The Zaria Rebels: Bruce Onobrakpeya

Published 18 July 2024 in The Legacy

Uche Okeke Legacy Editorial

Bruce Onobrakpeya is one of Nigeria's most distinguished artists, celebrated particularly for his pioneering work in printmaking. A key member of the Zaria Art Society, Onobrakpeya has played one of the most historically significant roles in Nigerian art. 

His works often depict themes from Urhobo folklore, reflecting his deep connection to his cultural heritage and his innovative artistic vision.

Printmaking Innovations

Bruce Onobrakpeya is renowned for his mastery and innovation in printmaking. Over his career, he has developed several unique techniques, including plastograph, bronzed lino, and metal foil deep etching, allowing him to create richly textured and visually striking prints that stand out for their complexity and depth.

To accurately understand his innovations in printmaking, we must view them from within the broader context of Nigerian art history and the socio-political climate of the mid-20th century. Nigeria, having gained independence from British colonial rule in 1960, was in a period of intense cultural renaissance. Artists were seeking ways to express their new-found national identity and cultural heritage, and Bruce Onobrakpeya and the Zaria Art Society, of which he was a key member, played a crucial role in this movement. Founded at the Nigerian College of Arts, Science and Technology (now Ahmadu Bello University) in Zaria, the society advocated for the incorporation of traditional African art forms into contemporary practice, they developed the Natural Synthesis movement, aimed to merging indigenous Nigerian art traditions with modern techniques.

The period following Nigeria's independence was characterized by a desire to break free from colonial influences and establish a distinct national identity, and the Zaria Art Society emerged as a response to this need, promoting a synthesis of traditional African art forms with contemporary practices. This post-independence era was a time of artistic experimentation and innovation. Nigerian artists were exploring new mediums and techniques, pushing the boundaries of traditional art forms. This approach resonated with Onobrakpeya, who, like the rest of the Zaria Art Society, sought to create art that reflected his cultural heritage while also embracing modernity.

His work during this period was influenced by this spirit of experimentation, leading him to develop unique printmaking techniques that combined traditional motifs with contemporary methods.

Bruce Onobrakpeya, Jesus before Pilate - Artist Proof, Linoprint, 1969

The Influence of the Zaria Rebels

Onobrakpeya’s journey into printmaking began in the 1960s, when he was exploring various artistic mediums. Initially trained as a painter, he found printmaking to be a versatile medium that allowed for greater experimentation and innovation. 

His early works in printmaking were influenced by his experiences at the Zaria Art Society, whose emphasis on Natural Synthesis played a significant role in Onobrakpeya’s artistic development. The society’s philosophy encouraged artists to draw inspiration from their cultural heritage while embracing modern techniques, and this resonated with Onobrakpeya as he sought to create art that reflected his Urhobo heritage and Nigerian identity. He was encouraged to explore and innovate freely, which gave him the freedom to develop techniques that were uniquely his own and spurred a transition from painting to printmaking, marking a significant turning point in his career. 

Onobrakpeya’s early experiments in printmaking involved exploring various materials and methods and he used a range of techniques, such as lino-cut and etching, to develop a unique artistic voice. This period of experimentation was crucial in shaping his approach to art and lead to the development of innovative techniques that would define his career.

The Plastograph Technique

One of Onobrakpeya’s most notable contributions to printmaking is the plastograph technique, which was developed in the early 1960s and was a breakthrough in the art world, particularly in Nigeria.

The development of the plastograph technique represented a significant departure from traditional printmaking methods, such as woodcut and etching, and demonstrated Onobrakpeya’s ability to push the boundaries of the medium. The technique, which involves engraving a design onto a plastic sheet, which is then used to create a print, was not only praised for its innovation but its practicality, allowing for the creation of multiple prints from a single engraved sheet. This was particularly important in the context of Nigeria, where access to art materials and resources was often limited.The process allows for intricate details and textures, giving his works a distinctive and tactile quality. The depth and detail achieved through this technique have set a high standard in printmaking, and the technique has been widely adopted by artists in Nigeria on a global stage. 

Onobrakpeya has and continues to conduct numerous workshops and training sessions, sharing this technique with emerging artists.

Bronzed Lino and Metal Foil Deep Etching

The development of the bronzed lino technique marked another significant milestone in Onobrakpeya’s career. By incorporating metallic elements into his prints, he was able to create works that were not only visually stunning but also symbolically rich with an added a layer of sophistication and complexity to his prints, setting them apart from traditional printmaking methods.

The bronzed lino technique involves carving a design into a linoleum block, inking the block, and then applying a metallic bronze finish to the print. The result is a relief print with a rich three-dimensional effect and a metallic sheen that enhances the prints’ depth and visual interest. This method reflects Onobrakpeya’s fascination with texture and his desire to create works that are both visually and tactilely engaging, and further showcase his ability to innovate and push the boundaries of traditional printmaking. 

Bruce Onobrakpeya’s bronzed lino technique has been widely recognized and celebrated in the art world, has inspired artists to experiment with methods such as this in their work. His works have been featured in numerous exhibitions and collections worldwide and continue to bring international attention to Nigerian art and printmaking innovations.

Bruce Onobrakpeya, Deep Etching, Linoprint, 1973

Cultural Influences

Bruce Onobrakpeya's art is deeply rooted in the rich cultural heritage of the Urhobo people, and his works are imbued with the essence of their folklore, capturing the myths, legends, and cultural practices that define his community. 

The Urhobo people, an ethnic group from the Niger Delta region of Nigeria, have a rich cultural heritage replete with captivating myths and legends that explain natural phenomena, teach moral lessons, and recount the deeds of gods and heroes. There are various traditional practices and rituals that play a significant role in the Urhobo cultural identity, with importance placed on ceremonies related to birth, marriage, and death, as well as festivals that celebrate agricultural cycles and honour deities. 

Onobrakpeya captures these practices in his art, using his unique techniques to depict the vibrancy and significance of these moments. Urhobo motifs of animals, mythical beings and symbolic patterns frequent his works, with each having a significant meaning attached - animals representing various traits, deities, or natural forces, mythical beings representing the underlying forces of the world around us, and the symbols and motifs being the thread used by the Urhobo to convey this deeper meaning.

With his piece Oghene’s Genesis, Onobrakpeya uses his plastograph technique to depict the moment of creation. The artwork features a central figure representing Oghene, surrounded by swirling patterns and intricate details that symbolize the emergence of life from the void. The use of flowing 

Noticeable Contributions 

The Harmattan Workshop

The Harmattan Workshop, founded by Bruce Onobrakpeya in 1998, is an annual art workshop that takes place in Agbarha-Otor, Delta State, Nigeria. 

Named after the dry, dusty wind that blows from the Sahara during the winter months, the workshop was conceived as a platform for artists to come together, exchange ideas, and develop their skills in a collaborative environment. Onobrakpeya’s vision was to create a space where traditional and contemporary art practices could intersect and foster creativity and innovation. Onobrakpeya established the Harmattan Workshop with the belief that art is a powerful tool for cultural expression and preservation and his goal was to create an environment that encouraged experimentation, learning, and the sharing of knowledge among artists of all levels in the way the Zaria Art Society had done for him. 

The workshop’s emphasis on collaboration and community reflects Onobrakpeya’s commitment to nurturing the next generation of artists and ensuring the continuity of Nigerian art traditions, and offers a diverse range of sessions, each focusing on different art forms and techniques. These sessions are led by renowned artists and experts, providing participants with valuable insights and guidance. Activities include printmaking, sculpture, ceramics, painting and collaborative projects, where participants are encouraged to work together, share ideas, and create joint artworks. The Harmattan Workshop has had a profound impact on the Nigerian art scene, contributing to the development and preservation of traditional art forms while also continuing to promote and increase accessibility of contemporary practices. 

Over the years, the workshop has become a crucial platform for artistic exchange and innovation, attracting participants from across Nigeria and beyond.

Bruce Onobrakpeya's 26th Harmattan Workshop poster, 2024

Notable Works

Spirit Go II, 1969

Spirit Go II is a remarkable piece by Bruce Onobrakpeya that captures the mystical and spiritual essence often seen in his work. The intricate patterns and ethereal forms in this print reflect his deep connection to the spiritual world with influences from Urhobo folklore and mythology, and invites the viewer to contemplate the unseen forces and spiritual beliefs that shape the cultural and natural landscapes of Nigeria.

Igbeze (Hunters Masquerade), 1988

Igbeze (Hunters Masquerade) depicts the hunters’ masquerade, a powerful element in many Nigerian cultural traditions. This print captures the ritualistic aspect of the hunter's masquerade, combining symbolic patterns with dynamic composition to emphasize the significance of the hunters as both spiritual and practical figures in their communities. The detailed representation speaks to Onobrakpeya's ability to intertwine culture, tradition, and artistic innovation.

Obiriki (Fishing Nets), 1986

Obiriki (Fishing Nets) centers on the daily life of fishermen, a significant theme in Urhobo and broader Nigerian culture where fishing is as much a cultural and spiritual practice as it is economical. The fishing nets, depicted in delicate detail, symbolize sustenance and the spiritual relationship between the fishermen and the water. Onobrakpeya’s work brings out the mystical undertones of this essential livelihood, blending scenes of reality with the folklore that surrounds the fisherman’s connection to water spirits.

Masquerade, 1960

Masquerade is one of Bruce Onobrakpeya’s iconic works that focuses on the traditional Nigerian masquerade. In this piece, he captures the vibrant energy and spiritual depth of the masquerade tradition, which is more than a festive display; it serves as a ritualistic performance connecting the living with their ancestors, and this piece truly emphasizes the layered meanings of the masks, the performers, and the audience, bringing out the cultural and spiritual significance behind this ancient practice.

Bruce Onobrakpeya’s mastery of printmaking techniques and his deep engagement with Urhobo folklore have resulted in a body of work that is both technically impressive and culturally significant. Through his art, Onobrakpeya not only preserves and celebrates tradition but contributes to the broader narrative of modern Nigerian art. 

His legacy as an artist and educator inspire and shape the future of Nigerian art and ensure that the rich traditions of the past remain alive and relevant in contemporary practice.