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By Paul Ewurum
Public art in Nigeria struggles against limited government funding, inadequate maintenance, vandalism, as well as erratic urban planning. Furthermore, state commissions often bypass local talent for politically connected choices, while foundational art education remains heavily underfunded, restricting the creation and societal appreciation of original works.
Aside the above mentioned challenge, poor public attitude towards public art is part of the bad treatment meted out on art situated in public spaces, especially within Lagos. Poor public attitude on public art refers to the lack of appreciation, respect, protection, and active support for artworks displayed in public spaces such as parks, roadsides, schools, government buildings, and city centers. This attitude has contributed to the neglect, vandalism, and underdevelopment of public art across the country.
Poor public attitude toward public art in Nigeria, especially in Lagos remains a major challenge to preserving the country’s cultural heritage and improving the appearance of public spaces. Problems such as vandalism, neglect, lack of appreciation, and inadequate maintenance limit the benefits that public art can provide. Through better education, stronger legal protection, consistent maintenance, and greater community involvement, Lagos, Nigeria can foster a culture of respect for public art, ensuring that it continues to educate, inspire, and strengthen national identity for future generations. An example of such situation is the one involving the image of the late Chief Obafemi Awolowo located along the Obafemi Awolowo way in Ikeja. The image is seated on a sculpted seat, created on a vertical base. It was observed that the space where the sculptural piece is located was converted into a place of abode by a mentally challenged fellow who was seen lying comfortably on the base of the statue. It was also observed that the location of the sculpture was converted into a waste dump by members of the public as different form of wastes were seen littered around the space where the work is located.
Another example of disdainful treatment and poor public attitude towards public art can be seen within the Oba Akran round about where the statue of Oba CDA Akran is mounted. According to Mr Joel Oguntayo, the sculptor who produced the work, Oba Akran served as Minister for Economic Planning and Community Development during his time. In a virtual interview session, Mr Oguntayo disclosed that the monument was designed to preserve both the late Obas’s traditional authority as well as his contribution to Nigeria’s political development. Unfortunately, the statue of Oba Akran is currently experiencing disdainful treatment and poor public attitude. During a personal visit to the site, samples of waste were seen on the base provided for the image behind the statue of the late Oba. In front of the sculptural work, was a composition of what looked like fetish materials put together as a bunch.
Another example of a work of art that reveals evidence of disdainful treatment and poor public attitude towards public art can be seen at the Onike round about where the statue of Professor Ayodele Awojobi is located. As was observed during a visit to the location of the statue, the place where the work of art is installed was used as a place for refuse. It is unfortunate that the space created to honour the late erudite scholar in Professor Ayodele was seen in a mess during a personal visit.
Another work of art that shows an unpleasant attitude of the public towards public art is a painting advertising Origin, a beverage brand, owned by Diageo, produced and marketed locally by their subsidiary, Guinness Nigeria. The painting is a mural art made on the pillars under the Agege bridge. As was seen during a visit to the location of the work, various parts of the painting on the pillars holding the bridge were defaced with campaign posters of a political party. Also, some members of the public have adopted the spaces around the walls of the bridges pillars as their place of relaxation, thereby making the painting loose its dignity.
Poor public attitude toward public art in Nigeria, especially in Lagos remains a major challenge to preserving the country’s cultural heritage and improving the appearance of public spaces. Problems such as vandalism, neglect, lack of appreciation, and inadequate maintenance limit the benefits that public art can provide. Through better education, stronger legal protection, consistent maintenance, and greater community involvement, Lagos, Nigeria can foster a culture of respect for public art, ensuring that it continues to educate, inspire, and strengthen national identity for future generations.
