The exhibition, which featured mostly young persons’ portraits, explored the beauty of being associated with race. It also focuses on the role of youths in protecting African identities amid intimidating western civilisation.

       “I was thinking about creating art that represents specific people that serves as a medium for immortalising and remembering people,” he told The Guardian. The 15 paintings have images of bold black youths and traditional African masks generated using students at Niger Delta University, Wilberforce Island, Bayelsa, Nigeria as models.

    One of the works, titled, ‘I am Part of a Whole that is Exceptionally Beautiful’, is a multicolour garment in a bright background of yellow with black polka dots. The concept of both individuality and connection can be noticed in the subject as the mask beside the figure echoes African heritage, reminding the viewer of the deep cultural significance that underpins identity.

  In another painting, titled ‘Fashionista’, dated 2022, the artist’s use of bold colours and geometric forms highlights the blending of modern fashion with ancestral influences, creating a powerful statement on identity and self-expression.

Further view of the exhibition showed another piece titled Afropolitan II, dated 2017-2018, as the subject is confidently in a bold floral shirt, with an afro hairstyle that exudes pride and individuality. The artist’s use of bright colours of the background, juxtaposed with the figure’s calm expression, symbolise a blend of traditional African identity and contemporary cosmopolitan influences.

    “I wanted to bring people’s attention to the fact that traditional work of arts we see which we don’t think of them as portraitures were actual representation of speople,” Okwuosa shared his thoughts on what informed him to embark on the series. “My aim was to capture models, people and students who have the kind of character that I want to represent in the paintings.” He explained that “another aspect in the journey was to search for masks that have some kind of resemblance with the subjects, either in terms of visual element, hairdo, or something that is easily identifiable.”

  The artist, who is widely travelled as a scholar, recalled how his main inspiration came from the images of African masks taken from his many copies of The African Arts journal, published by an institute in University of California, Los Angeles, founded in 1967. Okwuosa noted that the use of black colour for all the subjects, except one that is painted in brown, is to promote the black identity.

  However, the concept of blackened skin that has been trending among artists seemed to have dragged Okwuosa into the new face of African art. Not exactly, Okwuosa disagreed.

He argued that the fact that his black figures series “started in 2016, before it became popular among artists showed that I am not following the bandwagon of artists.” He insisted that he “predicted the trend.” Okwuosa urged African artists to be original in their creativity, warning that when “an artist is not big in thinking, philosophy, or something that the artist can give a narrative to, it would render their artworks baseless.” 

  He said: “The whole essence of bringing the masks is to emphasise our identity, that is, we are black. And one major concern is that we are losing that blackness as people are bleaching their skin to be fair in complexion, making our culture to be demonised. So for us, this is a way of visually connecting people who are disconnected with their culture.” 

     He encouraged African youths to tread with caution when embracing other cultures above theirs, remarking that Africa has a rich cultural heritage that foster unity, peace among humanity.

    Tobenna Okwuosa is a contemporary Nigerian visual artist, art critic, writer, mystic, and bhakti yogi whose regimented lifestyle includes teetotalism, vegetarianism, and celibacy. 

    Okwuosa draws inspirations for his art from different sources such as African literature, traditional African art and material culture, and ancient spiritual traditions. Okwuosa holds a BA in Sculpture (First Class Honours) and an MFA in Painting from the University of Benin, Benin City, Edo. He obtained his PhD in Studio Arts from Delta State University, Abraka. 

     Okwuosa is an Associate Professor of Painting in the Department of Fine and Applied Arts, Niger Delta University, Wilberforce Island, Bayelsa, Nigeria. Okwuosa was awarded the first Philip L. Ravenhill Fellowship 2004/05 by the Fowler Museum, University of California, Los Angeles; and was an artist-in-residence at the Visual and Performing Arts Department of the Worcester State College, Worcester, Massachusetts, USA, in 2005.