INTERVIEW WITH MATTHEW EGUAVOEN

THANK YOU FOR AGREEING TO DISCUSS YOUR SECOND SOLO EXHIBITION AT AFIKARIS GALLERY TITLED UKHURHĘ RUNNING UNTIL MAY 4TH. COULD YOU SHARE WITH US SOME INSIGHTS INTO THE EXHIBITION AND WHAT INSPIRED ITS CREATION?

 

Ukhurhę embodies the connection between the spiritual realm and the physical world. The term comes from Benin, Edo State (where I am from) and refers to a carved staff. In our tradition, when the head of a family passes away, it is the duty of the eldest son to craft this staff. It serves as a mean for communication between the living and the ancestors, with the father acting as the mediator. I draw parallels between this tradition and modern therapy sessions, where people share their struggles and challenges. Just as in the tradition, these sessions provide a platform for liberating conversations. In our culture, we gather with elders at the family shrine, engaging in dialogue with our ancestors, unburdening ourselves from life's challenges. And emerging from these sessions, there's a sense of lightness, as if the weight of our burdens has been lifted.

THE SHRINE YOU ARE REFERRING TO IS AN INSTALLATION WITHIN THE EXHIBITION, ENTITLED “MY FAMILY THERAPIST”. COULD YOU DESCRIBE IT AND TELL US MORE ABOUT ITS SIGNIFICANCE? 

 

Certainly. "My Family Therapist" seeks to recreate the atmosphere of my family's shrine. It features offerings of food, fruits, and sometimes money, arranged on plates as a sign of reverence to the gods before we engage in dialogue with our ancestors. This installation is like a visual representation of the sacred space where we honor our lineage and engage in meaningful conversations with our familial spirits.

YOUR USE OF DOUBLE PORTRAITS IN THESE PAINTINGS SEEMS TO SUGGEST A CONNECTION WITH ANCESTORS. COULD YOU ELABORATE ON HOW YOU DEPICT THIS RELATIONSHIP BETWEEN THE LIVING AND THE SPIRITS, THE PHYSICAL AND THE SPIRITUAL, AND ITS SIGNIFICANCE TO YOU?

 

In many of the portraits in this exhibition, you'll notice two subjects depicted. However, in some cases, one subject's head is not fully in the frame which symbolizes a lost loved one, whether it be a friend or family member. Across Africa, and indeed globally, people often maintain deep personal connections with those who have passed away. With this artistic choice, I aim to highlight the connection  we have with the living and with our departed loved ones. 

Essentially, I'm exploring the intersection of the physical and spiritual realms, particularly concerning the sharing of challenges and burdens, including experiences with depression. For some people, it's more comfortable to confide in a deceased relative—be it a father, mother, sibling, or friend—while others prefer to confide in someone physically present. I seek to highlight this contrast by creating artworks reflecting both experiences.

YOUR WORK OFTEN DELVE INTO SOCIETAL, POLITICAL, AND ECONOMIC THEMES, SHEDDING LIGHT ON INJUSTICES AND THEIR IMPACT ON THE HUMAN CONDITION. WITH YOUR LATEST BODY OF WORK, YOU'VE CHOSEN TO EXPLORE THE TOPIC OF MENTAL HEALTH AND THE IMPORTANCE OF HAVING A SUPPORTIVE LISTENING SYSTEM TO COPE WITH DEPRESSION. COULD YOU SHARE WHY YOU WANTED TO ADDRESS THIS PARTICULAR ISSUE?

 

My motivation to delve into this topic comes from a personal experience with depression. I've observed that this issue concerns many people in Africa, and I've particularly noticed it in Lagos, because the city is busy and filled with hustle and bustle. Yet, there's often a reluctance to openly discuss these issues, leading many to suffer in silence. I've encountered this firsthand, navigating through my own struggles without reaching out for support.

This silence surrounding mental health is prevalent not only in Lagos but across Nigeria and the continent as a whole. Seeking therapy, for instance, is often stigmatized or viewed with skepticism. Through my art, I aim to break down these barriers and spark meaningful conversations about mental health. It's a way for me to advocate for openness and encourage people to seek the support they need.

THE PORTRAYAL OF FACIAL EXPRESSIONS IN YOUR PAINTINGS SEEMS TO CONVEY A VERY STRONG MESSAGE ABOUT THE NIGERIAN SOCIETY. COULD YOU ELABORATE MORE ON HOW YOU USE THESE VISUAL ELEMENTS TO REFLECT SOCIAL ISSUES, AND THE MESSAGE YOU WANT TO SHARE? 

In depicting depression and mental health in my current body of work, you'll notice that the subjects' expressions carry a weight of stress and strain. This portrayal reflects the reality for many people residing in Lagos, where the relentless pace of life and the demands of everyday hustle take their toll. Drawing from my own experiences and observations, I've sought to capture this common demeanor—one that resonates deeply with the struggles and challenges faced by individuals in the city.

By infusing these expressions into my paintings, I aim to create a visual impact that prompts viewers to confront the harsh realities of life in Lagos. The worn expressions serve as a reminder of the burdens people carry and the toll it takes on their mental well-being. Through this visual storytelling, I hope to nurture a greater understanding and empathy towards the issue of mental health, encouraging meaningful dialogue and awareness within our community.

YOUR EXHIBITION NOTABLY SHEDS LIGHT ON THE STRUGGLES FACED BY THE YOUNGER GENERATION, WHO OFTEN LACK THE MEANS OR OPPORTUNITIES TO EXPRESS THEIR THOUGHTS OPENLY. WITH YOUR ART, DO YOU AIM TO SPARK AWARENESS AND INITIATE DIALOGUE ON THIS ISSUE? FURTHERMORE, DO YOU BELIEVE ARTISTS AND THEIR WORKS PLAY A SIGNIFICANT ROLE IN RESHAPING SOCIETAL NARRATIVES?

 

Absolutely, sparking debate and encouraging conversations is precisely why I created this body of work. As the saying goes, "a problem shared is a problem solved." I think it was effective because many people who came for the opening of my show and engaged in discussions about depression and mental health. Initially, I had viewed these issues as primarily African or Nigerian concerns. However, since arriving in Paris, I've encountered numerous people who shared similar struggles with mental health, even in Europe.

Through my art, I aim to give voice to these often overlooked challenges and provide a platform for discussion. I believe artists have a crucial role to play in shaping societal perceptions and addressing pressing issues. Art has a unique ability to evoke emotions, provoke thought, and challenge norms. When used properly, it can serve as a powerful tool for change and offer solutions to the countless obstacles we face in the world today.

YOUR PORTRAITS ARE CHARACTERIZED BY STOIC FIGURES WITH A PERSISTENT AND INTENSELY FOCUSED GAZE, ESTABLISHING A SENSE OF INTIMACY AND CLOSENESS WITH THE VIEWER. COULD YOU ELABORATE ON THE IMPORTANCE OF THIS APPROACH WITHIN YOUR ARTWORK?

 

I strongly believe in the saying that "the eyes are the window to the soul." It's a fundamental aspect of my work. By portraying characters with piercing gazes, I aim to draw viewers into the essence of the artwork—to invite them to contemplate the experiences and narratives depicted within. The eyes serve as a conduit, allowing viewers to connect with the subjects on a deeper level, to empathize with their stories, and to envision the emotions they may be experiencing.

This approach enables me to effectively communicate the stories, experiences, and issues I seek to address through my artwork. It's not merely about creating aesthetically pleasing pieces; rather, it's about fostering a meaningful connection with the viewer and evoking thought and introspection. Through the power of the gaze, I strive to create artwork that resonates with viewers on a visceral and emotional level.

YOUR ARTWORKS' TITLES OFTEN CARRY DEEPLY PERSONAL NARRATIVES, HIGHLIGHTING THE COMPLEXITY OF INNER CONFLICTS. EXAMPLES SUCH AS THE SILENCE AFTER THE CONVERSATION, MY MIND STILL WONDERS, LIVING THROUGH MY OWN THOUGHTS, OR SELF-REFLECTION IN THE RESTROOM EVOKE MOMENTS OF INTROSPECTION. ARE THESE TITLES MEANT TO ENCOURAGE VIEWERS TO DELVE INWARD AND CONTEMPLATE SOLUTIONS TO THEIR OWN PERSONAL CHALLENGES?

 

Indeed, these titles serve as an invitation for viewers to embark on their own introspective journeys and interpret the artwork through their unique perspectives. By providing these evocative titles, I aim to offer viewers a glimpse into the essence of each piece and encourage them to reflect on their own experiences and emotions. The titles act as signposts, guiding viewers toward a deeper understanding of the themes explored in the exhibition.

Moreover, these titles allow viewers to form their own connections with the artwork, enabling them to derive personal meaning and significance. Rather than solely relying on my explanation, viewers are empowered to engage with the artwork on a more intimate level, drawing upon their own interpretations and experiences. Ultimately, my intention is to create a space for contemplation and self-discovery, where viewers can explore their inner worlds and find resonance within the artwork.

THE EXHIBITION BEGINS WITH A DIPTYCH TITLED EGBÉ OKPÁ WHICH TRANSLATES TO "ONE FAMILY" IN THE BENIN LANGUAGE, ALSO THE TITLE OF YOUR PREVIOUS EXHIBITION AT THE GALLERY TWO YEARS AGO. THAT EXHIBITION WAS NOTABLY INTIMATE, DELVING INTO YOUR EMOTIONS AND PERSONAL EXPERIENCES. COULD YOU ELABORATE ON THE SIGNIFICANCE OF THIS PARTICULAR PIECE? IS IT A CONTINUATION OF YOUR PREVIOUS WORK AND EXHIBITION?

 

As you said, my previous solo exhibition was a deeply personal exploration shared among family. When it comes to discussing one's challenges, it's essential to have an intimate connection—it's not something you can easily share with just anyone. It requires someone who truly understands and empathizes with you on a personal level. These works aim to evoke that sense of connection. They serve as a reminder of the importance of finding individuals who connect with you, understand you, believe in you, and are willing to listen to you.

Starting this body of work with the diptych Egbé Okpá was deliberate. It signifies the necessity of familial support when navigating deep and personal thoughts. After all, personal conversations are typically reserved for those we trust and feel a deep connection with; we wouldn't typically share such intimate details with strangers.

COULD YOU PROVIDE INSIGHTS INTO YOUR ARTISTIC PROCESS, PARTICULARLY YOUR PRACTICE OF STAGING LOVED ONES, FRIENDS, AND SOMETIMES MODELS TO CREATE YOUR ARTWORKS?

 

In my artistic practice, I try as much as possible to gather friends and occasionally models to capture the specific emotions I aim to convey in my paintings. I photograph them, using the images as references for my artwork. This approach allows me to establish a personal connection with the subjects featured in my pieces.

By involving loved ones and friends in the creation process, I infuse a sense of intimacy and authenticity into my work. It enables me to imbue each piece with genuine emotion and depth, as I draw upon personal connections and shared experiences. Ultimately, this collaborative approach not only facilitates the artistic process but also enhances the resonance and impact of the final artworks.

HOW DO YOU THINK ART CAN ACT AS A PLATFORM FOR INITIATING DISCUSSIONS ABOUT MENTAL HEALTH AND CONFRONTING SOCIETAL TABOOS AND STEREOTYPES ASSOCIATED WITH THE SUBJECT?

 

I firmly believe that art holds significant potential as a platform for addressing such topics. Many artists have leveraged their works to initiate global conversations, underscoring the importance of art as a voice—one that can be particularly powerful when other avenues are limited. Personally, I've consistently utilized art to spark discussions, raise awareness about issues I encounter daily, and tackle subjects close to my heart. It's crucial because art shouldn't merely exist for its own sake; it should strive to make a meaningful impact and instigate positive change in the world.

DO YOU THINK EXHIBITING THIS BODY OF WORK IN NIGERIA, WHERE COMMUNICATION ON THIS TOPIC IS LACKING AS YOU'VE MENTIONED, COULD BE IMPACTFUL? DO YOU BELIEVE IT HAS THE POTENTIAL TO SPARK DISCUSSION OR INITIATE A DIALOGUE?

 

Absolutely. I believe the significance of showcasing these works transcends geographical boundaries. Whether exhibited in Nigeria, Europe, or America, the message remains relevant. It would certainly hold significance for the exhibition to take place in Nigeria and engage in dialogue within that context. However, I believe that social media has effectively served this purpose. When the artwork is shared online, it reaches a wide audience, especially since the majority of my followers are Nigerian. This allows them to view the works and understand the message I aim to convey.

TALKING ABOUT A MESSAGE TO CONVEY, WHAT GENERAL THOUGHT YOU WOULD LIKE TO SHARE TO CLOSE THIS INTERVIEW?

 

I simply want to express my gratitude for the positive reception of the artwork. Witnessing the impact of initiating these discussions, even just from the exhibition's opening, has been immensely rewarding. It highlights the importance of addressing the topic of mental health. Creating works about this difficult topic is key, it is the starting point and the fuel for it to go a long way to help more people to have this conversation and not shy away from it.