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From Ndubuisi Orji, Abuja
By all standards, Ezedire Victor Agbakwuru is an artist who refuses to follow familiar paths. In a creative landscape where conventional techniques often dominate, he has carved a distinctive identity with oilsticks, transforming bold strokes and textured layers into emotionally charged masterpieces that linger long after the viewer has looked away.
His recent solo exhibition, NOVEL, held at the elegant Wells Carlton Hotel in Abuja’s upscale Asokoro District, was more than a showcase of paintings. It was a statement of artistic independence and creative courage. The exhibition attracted art enthusiasts, diplomats and prominent Nigerians, including the then Turkish Ambassador to Nigeria, Mehmet Poroy, Belgian Ambassador Pieter Leenknegt, the Sardaunan Dutse, Alhaji Nasiru Haladu Danu, and Chief Executive Officer of O.K. Isokariari Nigerian Limited, Engr. Obelema Isokariari.
For Ezedire, NOVEL represented a defining moment—a deliberate break from imitation and a bold embrace of instinct, memory and emotion.
Born on November 11, 1971, in Imo State, the artist discovered early that painting was more than a profession; it was a calling. Educated at Federal Government College, Port Harcourt, and later at the University of Port Harcourt, his artistic journey eventually found its true expression in his Abuja studio, where he developed the unconventional style that now defines his work.
Unlike many contemporary painters who rely on brushes, Ezedire works primarily with oilsticks, engaging directly with the canvas using his fingers, rags, knives and whatever tools best communicate the emotion of the moment. The result is richly textured paintings filled with movement, rhythm and emotional intensity.
Influenced by the expressive energy of Vincent van Gogh and the atmospheric brilliance of Claude Monet, his paintings blur the boundaries between abstraction and realism. Human figures often emerge quietly from vibrant layers of colour, revealing themselves gradually depending on how closely—or how far away—the viewer stands.
“My paintings are meant to immerse rather than explain,” he says. “I want colour to make people feel something before they even understand why.”
That philosophy explains why abstraction remains central to his artistic language. Rather than offering easy interpretations, his paintings demand patience, inviting viewers to pause, reflect and discover personal meanings hidden within shifting forms and colours.
Ezedire said that his choice of oilsticks is clearly intentional.
According to the artist, the medium demands honesty because every gesture remains visible.
“Oilsticks respond best to bold, confident mark-making that cannot be faked,” he explains. “Every mark shows exactly what I felt in that moment.”
Painting, for him, becomes less about technical perfection and more about physical engagement. Large canvases allow him to move freely, making each stroke almost performative—a direct extension of emotion and instinct.
“Oilsticks don’t allow pretence,” he insists. “They challenge me, expose me and empower me.”
That authenticity was evident throughout NOVEL. Visitors encountered works layered with raw energy, where smears, textures and colours became conversations between artist and canvas.
One of the exhibition’s most captivating works began as an illusion.
At first glance, many viewers saw the image of a playful puppy. But with distance and sustained observation, another figure slowly emerged—a young boy.
The painting, Nwata Nwoke, unfolds like memory itself. Its carefully layered oilstick marks gradually reveal the face of a child carrying generations of hope, expectation and legacy.
Ezedire reflects: “It wasn’t just pigment. It was the longing of families, the pride of fathers and the dreams waiting to be fulfilled.”
Another standout piece, Josephine (2024), continues his fascination with symbolism. Measuring 134 by 105 centimetres, the abstract work draws its title from a name meaning “God will increase.”
Through the interplay of warm and cool colours, the painting invites viewers to search beyond the surface. As with much of Ezedire’s work, meaning is never handed to the audience; it is discovered through contemplation.
His ability to hold viewers in that moment of discovery has become one of his defining artistic strengths. Whether through form, colour or context, each painting possesses a magnetic quality that encourages repeated viewing.
Although deeply rooted in Nigeria, Ezedire’s artistic language has travelled far beyond its borders. His works have been exhibited across the United States, Canada, Europe, Asia and other parts of the world, while private collectors internationally continue to acquire his paintings.
Yet despite growing global recognition, the artist remains focused on pushing boundaries rather than seeking comfort.
He is already working on new projects, although he offers few details beyond a tantalising hint.
“The Eyes Have It,” he says with a smile. “I can’t say much for now.”
Special Assistant on Communication and New Media to the Minister of Foreign Affairs, Dr. Magnus Eze, applauded the artist for the mastery use of his preferred medium to make impactful social commentary.
The art enthusiast described Ezedire’s artistic display; ‘Demonstration of Craze,’ inspired by one of the popular songs of Afrobeat legend, Fela Anikulapo Kuti, as a perfect mimic of happenings in the society.
In an era dominated by speed and instant gratification, Ezedire Victor Agbakwuru reminds audiences that some of life’s most profound truths only emerge when we are willing to look again—and then look a little longer.
