My creative interests span a variety of genres and disciplines from painting and Photography to writing, interior design and construction. Thematically, I have always been drawn to the ways in which humans can recreate or reimagine the world for the better. The challenges of being human fuel my creative reactions. So I explore themes like equality, transparency, justice, accountability, fair play, corruption, dishonesty, lack of foresight and discrimination in my work. I have strong opinions about a lot of things and I write a lot as well. So my art and literature run side by side almost inseparably. I have never known how to just paint pretty pictures. I guess that is just not my thing.
I have experimented with a variety of media over the years and right now, it feels like I have settled on acrylic paints and pastels on canvas. I am well aware that the genre of painting feels a bit too traditional for some people who want to see something new and different and I respect that. But new is not automatically better and something doesn’t have to be new to be good or relevant. A familiar medium connotes interesting qualities that I value such as durability, trustworthiness and a known entity. Painting is like jazz or instrumental music. It is old school but it never gets old. It never ceases to be relevant. Back when Fela Anikulapo Kuti was alive, he picks up his saxophone and you fall in love. Master musicians like Stevie Wonder, John Legend and Alicia Keys still play the piano and we go nuts. These familiar instruments are behind these old forms of creative expression that continue to fascinate and delight till this very day. Painting is no different.
Also, I find that as I get older, my art has become more about what I have to say. The form is important of course but the content behind it is just as important. That is why every piece I make is accompanied by some bit of writing to give it context and specificity especially considering that visual art has that enigmatic quality of being able to talk about everything and nothing in particular. I pick up the morning papers and there is so much happening in our world every day. Frankly I don’t wake up thinking about what medium I am going to work with. That is the easy part. My message is what drives me. It is always about what issues I am going to respond to.
And while on the subject of medium, I tend to favour tested and trusted mediums these days. I am okay with material experimentation but with the value of art increasing more and more every day and with art becoming a major store of value for investors and collectors, I think that it is only fair that we creative people work with durable mediums. And that is why I continue to favour acrylic on canvas, a tested medium that is guaranteed to stick around and grow in value for as long as you don’t set in on fire.
But even though I work with more traditional mediums, creatively I am still restless. That restlessness is what drove me to literature, architecture, construction and interior design. That is how I pivot and experiment right now. I pivot between disciplines and not mediums per se. Most of all, I want to do my work well. You see, it all comes down to good work. If the work is good, it justifies whatever medium and philosophy that is behind it.
Name: Uche Edochie
Marital Status: Married
Phone: 234-802-311-9033, 234-7035228465
University Degree: 1997 - University Of Nigeria, Nsukka, B.A. (Painting Major)
Working Experience: - Creative Director/CEO, The Edge Studio ltd (1999 till date): My job here entails the creation of art works for exhibitions, theme selection and organization of art exhibitions, curating art works for exhibitions, periodic critical reviews of works produced in the studio for art events, publications and press conferences, creation/supervision of catalogue designs, posters, banners and invites for our studio art events and periodic hosting of art discourses.
Group Exhibitions - select
2009 Working with the Masters, Civic Centre, Victoria Island, Lagos, Nigeria.
2004 Reflex, Sandton Convention and Exhibition Center, Sandton, South Africa.
2004 Rites Sacres, Rites Profanes, Kornhausforun, Bern, Switzerland.
2004 Rendez-vous de l’AFAA, Cite Internationale des Arts, Paris, France.
2004 48 Hours With the Children of the Turtle, Espace Alberica, Paris, France.
2004 18 African Photographers, Contemporary cultural center, Barcelona, Spain.
2003 Rituals: Sacred or Secular, 5th Bamako Photography Biennale, Bamako, Mali.
2002 Jigida, The great Room, Grosvenor House, Park lane, London, Britain.
2000 Art In The Year 2000, Musee Paris, Paris, France. 2000 Take One Woman, Atrium Gallery, London, Britain.
2008 Blue Rider, Afa Gallery, Victoria Island, Lagos, Nigeria.
2005 Inertia versus Hysteria: An Artist’s Resolve, Terra Kulture, Victoria Island, Lagos, Nigeria.
2005 Breathless, Cagna’s Place, Ikoyi, Lagos
2002 Legends and Illusions, Mydrim Gallery, Ikoyi, Lagos, Nigeria.
I999 Soul Stirrings, Didi Museum, Victoria Island, Lagos, Nigeria.
I998 Prologue, Mbari Gallery, Mary land, Lagos, Nigeria.
1998 My Evolution, American Guest Quarters, Ikoyi, Lagos, Nigeria.
2007 Intimate Spaces (with Rom Isichei , Asokoro, Abuja, Nigeria.
2003 Mind Space (with Nkechi Nwosu -Igbo), Cagna’s Place, Ikoyi, Lagos, Nigeria.
2000 Hybrid (With Nkechi Nwosu-Igbo), Galleria Romana, Ikoyi, Lagos, Nigeria.
2018 Half Way Through a Thousand Miles ( with Tolu Aliki ) , Alpa One Tower, Eko Atlantic City, Lagos, Nigeria
Group Exhibitions( select):
2009 Walking with the Masters, Civic Centre, Victoria Island, Lagos, Nigeria
2005 The Rediscovery of Uli, Pendulum Gallery, Lekki, Lagos, Nigeria.
2002 Art Expo 2002, TotalfinaElf Complex, Victoria Island, Lagos7, Nigeria.
2001 Art Expo 2001, Elf village, Port Harcourt, Nigeria.
1998 Woman, Hour Glass Gallery, Ikoyi, Lagos, Nigeria.
1998 Degree Exhibition, Ana Gallery, University Of Nigeria, Nsukka.
1997 The Pulse Of Reason, Faculty Of Arts, University Of Nigeria, Nsukka.
1997 Promoters Of Nigeria Arts 2 (With Obiora Udechukwu, Blaise Gbaden, and Nkechi Nwosu-Igbo), Goethe Institute, Lagos, Nigeria.
1997 Drawings I, Ana Gallery, University Of Nigeria, Nsukka.
1996 The Nude Figure Never Sleeps, Russian Cultural Center, Lagos, Nigeria.
1996 Dance Of The Lyrical Lines, National Museum, Enugu, Nigeria.
1996 Rivulets From Within, Institute Of African Studies Museum, University Of Nigeria, Nsukka.
Works are in private and public collections in Africa, Asia, North America and Europe.
Curator, Reflex, an exhibition of Paintings and Sculptures, Sandton, South Africa
Curator, Half Way Through a Thousand Miles, Alpha One Tower, Eko Atlantic City, Lagos, Nigeria
-Portrait of the President of the Federal Republic of Nigeria, Chief Olusegun Obasanjo.
-Delegate at the Commission for Africa Conference in Dakar, Senegal, November 2004
1. IJEOMA OGUACHUBA, Personal explorations of Edochie, Thisday, October 20, 2002, p.17
2. MCPHILIPS NWACHUKWU, The artist and his multi- forms…a prologue, Sunday Vanguard, October , 2002, p.40.
3. OKECHUKWU UWAEZUOKE, A whiff of Legendary Delusions, The Comet, October 22, 2002, p.35
4. EDOZIE UDEZE, Uche Edochie, his legends and illusions, Sunday Times, October 27, 2002, p. 27.
5. OPEYEMI OSUNKIYESI, In the Land of Illusions, Edochie breaks new grounds, Daily times, Wednesday , October 30, 2002,.p.19.
6. ADEWAKUN AKINNOLA, The Magical World of Uche Edochie, Times Review, Daily Times on Saturday, October 5, 2002. Pp. 12-13
7. IJEOMA OGUACHUBA, In The Face of Installation Art, Thisday, January 28, 2001. p. 43
8. OKECHUKWU UWAZUOKE, Articulating the Precepts of a Hybrid, The Comet, Oct 31, 2000. P35
9. KATE AMAM, Galleria Romana Presents Hybrid Exhibition, Saturday Champion, Oct 21, 2000. P32
10. MAC NWACHUKWU, In Search of Canons: The Art of Uche Edochie ,Vanguard, Oct 19, 2000 p. 26
11. OZOLUA UHAKHEME, Searching for self in Hybrid, The Guardian, October 17, 2000 p. 65
12. KAZEEM ADELEKE, Hybrid of Future Artists, Thisday, vol. 6, No. 2006, October 2000 p.31.
13. MAURICE ARCHIBONG, On The Wings Of Fame, Thisday, October 25,1999 p.32.
14 .JUSTUS NWAKANMA, Symphony of A Prologue, The Source, Lagos, December 6, 1998, p. 35