In a retrospective solo exhibition in Lagos, which he calls his “current autobiography and [his] heartbeat in a troubled land,” Jerry Buhari dredges up nebulous images from the recesses of his memories as he rails against a dysfunctional system.Surely, there has to be some consistency in these paintings’ apparent chaotic medley of forms, which, on account of their muted harmony and deft workmanship, could easily have passed for prints.
A quick rewind to three years ago, just before his 60th birthday. The Ahmadu Bello University, Zaria lecturer, responding to an inner prompting, returned to figurative painting after years, if not decades, of peregrinations in the conceptual wonderland. And speaking of these peregrinations, they have recently morphed into interpolations that leach into his most current works.
So, back to the current solo exhibition — the artist’s first since his 2017 outing in Abuja. Is it any wonder that it seems to seethe with all the hallmarks of a retrospective? From his renewed standpoint on the same old issues, he reiterates the same decades-long jeremiads against Nigeria’s political gaffes in an exhibition that is split into four thematic and aesthetically pleasing tributaries.
That recurring good-time feel of the memories of his growing up years in the rustic Kaduna State community, Akwaya, is incarnated on paper, expressed in mediums such as sand, clay, coffee, and charcoal in forms that suggest their blurring into the mists of time.
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