engage in programs that promote culture, social life, and civic development of The nation Gambia.

What themes do you pursue with your art?

My oil portrays practices that are inspired by means of the lifestyles and cultural practices in my surroundings and communities. Thus the theme of my paintings is nearly related to clones of the happenings in my community. They are drawn out of the ancient African ways of life and from modern Africa.
I try to find "something" very interesting and particular to me or a subject that I feel a lot of emotion about.
That "something" is the element and factor that form the basis and foundation for my themes and are used to make my paintings unique and inviting.
I'm a visual artist. My works are inspired by colors, forms, movements, and textures. They're also a representation shaped by my childhood and upbringing mixed with the ways of life from African morals, traditions, and beliefs, and they're executed with rough textures and occasionally impasto that look like 3- dimensional structures made from clothes, plastics, seed capsules, tree barks, etc. 
I love this niche or genre (abstract and abstract figurative) because it gives the viewers and observers a chance to continue working with their smart imaginations to interpret the abstraction in their own ways. It also gives the lovers of such abstraction the freedom and liberty to continue digging into the artwork as long as they want to give the art piece work their own meaning.

What is your creative process like? And what is the most challenging part of your project?

In my country, The Gambia, West Africa. There's no single art and craft material shop. Thus most painters get their oil paints and acrylics from musketeers and excursionists who visit The Gambia, West Africa, from Europe and the United States. In addition to the lists, I personally order paints from the United States of America and Holland.
In view of the above, there are no pre-primed canvases to buy from any store. For the past 20 years, I have been making my own frames from the woods purchased from sawmills, passed to a carpenter to assemble as frames. Canvases are spread over the frames, primed, and allowed to dry before I start painting on them.
I have determined to be myself and not anybody or imitate some artists out there. Therefore I rely solely on the visions of my head and the dialogues of my mind in the making and creation of my paintings. I am a very great observer. I spend a lot of time observing everything and every happening around me, wherever I go: marketplaces, bus stops, nightclubs, parties, nature, cultural and fashion shows, and exhibitions of other artists. And after a personal dialog in my imagination and soul, I find very simple ways of transferring all the captured images into my canvas. In the process of translating my imagination onto my canvas, other unplanned and unforeseen additions spiritually visit my imagination to finalize and conclude the whole work.
The most challenging part of my project is being able to transfer my captured visions onto the canvas exactly the way I got the inspiration in my imagination, especially when I am not present in my studio to put down these visions on my canvas immediately after they come to my brain or inner eyes. This process can be very painful, as such vision disappears and may be difficult to recollect or recapture again.

Is there anything you would like to experiment with?

In the course of my painting practice, I have used oil paint to build up forms on canvas. I would like to experiment more with a variety of different ART ARTIFICIAL INTELLIGENT APPS. I have been trying hundreds of prompts to generate stylized figures, texture effects, and spiritual and magical backgrounds, all of which would be transferred or translated into paintings. I also wish to create additional paintings on a large scale in available public places in The Gambia, Nigeria, and other West African countries.

Do you find that the shift to digital exhibitions and art fairs has helped you promote your work?

The art rebirth and revolution in today's world have gone through a very serious transformation in the latest years, with the creation of digital exhibitions and artwork festivals revolutionizing how artists promote their work. As a contemporary artist seeking recognition and exposure, I have participated in the NFT (Non-Fungible Tokens) Exhibitions on the OpenSea and Rarible platforms.  
One of the most irresistible benefits of digital art exhibitions and fairs is the workability to attain a considerably larger target market than common brick-and-mortar galleries on our immediate streets and cities.
I am planning to go for a degree in Photography in Spain or Poland any time from now to study Fine Art Photography.
This, I see, would make me also extend my career from a traditional artist to a digital artist. This would enable me to showcase my traditional paintings and photography works to a global audience with just a few clicks.
I accept as true that this international publicity would open up new avenues for awareness and sales, allowing me to join with artwork fans and doable customers from around the world.
Traditional and local art exhibitions are very expensive to organize. They often involve weighty costs, such as renting gallery space, transportation, and other logistics. Digital exhibitions and fairs, as we have them today, offer a cost-effective alternative, eliminating many of these expenses.
My involvement in the digital world of artwork has showcased my works online severally. Without leaving my country, I have sold tens of my traditional paintings. It has helped me decrease the economic burden associated with bodily or physical exhibitions.
Moreover, digital systems have promoted great accessibility and have made me sell my artworks extensively to lovers who discovered and appreciated my artworks from the remedy of their homes, regardless of my location.

What do you think about the art community and market?

Art has the incredible functionality to seriously change people's lives, and I can testify to it and how The Gambian Art community's cooperation, solidarity, and alternative have contributed and delivered positively to my art life and career.
The art community, to me, represents an oasis, a sanctuary for relief. I have been linked with not only talented, like-minded individuals and artists who collaborate on projects and share their know-how and experiences. 
Being a member of this extraordinary art community has exposed me to famous, experienced, and talented artists, which has powered my creative endeavors and high sales in the past years and now. 
The Gambian art community has offered me encouragement, which has promoted me widely, and boosted my confidence and sales in whatever I do artistically. They have provided the ability to understand and share the feelings of others, fast and adequate guidance when needed, and motivation in the course of moments of self-doubt or innovative blocks. This has actually helped me and most Gambian artists persevere and continue to create artwork that resonates with others.

What advice would you give to a young artist?

Whether the passion lies in painting, sculpture, photography, or any other artistic field, the following advice will help younger artists unlock their artistic journey's full potential.
Young artists must embrace their passion for art. Every young artist ought to cherish his love for the genre of artwork he practices and develop the ability to propel his creativity without interference. They need a strong foundation to build up a solid artistic career; it is imperative to acquire basic skills and techniques through practice and experimentation.
It is very good and a matter of compulsion to have an in-depth appreciation of the heritage of art (art history and theories) as it enables the acquisition of the basic skills and techniques to master fundamentals and techniques that will provide them with a sturdy platform to explore and create more complex artworks. 
They should also try to play with different mediums and styles. They should be able to experiment widely and not be confined to a single style and approach. Seeking and welcoming constructive criticism as a treasured device for growth. Accept comments from trustworthy mentors, fellow artists, and art communities.
Young artists should enjoy the freedom of expression in growing their very own styles and signature. They should stick to and be comfortable with all that they appreciate in their work. A younger artist must also participate in art events, exhibitions, and workshops, where he meets fellow artists and enterprise professionals. 

Finally, any projects you are looking forward to for this year?

This year, I would like to work with some Gambian and Senegalese painters. 
A partnership with other artists, especially from my neighboring country (Senegal, West Africa), could be an essential component of inventive ventures.
Working collectively with different artists and designers could help me get admission to new viewpoints and some different ideas; the spirit of collaboration conjures up creativity.
From collective art projects emerge fertile grounds for knowledge, exchange of skill development, and inspiration between collaborators. As such, synergy engendered through collaboration frequently results in ground-breaking works as well as unique creative approaches normally not possible on the basis of one's own working process alone. Working with others not only can raise the quality of the artwork but, at the same time, open doors for further advancement and explorations of art too.
Secondly, I would love to experiment with Unusual materials and mediums in their "hundreds". They could provide an opportunity for new discoveries, especially when creating art projects. The world of art is not restricted to traditional brushes and canvases alone. I have used and worked with brushes and paints for decades. I count it necessary at this time to go beyond the canvas to explore my imagination in creating something different that stimulates the mind. 
I have begun to explore unusual materials and mediums from nature, which will add another tantamount addition to the artwork which shall also make me think outside the box, come out of my comfort zone by embracing new explorations, draw out new modes of creativity while discovering innovative ways of sharing a fresh artistic vision.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.