Uche Okeke and his Travels Across the Globe
Published 12 September 2024 in The Man
Uche Okeke Legacy Editorial
BLOG: Uche Okeke’s Travels
In progress - working title
Introduction
Uche Okeke was an artist whose vision transcended borders. He travelled extensively throughout his life, engaging with new cultures, ideas, and techniques that helped shape his evolving body of work.
His contributions to Nigeria - and especially its art - are widely known, but his influence reaches well beyond the countries’ borders. His travels took him to Germany, the US, the UK, Italy, and France, and were periods that not only enriched his career but played a crucial role in promoting African modernism on a global scale. They acted as pilgrimages that enabled Uche to expand his thinking beyond what he had been exposed to thus far, and share what he and others had discovered.
His travels marked key milestones in his professional career, and his encounters with artists, scholars, and institutions opened doors to prestigious exhibitions and academic collaborations, highlighting his work alongside other prominent African artists such as Ben Enwonwu and Ibrahim El-Salahi, and his interactions with various institutions led to invitations to speak at a number of academic conferences where he discussed his philosophy of art and the role of African modernism. His travels and experiences in these spaces allowed him to refine his philosophy of Natural Synthesis through exposure to different art movements and contemporary discourses, and ultimately enabled him to introduce a globally resonant approach to Nigerian art.
Germany
Uche Okeke’s time in Germany was pivotal to his development. It broadened his technical skill set and exposed him to European modernist techniques that would become key to his practice, particularly expressionism and abstraction, and the strong culture of art theory and criticism allowed him to deepen his understanding of these movements. The academic environment experienced during his studies at the University of Mainz offered a blend of theory and practice that Okeke had not fully experienced before, expanding his artistic development through intellectual reflection and technical training.
German Expressionism - known for its emotional intensity and vibrant use of colour - resonated with Okeke’s goal to fuse emotional depth with African art’s visual language. He became deeply involved in the local art scene and connected with scholars and artists like Heinz Mack and Günther Uecker, key figures in the Zero art movement - a movement focused on breaking away from traditional art forms and introducing new materials and techniques - which opened Okeke’s mind to innovations in materials and inspired discussions on the intersection of African and European art traditions, particularly with parties interested in non-Western modernisms. Okeke emphasized the value of integrating African visual traditions into contemporary practices, and these dialogues pushed him to refine the philosophy of Natural Synthesis.
Okeke’s time in Germany enabled him to contribute to broader discussions about post-colonial African identity in global art contexts. Through workshops, seminars, and exhibitions, he advocated for a deeper understanding of African culture and its relevance in the modern art narrative. His involvement in forums like the International Summer Academy in Salzburg, which gathered artists from around the world to exchange ideas, allowed him to place African art within global discourses on modernism. His German connections helped facilitate important exhibitions of Nigerian Modernism across Europe, including the Contemporary African Art exhibition in Frankfurt, which highlighted the work of Okeke and his peers. These relationships not only elevated Okeke’s profile but also established key figures like Bruce Onobrakpeya and Demas Nwoko as influential voices in the international art scene. Together, they ensured that African modernism was recognized as a movement with global significance, far beyond its regional roots.
United States of America
Uche Okeke's time in the United States was another highly influential period. It offered him access to a dynamic and rapidly evolving art scene where the intersections of African, African American, and modernist art were gaining more visibility, and connected him with key figures that shared his vision of creating a new visual language that would resonate both locally and internationally.
During his time in the U.S., Okeke was invited to speak at universities and academic institutions where he gave lectures on Nigerian modernism, African art history, and his philosophy of Natural Synthesis. These engagements solidified his reputation as a leading voice in African art, and provided a platform to promote his ideas about the integration of African traditions with modernist styles. His visits to institutions like Howard University in particular allowed Okeke to engage with a community of scholars who were interested in exploring African heritage through art, enriching his understanding of the diasporic experience and the broader conversations around identity, culture, and modernity that were taking place among African American artists. He was exposed to new forms of social and political activism through the civil rights movement, and Okeke was deeply influenced by the African American struggle for equality and justice. This experience reinforced his belief in the power of art to act as a tool for social change, and his later works would reflect themes of resistance, freedom, and the fight against oppression, much like the art being produced by his African American contemporaries.
One of the most significant aspects of Okeke’s time in the U.S. was his connection with African American artists like Jeff Donaldson, a key figure in the AfriCOBRA (African Commune of Bad Relevant Artists) movement. Donaldson and other African American artists were exploring the themes of Black identity and cultural heritage in ways that resonated with Okeke’s own mission, and he collaborated on projects that sought to link African and African American art movements, such as the Pan-African Festival of Algiers in 1969. Okeke and Donaldson worked on multimedia presentations and exhibitions that highlighted the shared cultural and political struggles between Africa and its diaspora, underscoring a Pan-African vision that extended beyond geographical borders. Okeke’s work gained further visibility through exhibitions in the United States, such as the Contemporary African Art: An International Perspective exhibition at the Smithsonian Institution, which showcased leading African artists and placed Okeke’s work alongside other prominent figures of the African modernist movement (such as who?), further establishing him as a pioneer in the field.
United Kingdom
Uche Okeke’s time in the United Kingdom was deeply formative for both his artistic practice and his intellectual growth. London, as a major global art and cultural center, provided him with access to a wide variety of artistic movements and ideas. His visits to galleries and exhibitions exposed him to both classical Western art and emerging modernist movements, which helped broaden his perspective on the international art world. The vibrant art scene in London also allowed him to connect with local and international artists, deepening his understanding of how African art could be integrated into global modernist discourses.
Although Okeke did not formally study at the Slade School of Fine Art, his interactions with students and faculty there provided him with valuable insights. The Slade was home to several influential British artists during this time, and while specific names of artists Okeke interacted with are not well-documented, it is likely that he engaged with figures from the post-war British art scene, which was dominated by a turn towards abstraction and the human form. The intellectual rigor of these encounters helped him refine his technical skills and expand his repertoire, especially in the context of Western art techniques like oil painting and figurative drawing. Okeke’s time in the UK also coincided with the post-colonial intellectual movement. His exposure to the writings of Frantz Fanon and Aimé Césaire, particularly their ideas on decolonization, cultural reclamation, and the identity struggles of colonized peoples, deeply resonated with him. Fanon’s work, The Wretched of the Earth, in particular, had a profound influence on Okeke's thinking, emphasizing the psychological and cultural impact of colonization and the importance of cultural resistance. These ideas reinforced Okeke’s own philosophy of Natural Synthesis, which aimed to blend traditional African art forms with contemporary modernist techniques to assert an African cultural identity within a modern framework. Beyond the intellectual climate, Okeke was also active within the African and Caribbean diasporic communities in London. He connected with artists and intellectuals who shared his focus on reclaiming their cultural identities while engaging with the global modernist movement. These networks were vital in positioning African art within broader conversations on post-colonialism and modernism, and Okeke’s engagement with this community helped him to elevate African modernism on an international stage. Okeke’s participation in exhibitions during his time in the UK was another key factor in raising his international profile. He took part in exhibitions at the Commonwealth Institute, which were instrumental in presenting non-Western art to British audiences. These exhibitions showcased the diversity and richness of African art, and Okeke’s work stood out for its fusion of traditional Nigerian motifs with modernist techniques. This period also marked his growing recognition as a leading figure in the African modernist movement, both in the UK and across Europe.
These experiences provided Okeke with a broader understanding of how art can function as a tool for social and political commentary, and his interactions with the post-colonial intellectual scene in London helped to refine his thinking on the role of art in African identity formation. The exhibitions he participated in and the networks he developed contributed to his international reputation, making the UK a crucial chapter in his journey of blending African traditions with modernist approaches to create a new visual language.
Italy
Uche Okeke’s visit to Italy connected him to the countries’ long-standing traditions in painting, sculpture, and architecture, and exposing him to Renaissance art, classical techniques, and modernist movements from a distinctly European perspective.
Okeke predominantly visited Florence, Rome, and Venice, and it was in these cities that he encountered some of the most iconic works of Western art, such as Michelangelo’s David in Florence and the ceiling of the Sistine Chapel in Rome. Leonardo da Vinci’s Vitruvian Man and The Last Supper also left a profound impression on him, particularly regarding the understanding of anatomy, composition, and the human form, and while he did not seek to emulate these artists directly, their mastery of form helped sharpen his technical precision which he incorporated into his own unique style. Venice in particular introduced Okeke to additional contemporary art movements, such as Futurism and Arte Povera, and although he didn’t exhibit at the Venice Biennale during this time, he was able to see the latest developments in modern and contemporary art from across the globe and the development of new movements like these during his visits. The international nature of the Biennale which featured works from artists with diverse cultural backgrounds likely resonated with Okeke’s belief in the universal and transcendent quality of art, and gave him the chance to further engage with the global art community. His dialogues with Italian artists and scholars exploring similar themes of identity and modernity further developed his understanding of how European and African art movements could coexist and inform one another.
Italy’s artistic legacy of blending tradition with innovation mirrored Okeke’s own goals for Nigerian modernism, and his experiences in the country, much like his travels to other parts of the world, were equally about refining his artistic practice and expanding his intellectual and cultural horizons. Italy represents another crucial step in his journey of blending diverse artistic traditions into Natural Synthesis, continuing to shape Nigerian modernism as a globally resonant movement.
France
France at the time that Uche Okeke visited was rich in modernist art, post-colonial thought, and opportunities for international exposure. Paris was one of the world’s leading cultural capitals, and the city was a significant space for exposure to both European art’s historical legacy and the emerging contemporary movements that were reshaping global artistic discourse.
With its renowned museums like the Louvre and the Musée d’Orsay, Paris gave Okeke direct access to the works of European masters, however, it was the city’s avant-garde art scene, characterized by movements like Surrealism, Cubism, and Abstract Expressionism, that interested him the most. Known for their bold experimentation and rejection of traditional forms, these movements aligned with his vision for African Modernism, as did the energy of post-colonial thought throughout France at the time that influenced them. Okeke was exposed to the writings of prominent theorists Aimé Césaire and Léopold Senghor, and movements such as The Négritude movement, which encouraged artists and intellectuals to reclaim African heritage as a source of strength and pride in the post-colonial world. This environment provided space and knowledge for further refinement of Natural Synthesis, and the input from African and diaspora artists, such as the Senegalese painter Iba N'Diaye and Malian photographer Malick Sidibé - both of whom were exploring similar themes of cultural identity and modernity in their work -, aided Okeke in his understanding of how such artists were navigating the post-colonial world. While visiting France, Okeke participated in a number of exhibitions that highlighted African art on the global stage, elevating him to an international level and contributing to the dialogue on African art and its importance. He participated in the African Art in the 20th Century exhibition at the Centre Georges Pompidou in Paris which celebrated African art and its evolution in modern times, and Le Grand Atelier Africain and Contemporary African Art: An International Perspective, two exhibitions that were instrumental in raising the profile of African artists within the European art world and solidifying Okeke’s role as a pioneer of Nigerian modernism.
Ultimately, France, much like Italy and Germany, offered Okeke further intellectual and technical stimulation, as well as further reinforcing the idea that African modernism was not confined to geographical borders. His time in the country was another step in his global journey of blending African traditions with contemporary global movements, all while shaping the future of Nigerian modernism and African art.
Uche Okeke’s global travels were more than just artistic excursions; they were vital experiences that shaped both his personal growth and the trajectory of Nigerian modernism. From Italy’s Renaissance and modernist legacies to France’s vibrant post-colonial discourse and the United States’ dynamic art scene, each country he visited enriched his understanding of art, identity, and cultural heritage. These journeys were integral points of refinement for the Natural Synthesis philosophy, solidified him as a pioneer in creating a new visual language that spoke to the complexities of post-colonial Africa. His international experiences greatly opened up new opportunities and strengthened his role as a global figure in African modernism. Ultimately, Okeke’s travels not only expanded his own artistic practice but laid the groundwork for a global recognition of Nigerian modernism and its ongoing relevance today.