He remains a quintessential gentleman as he supervises talents to stardom. Since 1983, Moses Ohiomokhare has becone a beacon of hope for many artists in Nigeria and Africa. Currently, he is curating Adeola Balogun and Nurudeen Popoola on their forthcoming exhibition entitled Off – Confines. In an interview with iBAND Magazine, Moses Ohiomokhare

What initially drew you to the world of art curation and gallery management, and how has your passion evolved over the years?
I am a sociologist and Anthropologist. After graduation, I met Chief Aino Oni-Okpaku in Quintessence Kaduna while staying with my immediate elder brother who was working, as Manager and she invited me to join her in Lagos to work for three months, being the rush months of business and if I enjoy it, I could continue. This was in October 1983. It became an experience that spanned three decades.

Could you share some memorable moments or exhibitions from your career that have left a lasting impact on you?

Quintessence gallery exposed many artists and crafts experts to the world .
Working with Dr Kunle Adeyemi, Dr Kunle Filani, Dr Adeola Balogun, Sam Oviriati to mention a few were all memorable times. These are men with a lot of ideas and they exposed me to research which generated my interest in the art.

As someone who has witnessed the evolution of the Nigerian art scene, what changes have you observed over the years, and how do you think it has influenced the direction of contemporary art in Nigeria?

Visual art has witnessed huge changes in development. Nigerian artists stand out.
The years of Aina Onabolu, Akin Lasekan, Ben Enwonwu Uche Okeke, Bruce Onobrakpeya, Yusuf Grillo were the teething stages of African art. They needed to break through the glass of the European audience as pioneers. It was really tough for them because emphasis was on engineering, law, medicine and teaching. Art was looked down upon by the society as a profession.
The next generation of Kolade Oshinowo and company took the exposure of African art furthermore and they made significant impact on it’s growth through exhibitions teachings and participating in permanent commissioned jobs in the big cities to expose our arts to Nigerians and tourists. Today with the assistance of the Internet, African art is experiencing global interests. Contemporary art is enjoying its bride of place today.

What do you believe are the essential qualities or skills required to be a successful curator and gallery manager?

You must know your trade as a Curator and Manager. This requires doing a lot of research on artists and art works. Going to exhibitions to enjoy and also learn about the artist and his work.
Participating in workshops and seminars.
If you have the opportunity, visit exhibitions and biennale in West Africa and other parts of the world.
Visit galleries and learn from each other.

How do you balance preserving traditional Nigerian art forms with promoting innovative contemporary artists?

Traditional art forms are key in the promotion of our Art. On that pedestal rest all other contemporary works we have done. We need to organize exhibitions continually by our National Museums to keep the interest in traditional forms. I remember, seeing Ife bronze heads and other monarchical bronze pieces in Stockholm ,Sweden, in a traveling exhibition of art. It was a partnership of National Museum with other museums in the world and it was well received. It was a huge exposure and the attendance was high. More of such partnerships, help in promoting traditional form even as we continue to enjoy our contemporary art.

In your experience, what role do art galleries play in shaping cultural identity and fostering community engagement?

Art Galleries give credence to the artists and their works. Local and international visitors are drawn to the galleries to enjoy our aesthetic works and in the course of it learn about our cultural values. Our art are a part of our civilization. Galleries, through organizing exhibitions, seminars and participating in Art fairs have raised great awareness in society. In Quintessence, our slogan was ” Make Friends”. This was very effective in fostering community engagement.

Can you tell us about any challenges you’ve faced throughout your career, and how you’ve overcome them?

When there is a crisis in society, Art is the first to “catch cold.” If there is a change in government policy or there are some level of insecurity, art suffers. Covid – 19 was a big one that crumbled some galleries. As vibrant as art is, it sometimes could be quiet for lack of money to spare.
My style is to wait and hang out there, change will surely come for the better. It has worked for me and I am sure many who are resilient.

As you reflect on your accomplishments, what do you consider to be your most significant contribution to the art community in Nigeria?

Exposing our art to Europeans and promoting it’s values. I did that in Paris Stockholm, Amsterdam and Lisbon. I also had more than One hundred and fifty exhibitions for artists locally.

What advice would you give to aspiring curators and gallery managers looking to make their mark in the art world?

You must be loyal to the art profession. There is a passion that starts flowing in you when you do that. Do not support those who try to fake other people’s works. Ask questions and find a mentor to work with and draw strength.
Be ready to study and contribute to the growth of art or else you will be irrelevant.

Looking ahead, what are your hopes and aspirations for the future of art curation and gallery management in Nigeria?

If the artists do not grow, the galleries would not. I like to see development in our art. Art auctions are helping to raise the value of art. I like to see its encouragement.
We need a stable and vibrant government to allow for creativity. Government should also consciously promote art through their programmes. I like to see our government insisting that all their institutions and the private sector should house our art in their offices.
We should have more commissioned permanent works of art in our city centres, our airports and seaports.

Interview / Ireho Aito/Pictures/Moses Ohiomokhare Archives