SHREDDINGS IN SPACE
Space as a metaphor in the world of art, especially
from the post modern perspective, has indeed been
an interesting territory for many artists in these
recent times. Concepts ranging from the modest to
the extremely radical and themes touching many
areas from environmental to societal issues have
been extracted from it and consequently explored.
Many modern sculptors sometimes wield rusted
automobile parts together; while others make
constructions with installations of foam and bottles
and other found items, tackling every conceivable
theme from the scatological to the sexual, let alone
the sacred and religious. Since the 1960s, much of
sculpture has looked to conceptual and physical process, as one of the most important aspect of creativity.
The basic concern of Process art for the artist could be observed in the Postmodernist's shift toward
themes of perception. Indeed Kinetic and Video sculpture have been one area that have been explored by
many sculptors, since recent advancements in technological have altered our general perceptions of time
and aesthetics. This is because it gives them the freedom to explore themes of duration and subjectivity.
In as much as this has initiated enormous changes in technique and theme, it does not, however, reduce
the underlying effective ability of sculpture to reach out into the space around it and define both the space
and the onlooker.
This is why Alozie Onyirioha’s unique
perspective on space is of undeniable relevance in
the twenty-first century evolution of post modern
art. His installations are unique in the sense that
they redefine space; question our traditional
concept of it with their unorthodox reinvention
and interpretation of the normal everyday
creations, experiences and themes associated with
it. The artist has, with this unusual approach,
surprisingly created a connection, no, a
relationship between space and the observer. I
believe the artist has succeeded in discovering and
developing a dynamic, though somewhat abrasive, visual language that plays a dual role of eccentric
aestheticism as well as addressing environmental issues like recycling and the dangers of littering the
environment. He has employed in the creation of this installation, found objects, objects that we are
familiar with; powdered milk cans, seared bear cans, curled plastic strips and the like, all of different
colours etc. Drawing from a boundless contemporary visual landscape, Alozie Onyirioha has, in his
installation, creatively transformed these items into beautiful structures and art forms that command
attention and pioneer a new, beautiful, if utterly quixotic, form of communication. Indeed with his
installations in, “Shreds in Space”, he has rediscovered the nuances of space as a metaphor, with the
potency of providing fresh insights into the virgin uncharted terrain in our intrinsic and extrinsic spatial
world that are yet to be creatively explored. Alozie, 35, although an indigene of Imo State, grew up in
Nsukka, where he was largely influenced by the many art students of the Nsukka art school of the
University of Nigeria, Nsukka. He eventually gained admission and graduated in the same university
where he received both his BA and MFA in Fine and Applied Arts, where he majored in sculpture in
2000 and 2008 respectively. Alozie Onyirioha has participated in many group local and international art
exhibitions and workshops. At present he teaches Art in a Secondary school in Abuja. -
KUROTAMUNONYE IBANIBO WILLIAM-WEST B.A (NIG.)
westoryiii@yahoo.com