Rug art is relatively new in Nigeria. But Nigerian artists are making a statement as their works are creating a new art form. Buy now, says FUNKE OSAE-BROWN.

The feel on his feet is soft, succulent and smooth. He turns around so as to have that soothing comfort again and again. This time, he takes his time, taking measured steps.

Bankole has just acquired a centre rug for his living room. He had been on the hunt for a Persian rug with a rare design until his friend told him about his new find. Handmade centre rugs designed with some of the paintings of famous contemporary African visual artists. Bankole is excited about the customised rug with the painting of Bruce Onobrakpeya carefully placed on it, which makes it look like the original work itself.

There is something new happening in the world of rugs. Rugs are no longer the typical centre rug with Persian design on it. Now, handmade rug manufacturers are now taking into cognisance the beauty of African art. They are now giving a new dimension to the interpretation of Nigerian art by manufacturing rugs with the works of artists like Bruce Onobrakpeya, Tola Wewe, Kolade Oshinowo, and Nike Okundaye, used as designs. It is an art expression of the emotion of the ideas of the painter and the rug weaver. It is a weave of both technical skill and an artistic view of the whole ensemble resulting in rare statement pieces of what has often been considered an art.

Rug artistry dates back to 2, 500 years ago with the Persian carpet, a culmination of artistic magnificence. The Iranians were among the pioneer carpet weavers of the ancient civilisations, having achieved an excellent degree of perfection through centuries of creativity and ingenuity. The skill of carpet weaving was usually handed down by fathers to their sons, who built upon those skills and in turn handed them down to their offspring as a closely guarded family secret. To trace the history of Persian carpet is to follow a path of cultural growth of one of the greatest civilisations the world has ever seen.

In recent times, more cultures are embracing the concept of rug art by making the works of their artists more prominent as rug designs. In Nigeria, Quintessence Gallery Lagos hosted the first exhibition on rug art in September 2012, named ‘Africa on the Floor.’ It was organised by the Swedish art gallery Modernafricanart, formed as a platform to give Swedish artists a new voice and medium.

Landes Anjous-Zygmunt, a Swedish art curator and owner, Africa on the Floor, pioneered the idea of using works by Nigerian artists as designs on rugs. She says setting up a gallery in 2006, on rug art is her response to the difficulty she encountered when trying to get a job in Sweden after moving there with her husband.

She says rug making is an ancient tradition, which in many cultures is passed down from generation to generation. Often, people think rug art is only part of certain cultures that Africa is not part of. In spite of this belief, African rug art has become popular in recent times. The vibrant colour of the art is only one of the many reasons people love this art.

Anjous-Zygmunt explains that Africa has many themes and aspects that define it, which also influences the rug designs that can be changed and moulded to what the artist wants. This can be the colours of the threads used for the patterns that are woven into the carpet.

“African art, like all art, has certain themes which influence much of it,” she explains. “Knowing what these themes are and the ways they influence art can help consumers understand what the artist is trying to say. There are five main themes which have been identified in African art. These five themes are the human figure, abstraction of the visual, sculpture, performance art and nonlinear scaling. Many of these themes can be traced back in centuries within African art. In particular the human figure and sculpture can be traced back to the earliest of African art.”

There is an exclusive range of rugs made by Anjous-Zygmunt with works of artists. These rugs are made with the finest quality wool from the Himalayas and master hand-knotted by artisans in the 2000 age old Tibetan tradition.

Anjous-Zygmunt says the works of the renowned Nigerian artists such as Bruce Onobrakpeya, Muraina Oyelami, Nike Davies Okundaye, Sam Ovraiti, Ehi Obinyan, and Tola Wewe, are recreated in an innovative, yet ancient form by Tibetan, Indian and Afghan artists. “Each rug has been painstakingly hand-made over the process of several months,” she explains, “and having made an arduous journey from the Himalayas to Europe and finally to Lagos, as an exhibition in 2012. We are pleased to present these rugs, which indeed qualify as rugs for life, because with their extraordinary texture and visual richness, they are not just aesthetic pieces meant for display but they can be used, appreciated and passed on from generation to generation.”

For lovers of Nigerian art, art rug is a return of African art to the context of everyday function. The rug collection is a celebration of traditional artists the world over and the encouragement of the breaking down of boundaries as well as the creation of wholly new categories. “This collaboration brings together three very different continents; Asian craftsmanship meets vibrant African design in Europe. This collection celebrates the past even while refusing to be bound to old forms,” she says.

Avid art collectors like Rasheed Gbadamosi, chairman, Ragolis Nigeria Limited, believe rug art is a good way of adapting works by Nigerian artist so long the customers will buy them. In addition, he believes it is a way to showcase the works of some of the best artists in Nigeria and across the continent. It is also a way to display a variety of styles from up-and-coming, established and master artists.

The aesthetics and the painstaking way the artist has captured his experience on canvas is one of the attractions for Gbadamosi. “I just can’t decipher it,” he explains with glint in his eyes, “the aesthetics must have been an impulse initially and then I look for other qualities, the use of light and shade, texture and colours. I ask myself if I will still be pleased with the painting in 10, 20 years to come, and sometimes I buy out of sympathy for up-and-coming artists. It should be the same for rug art. There is also rationality, economic preferences, an alternative use of money. It’s a kind of fulfilment you cannot capture it in words.”

As with art, the designs on the rug come in different medium. They come in form of paintings, printmaking, textile making and other media. All these are well represented by contemporary Nigerian artists. Throughout the country, the artists have created artworks in various media that underscore the dynamic quality of Nigeria’s visual traditions. It is the medium and creativity of the artist’s work that inform which work is better on the rug.

“Their works highlight individual creativity, address global and local art trends and innovatively transform artistic traditions into modern idioms. The African contemporary artist often ingeniously combines formal techniques and materials with pre-existing traditions,” adds Anjous-Zygmunt.

Bruce Onobrakpeya works are well known for their diversity. Hence, it is not a surprise for collectors of his works that his works have found a new medium in rug art. He is an artist who has worked with several mediums. He experiments and learns from other artists, including his students. These influences are evident in numerous ways, from the materials he chooses to use to the way he presents the work. Therefore, he has been classified as a printmaker, painter and sculptor.

“You are often blown away by his new works,” says Sandra Obiago Mbanefo, who once curated Onobrakepeya’s solo exhibition. “Learning about Onobrakpeya’s works is learning about our culture. His works are steeped in what we are as a nation. He has created and developed new

techniques he will be remembered for. This body of work is stories and experiences from his childhood, which he has interpreted into different forms of art including art rug,” according to Mbanefo.

While explaining further on the place of African art, Anjous-Zygmunt says Nigerian art with the creation of rug art can no longer be dismissed when discussing world art. “African art is in fact one of the most diverse categories,” explains Anjous-Zygmunt, saying “it holds an important place in the contemporary art world. While it may seem relatively simple as art which comes from Africa, the types and media used encompass just about everything.”

Art critics argue that rug art is capable of taking collectors on a journey through the histories of traditional African art and Eastern rug-making, while brilliantly showcasing how the boundaries between art, craft and design simply do not exist in these contexts.