Ozioma Onuzulike, the ceramic artist, has been on a roll this year, making waves in local and international exhibitions. With solo exhibitions in New York and Paris, and participation in art fairs in various cities, it’s safe to say he’s been keeping busy. But he’s not doing it alone; he’s got a team of studio assistants, including family members, to help with the laborious studio processes.
The most recent solo exhibition, titled “When Hearts Beat with Lofty Dreams,” opened on November 9 at the Afikaris Gallery in Paris and will run until December 9. This exhibition focuses on Onuzulike’s iconic series: the Palm Kernel Shell Beads Project and Seed Yams of Our Land. The gallery’s official press statement describes the exhibition as a showcase of ceramic tapestries, site-specific installations, and clay sculptures that examine the mechanisms of social ascension through the presentation of objects of pomp and prestige.
Onuzulike draws inspiration from upscale apparel and fabrics, creating site-specific installations and ceramic wall pieces from the Palm Kernel Shell Beads series. The exhibition also features “Tendrils” I and II, which offer a fascinating aesthetic tangle and support the notion of upending the existing order.
The artist uses clothing as a symbol of membership and social identity, creating imperial blouses, flowing gowns called “babanriga,” and royal shirts out of a fusion of ceramic and glass beads. This challenges the notion of egalitarianism and emphasizes the resilience of the human spirit.
The Palm Kernel Shell Beads series, which simulates palm kernels, carries a motivational message about aspiring to greatness, despite humble beginnings. Onuzulike’s work also reflects his opinion on Africa’s economic exploitation, using the symbolism of natural resources to convey his message.
In the Seed Yams of Our Land series, Onuzulike extends the metaphor of colonial exploitation, drawing comparisons between the treatment of African slaves and the current plight of illegal migrants. The series metaphorically alludes to Africa’s youth population as its yam seedlings, symbolizing hopes for sustenance and wealth.
Through his art, Onuzulike mines universally relevant nuggets from symbols rooted in Nigerian and African society, shedding light on important social and economic issues.