SHREDS IN SPACE

SHREDS IN SPACE
This work consists of shredded water bottle container weaved together with a synthetic twine and stretched on a house like metal structure, measuring 720cm x 260cm x 260cm in a space. The original idea behind this work is to create a structure that will house my exhibited works, thereby saving money and providing me with a free exhibition space that will give people the opportunity to view my works from an advantageous perspective and position. To further elaborate on this, the purpose of shredding office paper is to protect or destroy information for security reasons whether personal or corporate we experience a feeling of comfort in knowing that the shredded information is safe. This comfort owes its place to the apparent belief that the destroyed information would become irretrievable, especially to those who do not already know, even when it is reassembled by one means or the other. Often the method of discard is of no consequence to the disposer especially. As a result these shreds easily find space lying and littering our environments. Ultimately I am engaged in exploring and addressing the nuances of this spatial conflict, this war of space between us and our discarded materials.

SHREDDED TRAIL OF UNCERTAINTIES

Alozie Onyirioha

beer can, fruit drink can, can coke,

360cmx120cmx14cm

2009

SHREDDED TRAIL OF UNCERTAINTIES

SHREDDED TRAIL OF UNCERTAINTIES
This work consists of an assemblage of shredded beer cans like fruit drinks, canned coke, etc of different colures that I cut in a flower like shape, measuring 360cm x 120cm x 14cm in variable dimensions arranged within the exhibition space.
In this work I tried to examine the factors that define the concept of the abuse of space and the resultant conflicts that are triggered between the consumers of these products and the nonchalantly discarded cans or packages of these products after these consumers must have exhausted their contents. This struggle for the occupation of space occurs when these discarded items litter the environment and threaten the aesthetic state of the environment. I also encountered, in the process of creating this assemblage, the problem of uncertainty in the sense that the final outlook of the work was not preconceived. This trail of uncertainty was also evident while I was gathering these ordinary discarded tin containers. The nature of the found items sort of dictated the creative process, so that the continual interaction between medium and I was sustained. It was a deliberate approach; one which I hoped will be contagious, in the sense that the viewer of these works will be invited into that interaction.

INFLATION-WRACKED CITIZEN

ALOZIE ONYIRIOHA

INFLATION-WRACKED CITIZEN

2009

120CM X 60CM

WOOD PANEL

AUDIENCE

Alozie Chibuike, Onyirioha

Audience

2009

120cm x 60cm

wood panel

IMPRESSIONS OF DEMOCRATIC CHOICE

Alozie Chibuike Onyirioha

Impressions of democratic choice

120cm x 60cm

2009

wood panels

feeling, fears and hopes

Alozie Chibuike, Onyirioha.

Feeling, Fears and Hopes

2009

120cm x 65cm

wood panels

PROPOSAL,2009. 90cmx120cm,wood panel

PROPOSAL,WOOD PANEL, 90cmx120cm,2009

CITY CALLERS, fiber glass, 90cmx150cm,2009

CITY CALLERS
GLASS, 90CMX150CM,2009

ITS LIKE A RALLY 2

2

SHOULD,WOULD

HIKE OF INDULGENCE

HIKE OF INDULGENCE

HIKE OF INDULGENCE

HIKE OF INDULGENCE

HIKE OF INDULGENCE

Hike of indulgences, 2008, clay and sweet and biscuit wrappers, 1600cm x 2800cm x 8cm (in variable dimensions)
In this litter of assemblages in variable dimensions, sweet wrappers are depressed into lumps of clay, in a way that allows part of their individual crumpled ends to stick out of them. Every lump has a unique type of pressure that has been exerted in its squeeze, as depicted in the different variations in the depth of the depressions of the fingerprints involved in each grip.
The sweet wrappers used in this work actually represent the fleeting pleasures of life and the clay grips on them demonstrate emphatically the varied degrees of importance every individual, irrespective of their race, colour, vocation, culture etc places on them. It is an accepted noteworthy observation that man’s wants are boundless but it is that endless pursuit of these indulgences that most times illustrate our basic definitions of living.

AJU

AJU

AJU

Aju,

AJU, 2008, CLAY and CLOTH, 20cm x 184cm x 41cm.
The work Aju (head pad) is made up of several pieces of clothes soaked into clay slip and folded in a pattern that bears the semblance of a head pad, which people normally use in carrying heavy loads on their head. The work is assembled in a horizontal line on a pedestal. The assemblage measures at about 20cm x 184cm x 41cm in variable dimensions.
There is an inextricable fusion of form and texture, a merging of postmodernism and classical realism entailed in this work in that the draperies which characterize most of the head pads deploy a shrewd sense of conceptual flow and harmony in its sculptural composition that is reminiscent of the idealism of the renaissance period. Literarily, the concept Aju suggests thickness or piles of cloth, and the artist’s idea of soaking the cloth in clay slip is to infuse the contextual feel of heaviness and thickness in the concept in order to establish balance, strength and stability in the overall theme of the installation.