By MAGNUS EZE
The Gbagi (Gbagyi), original owners of Abuja, Nigeria’s Federal Capital Territory (FCT), should be proud of Mr. Osagie Osadolor; an Edo State-born sculptor who recently built what might arguably be the biggest statue depicting the people and culture of Gbagi in the city centre.
The sculptor made a-17ft tall sculptural piece in honour of the traditional Gbagi woman, known for carrying load on the rear part of the shoulder region in reverence to the head.
Osadolor said that the imposing artistic work, which stands at his studio along the Gwarimpa axis of the Airport Road would be more beautiful and add to the aesthetic value of the capital city when eventually mounted on a- six feet platform.
He believed the Gbagi woman should be celebrated for her industry and hard work as a farmer, mother and homemaker who toils day and night to make ends meet. The real life experience of what the sculptural work depicts is still prevalent in many communities outside the city centre like Kabusa, Pyakassa, Ushafa, Gwagwalada, Kuje and Kwali.
How did the idea come? Osadalor said an artist is not really a businessman; but he works with nature to beautify the environment because according to him, arts and nature work together: “There are no fascinating sites where tourists can go. I am sure that if this work is mounted at any strategic point in Abuja, it will beautify the city and raise its aesthetic value.”
He explained that the materials used were mainly steel and cement, adding that the work took about one year to get to its present level. The artist really took his time to do the work from the skeleton; even the manner he arranged the firewood and pair of slippers indicated good attention to details.
The artist confessed that his roadside-studio has become a beehive since about two months ago when he mounted the effigy of the Gbagi woman.
The sculptor who disclosed that his creative works are scattered in different parts of Abuja and beyond said he was for about 10 years engrossed in steel work; churning out beautiful gates and rot iron designs before his inner mind asked him to return to his original calling.
Since then he acknowledged that he has had some measure of fulfilment. He hopes that with time, he would be able to set up a gallery to showcase his works. In the main, some of his works dot the landscape of Abuja especially the horticultural garden before the Area 11, FCDA traffic light junction along the Ahmadu Bello Way.
Osadolor with his wife also run a horticulture garden, which provides a ready market for his beautifully designed planters (flower planters) referred to as flower pots by laymen.
A visitor would no doubt be thrilled by the elevated artistry on display at the studio including the sense of arts in the green plants and the painstakingly built garden seats. Even some stones at the place have a feel of the artist in Osadolor.
Arts as money-maker
While Osadolor insisted that most artists are not driven by profit motive, he, however, lamented the poor penetration of arts in the consciousness of Nigerians:
“People don’t really appreciate arts; but the awareness is actually coming up, unlike what it used to be.” He named design and construction of water fountains as one other area any creative artist could make a living from.
He warned those who want quick money should not come close to arts; regretting that the youth run away from the profession because of impatience and the urge for immediate financial gains: “The boys we have now are not patient. They only think of money; they don’t know that it takes time to learn.”
Osadolor, who hinted that his seven-year-old son was already showing signs of an artist by his sketches and drawings; called on the real indigenes of Abuja to promote their culture and ensure that even if the city is a “no man’s land”, it actually belonged to the Gbagi.