Muraina Akeem’s cool disposition betrays his exceptional interpretation of animals to speak on social issues. His last exhibition at Signature Beyond Art Gallery was earth, wind and fire! Writes Ireho Aito

Time is a great healer and that is what they say. Muraina Akeem appended his signature with his new body of works showcased last April at the Signature Beyond Gallery in highbrow Awolowo Way in Ikoyi. He received a commanding applause from his Metalphysics Alliance; The Cow, The Pastures and The Tenants exhibition. This exhibition held in April was a reflection of the state of affairs in Nigerian economy. The artist work on creating cows through metal wastes and vehicle tanks to speak into our existence while using his profound Yoruba language to give titles to the works.

Akeem Muraina’s solo exhibition, “Metalphysics Alliance – The Cows, The Pastures, and The Tenants,” captivates with its profound commentary on societal issues. Muraina’s adept use of discarded materials to craft his sculptures offers a genuine reflection on Nigeria’s economic state. Through his masterful interpretation of animals, he delves into the complexities of social and economic challenges, weaving together narratives that demand attention and introspection. Over 25 artworks were exhibited in Ikoyi

Meanwhile, on the screen, a Nigerian pastor on his television channel was calmly explaining to his audience how Africa is so blessed, yet thrives in poverty. A complete research work done by the Pentecostal pastor, noted, Africa and especially, Nigeria is so blessed with plenty of human and natural resources, yet, Nigeria is still a struggling country. He couldn’t believe that this is the reality over 60 years, since, most African countries started agitating for Self – Rule. Africans fought for independence and many African leaders went to prisons in the hands of the colonialists but victory was assured as they refused to bow and accept being second citizens. And he asked what Nigerians have done with their time?

Indeed, Africans got what they wanted; independence, including Nigeria. Nigeria before independence had thrived on regional economy that grew with each region being able sustain its region through agriculture. A feat that brought quality and free education, good and sustainable health services, affordable housing, industrial boards to supervise commerce and innovations to drive income. Nigeria was growing from pre – independence as a smiling baby with economic independence to giant of Africa at post- independence with the discovery of oil, the black gold! And things started falling apart.

Nigerian metal sculptor, Akeem Muraina was born in the incredible city of Ibadan in 1966, six years after independence from the British colonial government. Definitely, himself and his family must have been beneficiaries of Action Group, a social welfare political group that revolutionised politics from late 1940s until the first military coup in 1966. Political parties were proscribed by the military and the civil war memories. Action Group metamorphosed into Unity Party of Nigeria, to continue their social welfare packages for the people.

His name quickly brings to mind such notable names in wood and metal sculpture, the wood carvers such as Muraina Oyelami, Lamidi and Bisi Fakeye, Adeola Balogun and other names from Osogbo, Iragbiji and Ede born sculptors. They are simply class act. Akeem Muraina belongs that exclusive list of quality sculptors with 30 years experience in the art movement.

On April 27th 2024, at Signature Beyond Gallery, Akeem Muraina, held his second solo exhibition, entitled ‘Metalphysics Alliance – The Cow, The Pastures and The Tenants.’ Featuring the exceptional and illustrious 4 – dimensional narrative sculptures by Muraina Akeem. One interesting note is the admiration and commanding use of Yoruba language by the artist in his works which can be linked to his growing up in Ibadan, a city known for its expressive notch on Yoruba language. The city of Ibadan is a wonderful place to be and be part of. An average Ibadan person, either an indigene or a visitor is a perpetual storyteller. Ibadan thrives on stories right from Yoruba civil war memories and historical conquest, down to communal milieu that makes the city one off the most unique cities in the world. There is hierarchy in leadership attainment and it is sacrosanct. You can never appreciate the city, until you call for a ride in a cab round the town. Your cab driver is enough to regale about Ibadan and its prowess with numerous iconic names and events to flow with. Muraina Akeem is a storyteller.
Artist are mirrors. They reflect the society. Muraina Akeem’s exhibition reflected the state of Nigeria after independence and how profligacy and financial recklessness ruined a great future that was once green. And what could have gone wrong if not for the greed culture.

One of the essence or take away from Muraina Akeem’s exhibition is the metaphorical appreciation of the cow. The metal sculptor invested in discarded materials to create the body of metal works he exhibited. These are signatures of an artist who knows his onions by thinking outside the box. He reflects in his appreciation in the exhibition catalogue, on the theme of the exhibition; The Cows, the Pastures and the Tenants, “the cows here, seven of them, is a cue I took from one of the famous Biblical Joseph’s interpretation of the then king of Egypt’s dream about the seven fat cows. The seven fat cows represents the largesse of a buoyant economy. And cows in this context were created from discarded plastic fuel tanks of motor vehicles,” Muraina points out. According to him, “This perfectly relates to Oil, the current nerve of my country’s economy and one of the cardinal focus of this show,” he enthuses further.
Who wouldn’t know the incessant rush for oil business in Nigeria and which has crippled our intellectual ability to think outside the box. Muraina Akeem is not just a run – over – the – mill kind of artist. He is a graduate of the prestigious Yaba College of Technology, Yaba, Lagos, a school known for churning out some of the best artists and art products over the years into international prominence. Mere looking at Muraina, he is a quality product from Yabatech as the school is known as. Akeem’s knowledge of discarded materials needs to be studied and his of interpretation is candidly exceptional. Who would have thought of using cows to drive his commentaries. In fact, Akeem reminds enthusiasts at the Signature Gallery about the prominent Adeola Balogun, another Yabatech alumnus, presently a senior lecturer in the school.

This perfectly relates to Oil, the current nerve of my country’s economy and one of the cardinal focus of this show,”

The seven fat cows represents the largesse of a buoyant economy.

Muraina Akeem invested in disposable wastes around him, the more he could find, the merrier for him to create series of social commentary sculptural pieces that became edifying while at the same time , connecting us to the reality of what we have done wrong and retrace our steps to correct our mistakes since we are tenants. The recycled wastes were brought back to life by the artist to explain what we are missing by breathing life into the metals to create masterpieces!

Muraina Akeem metalphysics and metaphysics of the cows are spiritually provoking. Even, in the holy book Quran, according to Fiqh-us-Sunnah, Volume 3, Number 104, Prophet Muhammad was asked by his companions if kindness to animals was rewarded in the life hereafter? The prophet replied: “Yes, there is a meritorious reward for kindness to every living creature.” More religions too echoed such. The cow is a symbol of prosperity and holiness in Hindu mythology. Even Mandarin legends attribute similar qualities to the cow. The Chinese wish cow that presides over treasures is a symbol of wish fulfilment in feng shui.
The cow spirit animal is strongly associated with nurturing and motherhood. As a provider of milk and nourishment, the cow represents care, love, prosperity and protection. By embodying the nurturing qualities of the cow spirit animal, we can learn to care for ourselves and others with kindness and compassion.
Cows are the future. Cows are the source of evolution and eternal growth. Cows are the root of prosperity. Whatever is given to a cow always produces good fortune and is never in vain.
Unfortunately, the cow which is our oil boom era was mismanaged by our collective irresponsibility. From our leaders to followers, what should have been Nigeria’s source of abundance has become our gloomy albatross.

The Pastures, according to Muraina Akeem, represents all of the endowed natural resources not limited to oil but agriculture products, gold and some of the other relatives. Nigerians are steadily going back to farming and local production of hitherto imported food products are being encouraged. Akeem is an artist dictating his own time with perfection. Presently, and very worrisome, just as the artist reflected in his exhibition, bandits and kidnappers are terrorising farmers and extorting taxes from them, thereby creating food shortage. Such act of societal malaise is making local production to suffer.

While The Tenants are the entrusted managers of the earth citizens which in this case is the Man . Muraina Akeem believes our actions dictate our society and the life we live. That we are this precipice, buoys down to our act of indiscipline and corruption which has done more havoc to our ecosystem

In a series of plates exhibited at Signature Gallery, Muraina Akeem interpreted the plates to his audience to have self assessment of their actions towards humanity. In Plate 1 entitled
“ Agbalowo m’eeri “ meaning ‘Subsidy’
Akeem explains, “this has the biggest horn that is made of a 25 – litre gallon container which is one of the famous tools of trade during imposed, artificial fuel scarcity and relative malpractices and oil theft. Once, there is scarcity of fuel, Nigerians in their typical fashion sees such state of emergency as an opportunity to make money and every nefarious attitude comes to play. Hoarding and hike in oil price becomes the other of the day.

In another plate, the 3rd plate to be precise, the metal sculptor entitled the work “Akin b’ogunlo” which means Matyr. This cow has broken horns that are executed with natural horn skeleton. Another metaphoric work from Akeem paying eulogies on the lost souls who fought for our commonwealth. They are the fighters who defend lack of commensurate compensation for the prevalent challenges of the oil explorations on their land. The 0ctober 10, 1995 extra – judicial killing of environmental rights activist, Kenule Saro – Wiwa and the Ogoni 9 by the Abacha junta comes to mind. Despite the international outcry, General Sani Abacha, then, Nigeria’s head of state would not buldge and ordered the execution of the Ogoni leaders.

A curious appreciation of another plate with the title “F’ awo r’aja” literal interpretation is ego massaging. Lack of commitment to other mineral resources for socio – economic development is the bane of our problems, according to Muraina Akeem. Agriculture is the new oil to defeat food shortages and food insecurity.

One of the most fascinating display of Muraina Akeem’s work at the Signature Gallery is the “Igi Owo” that is tree of wealth. Interesting to know that cows are also symbols of abundance and prosperity. In many cultures, they represent wealth, fertility, and sustenance. The cow spirit animal encourages us to cultivate an attitude of gratitude and to recognize the abundance that surrounds us in our everyday lives. Plate 18 of Muraina’s assemblage made guests at the exhibition awestruck!

To be honest, Muraina Akeem deserves national honours for this exemplary body of work. They can only come from a genius like Muraina Akeem. He also made the politicians to know through his work that they are accountable and all what they promised the electorates must be genuine and bring economic succour to the common man. Akeem believes that this is inevitable as the turning around must be well focused and rigorously pursued with a purposeful passion. This he sculpted with a title “Emi lokan” – the whirlwind and the champ.

More astonishing works such as “Eni t’ori yo” which the artist translates as Jailbreak, “Ije un Agba” which he explains as Brain Box, the artist was reminding us that “it is only when we are seriously ready for emancipation by putting to use all what have been highlighted, then we will attain freedom.” Muraina Akeem gave us a place of respite in “Olowo gbogboro” the unifier code.

Despite the somber undertones of his work, Muraina’s exhibition offers a glimmer of hope, inviting viewers to reimagine Nigeria’s future through introspection and action. Each sculpture serves as a catalyst for conversation and reflection, inspiring dialogue and fostering a sense of collective responsibility. Muraina’s art transcends boundaries, sparking conversations and inspiring hope for a more equitable and sustainable future. As the exhibition concludes, Muraina Akeem emerges not only as an artist but as a catalyst for change, reminding us of our collective potential to shape a better tomorrow.

Words/ Ireho Aito/ Don’t Keep Your Art in the Finger!/images/Artworks/photographs/ Artist archives/Google