Bruce Onobrakpeya: The vanguard of cultural preservation in 2024
By Mudiare Onobrakpeya
IN 2024, the Harmattan Workshop, now in its 27th edition, emerged as one of the most vibrant and transformative events in the African art calendar. Founded by Professor Bruce Onobrakpeya, the workshop once again turned the tranquil village of Agbarha-Otor in Delta State into a bustling hub of creativity and exchange. This year, it welcomed over a dozen international artists from West Africa, North America, and Europe, making it a true celebration of informal art education and cross-cultural collaboration. Artists shared techniques, explored new mediums, and engaged in critical dialogues that transcended borders, reaffirming the workshop’s reputation as a cornerstone of artistic experimentation and innovation. For Onobrakpeya, this gathering was more than an event—it was a living testament to his vision of art as a catalyst for learning, community, and transformation.
Beyond Agbarha-Otor, Onobrakpeya’s impact rippled across continents. From June 21, 2024, to January 21, 2025, the Smithsonian’s National Museum of African Art in Washington, D.C., is hosting the landmark exhibition ‘Bruce Onobrakpeya: The Mask and the Cross’. This retrospective, featuring 52 works from 1966 to 1978, delved deep into the artist’s ability to fuse Christian iconography with Nigerian, Urhobo traditions. At its heart is the Fourteen Stations of the Cross, a series that reimagined the Passion of Christ with a distinctly African lens, drawing widespread acclaim for its spiritual and cultural resonance.
Back in Nigeria, Onobrakpeya’s towering sculptures greeted visitors at the fourth Lagos Biennial. These monumental works, crafted from auto parts, beads, and bone, served as a symbolic gateway to the exhibition. Their thematic exploration of “Refuge” underscored Onobrakpeya’s commitment to addressing pressing global issues such as ecological justice and communal renewal. These sculptures were not merely artworks but powerful commentaries, reminding audiences of art’s capacity to provoke and inspire change.
In November, his works took centre stage at ART X Lagos, West Africa’s premier art fair. Exhibited by the esteemed Nike Art Gallery, Onobrakpeya’s pieces captivated collectors and critics, blending tradition with contemporary aesthetics in ways that felt both timeless and immediate. His art, deeply rooted in Nigerian culture, continued to bridge generations, ensuring its relevance in a rapidly evolving art world.
Prof. Bruce Onobrakpeya
Even as his works drew admiration on these grand stages, Onobrakpeya’s voice as an advocate resonated strongly. At the Nigerian Economic Summit in Abuja, he delivered a stirring keynote address, proposing that every Nigerian village establish a museum to preserve its heritage. “Our stories are our wealth,” he declared, emphasizing that such institutions are not just cultural repositories but vital for fostering identity, pride, and unity.
Throughout 2024, leading art publications celebrated his contributions, with essays and profiles exploring his innovative techniques and the profound questions his work raises about history, identity, and spirituality. These writings reflect the depth of his influence, not only as an artist but as a thinker and cultural steward.
As the year drew to a close, Onobrakpeya’s legacy as an artist, educator, and advocate shone brighter than ever. Whether through the dynamic energy of the Harmattan Workshop, the solemn reverence of the Smithsonian exhibition, or his unyielding call for cultural preservation, Onobrakpeya continues to prove that art is more than a medium—it is a force for transformation, education, and enduring connection.
* Dr. Onobrakpeya is President of Adumadan Art Consult, Trustee of Bruce Onobrakpeya Foundation
