Erhabor Ogieva Emokpae

Erhabor Ogieva Emokpae: Unforgettable Master of African Art

Erhabor Ogieva Emokpae (1934-1984) stands as a monumental figure in the history of Nigerian art, recognized unequivocally as one of its foremost innovators and champions. Born in Benin City, Nigeria—the ancestral capital of the Edo Kingdom—Emokpae’s formative years instilled within him a profound appreciation for traditional Bini artistic heritage, which would subsequently permeate his distinctive oeuvre. His father, Ewekagosadoba, held a prominent position within the royal court, shaping Emokpae's understanding of leadership and cultural responsibility, while his mother’s Muslim faith provided an alternative perspective on spirituality and artistic expression—a duality that profoundly informed his creative vision. Following a solid foundation in primary education at Benin Government School, Emokpae pursued higher learning at Western Boys High School, Benin, graduating in 1951 before embarking on his artistic journey at Yaba College of Technology (now Lagos State Polytechnic) from 1951 to 1953. This early exposure to formal art education solidified his technical skills and broadened his intellectual horizons. He mastered the techniques of sculpture and painting, absorbing influences from European movements like Surrealism and Expressionism—particularly Kazimir Malevich’s geometric abstractions—which would become central to his artistic style. Continuing his studies abroad in England during 1963, Emokpae immersed himself in the vibrant cultural landscape of Europe, further refining his aesthetic sensibilities. Emokpae’s professional life commenced with a stint as a trainee artist at the Ministry of Information in Enugu (later Enugu State) between 1954 and 1958, followed by employment at the Federal Ministry of Information in Lagos where he honed his creative abilities. He swiftly ascended through the ranks within Lintas West Africa, culminating in his role as Creative Director from 1973—a position that allowed him to oversee numerous impactful advertising campaigns and solidify his reputation as a visionary artist. His involvement with the Society of Nigerian Artists demonstrated his unwavering commitment to fostering artistic dialogue and promoting Nigerian art on an international stage. Serving as secretary from 1967 to 1975, Emokpae championed artistic excellence and contributed significantly to the organization’s growth—a testament to his leadership and dedication. Furthermore, he actively participated in the Lagos Arts Council, furthering his commitment to supporting artists and enriching the cultural landscape of Nigeria. Emokpae's artistic output is characterized by a striking duality—a masterful blend of realism and symbolism—reflecting his deep engagement with complex philosophical concepts such as dualism. He defined dualism as “ an attempt to explain fact by reference to two co-existing principles — positive and negative — and that throughout the system of creation, the two opposites permeate the entire spectrum.” His explorations delve into themes of identity, spirituality, and social commentary, often conveyed through meticulously crafted sculptures and murals that grapple with the tensions between tradition and modernity. Perhaps Emokpae’s most enduring legacy rests upon his monumental contributions to FESTAC 77—the Second World Black and African Festival of Arts and Culture held in Lagos in 1977. He spearheaded the creation of a bronze replica of the Benin ivory mask, which served as the festival's official emblem—a powerful symbol of Nigerian heritage and resilience. Moreover, Emokpae’s artistic vision graced the National Theatre, transforming its four entrances into breathtaking murals that celebrated African culture and artistry. His work continues to inspire artists and scholars alike, cementing his place as a cornerstone of Nigeria’s artistic canon.

• Notable Works: Iya Abikun (FESTAC 77), Queen Amina Painting
• Influences: Surrealism, Expressionism, European Art Movements
• Recognition: Officer of the Order of the Niger (OON)

Source: AskART & Smithsonian Institution