By Henry Akubuiro
‘Akin b’ogunlo (The martyr), 48 x 46 x 16, plastic car fuel, tank, shock, steel, nut and bolt, dated 2021 by Muraina Akeem.
Artist, Muraina Akeem, is returning to the exhibition circuit with three themes captured in one analogous expression, marking his three decades of studio practice. The artist brings into focus scriptural analogy to present an exhibition that say so much about resource management.
Akeem’s solo art exhibition, Metalphysics, opens in three sub-themes of The cows, The Pastures and The Tenants, on April 27, ending May 4, 2024, at Signature Beyond Art Gallery, 107, Awolowo Road, Ikoyi, Lagos. Akeem’s Metalphysics Alliance adds to the growing identity of Signature Beyond as a gallery that always exhibit artists in their never-before-seen artworks.
In a preview, Signature Beyond noted that Akeem seamlessly blends the raw beauty of metal with the ethereal essence of storytelling, creating a symphony of form and narrative that resonates with profound depth and meaning. According to the gallery, each sculpture serves as a portal into a world where reality intertwines with myth, where the mundane is transformed into the extraordinary, and where the past, present, and future converge in a timeless dance of creation.
What’s the essence of the three themes part of Metalphysics Alliance? “The Cow, the Pastures, and the Tenants symbolise more than just physical entities; they represent archetypes of human experience, embodying the universal themes of life, growth, and transformation,” Signature Beyond explained. “Through Akeem’s masterful craftsmanship, these symbols come to life, inviting us to contemplate the mysteries of existence and ponder the hidden truths that lie beneath the surface of our collective consciousness.”
Signature Beyond described the exhibition as a groundbreaking contemporary transformative showcase of a journey of exploration and discovery through the captivating world of 4-dimensional narrative sculptures. According to the gallery, at the intersection of art and storytelling, Metalphysics offers a unique glimpse into Akeem’s imaginative universe, where metal transcends its physical form to become a medium for the expression of profound narratives and timeless truths. The statement explained that, through the artist’s masterful craftsmanship, he breathes life into inert materials, transforming them into conduits for the exploration of the human experience and the mysteries of existence.
“As you journey through the gallery space, allow yourself to be swept away by the evocative power of Akeem’s creations. Lose yourself in the intricacies of his storytelling, immerse yourself in the subtle nuances of his craftsmanship, and allow your imagination to soar to new heights as you contemplate the deeper meanings hidden within each sculpture,” Signature Beyond stated during a preview.
“Metalphysics is more than just an exhibition—it is a testament to the transformative power of art to inspire, provoke, and illuminate. We invite you to join us on this extraordinary voyage of discovery, as we explore the boundless possibilities of the human imagination and celebrate the enduring legacy of artistic expression.”
Akeem expressed delight that his his second solo exhibition represents a landmark in his three decades career as a studio artist. “The metalphysics Alliance, which is my second solo exhibit happens to be a landmarking of my 30th year of sorjorning in the creative sphere,” he declared in his Artist Statement. “Newly added materials to my constructive and creative works of art on steel, like newspapers, electrical panels, keys and padlocks etc had been purposefuly used in alliances to create a unique and symbolic thought provoking visual experiences.”
Highlighting the essence of the three themes, Akeem said the cows of seven in number represent the famous scriptural Joseph›s interpretation of the then king of Egypt›s dream about the largesse of a buoyant economy. From artistic perspective, Akeem noted that cows in this context were created from discarded plastic fuel tanks of motor vehicles. He added that materials used relates to oil the current nerve of Nigeria’s economy and one of the cardinal focus of the exhibition.
«The Pastures here represents all of the endowed natural resources not limited to oil but agriculture products, gold and some of the other relatives..The Tenants are the entrusted managers of the earth citizens which in this case is the Man.” Graphically bringing the context into the Nigerian reality, the artist argued that the oil boom era had created what he described as “intoxicated ego massaging and wastefulness .” Akeem noted how the era resulted into the “creations of multiple drain pipes into the greedy and unpatriotic private pockets at the expense of the larger majority.”
Akeem, a former Vice Chairman of Society of Nigerian Artists (SNA), Lagos, had his debut solo exhibition entitled The Eden Before Us, in 2012 at National Museum of Arts and Monuments, Onikan, Lagos. Some of his group exhibitions include October Rain (2022), Mudrim Gallery; Elixir, National Museum Onikan (2021); Impact Artists Fair, at Alpha One, Eko Atlantic City (2019); and The Centre Cannot Hold, at Thought Pyramid Art Centre, in 2018, among over ten shows.