Gerald Chukwuma is one of Nigeria’s fastest rising contemporary artists noted for his intricately crafted wood-slate sculptures. Using a multitude of techniques, his unique approach to burning, chiseling, and painting common materials captures a richly layered history embedded with personal and political meaning.
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Gerald Chukwuma (b. 1973) is one of Nigeria’s fastest rising contemporary artists. He is particularly for his intricately crafted wood-slate sculptures. Using a multitude of techniques, he created a unique approach to burning, chiseling, and painting. In particular, he uses common materials to capture a richly layered history embedded with personal and political meaning. The use of traditional Uli and Nsibidi symbols links his work to the Nsukka art tradition. However, he puts his own style to the Igbo cultural aesthetic. Meanwhile, the transformation of object into highly detailed artworks roots him firmly in the contemporary moment of rapid environmental and ecological change.
In his work, Gerald Chukwuma explores migration as a constant process of transformation and reinvention. He gives great importance to the implications of globalization on his local community. That’s a reason why Chukwuma approach includes transformations of everyday materials. They come to a new life aimed to render new stories of Nigeria’s socio-political landscape. The artist his drawn to the movements of people through voluntary and forced migration as a vital stage in the progress of our collective humanity. This sense of optimism imbues his work with playfully illustrative characters. Notably, he uses a wide variety of visual forms present in Nigeria’s deep cultural history.
Typical of the artist’s detail-driven approach, these works interweave a personal intimacy. In particular, Chukwuma’s work refer to global context of time, trade and travel. Some works appear as aerial views of road networks and urban landscapes, however upon closer inspection the surface appear to be collaged images constructed from sim-cards sourced from local communities. These are the very same communities that appear in the woodcarvings as symbols of urban societies galvanised by the realities of globalisation and coloured by internal and external conflicts.
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