Marina, Lagos, on a Wet Day – One of busiest streets in the CBD of Ìsàlẹ̀ Èkó with significant human and vehicular traffic at any time of day. It also has some of the tallest buildings in the country and the Lagos lagoon not too far off. The dreary, wet weather in this painting is almost palpable.
Slum Neighbourhood and Yellow Buses– It is a pot-pourri of the earliest settlers (Aworis) as well as slave returnees from Brazil (Agudas) and Sierra Leone (Saros) who have lived in Ìsàlẹ̀ Èkó for centuries. Over time, these settlements have become more and more congested with tenement houses springing up in various neighbourhoods to handle high demand for space. Sometimes these prosaic blocks are barely an armlength apart- a touching distance from one another. Bustling with activity, Ìsàlẹ̀ Èkó was the setting for the film Gangs of Lagos and for the opening scene of Captain America: Civil War, the blandness and sombreness of these slums are cleverly captured by Ankeli in this painting, with the only spurts of colour coming from buses and clothes hanging over the streets.
Èkó Winds Down at Dusk– After a hectic day of commercial activities, of shouting, cursing, laughing, hustling… the Island winds down. Taxis are parked, traders and workers retire- not to sleep, no, but to relax and have fun at drinking parlours, match-viewing centres, Campos Square and at owambes. We see in the distant background, on the left, standing in hazy twilight, the ghostly twin towers of old Ijora Power Station. Like the defunct plant, the mood Ankeli creates with this picture is one of graveyard silence. The day’s work is done.
The Grind Never Stops– For the hawkers, walkers, beggars, job applicants, speeding motorists, KAI officials, area boys, bankers… no, it never does.
Market Stands and Architecture– One of the inner streets of old Lagos is seen here: a trader and customer haggle at a market stand as vehicles drive by, nobody spares a glance at the fine piece of 19th century Brazilian architecture across the street. Just part of the tapestry. Lagos Island is a mishmash of centuries of architectural achievements and interesting backstories all standing side by side. Each old street is strewn with litter, market ware and rich history.
Ìsàlẹ̀ Èkó for Show? Ankeli presents the harsh slum reality of Èkó residents in the foreground and the contrasting towering heights of commerce in the faint distance. Chaos. Order. Squalor. Wealth. The sheer irony of the situation is stinging. One cannot but wonder whether social consciousness was part of Ankeli’s motivation for this painting or merely capturing reality with its lush collage of colours and character.
Èkó! Carry go! Auto-rickshaws a.k.a. Keke Maruwa are the daredevils of the Island street, both a blessing and a bloody menace at the same time- depending on whether you’re trekking or driving!
No Hanging! Carry go! And here’s their fellow yellow partner in crime!
Ankeli masterfully takes us on a tour of Lagos Island, giving us a true sense of the intangible with his colour selections, ensuring the desired reaction with every painting. The medium used is a delicate one as an artist has to be especially mindful of oversaturation while trying to lay emphasis on certain areas of his work. Quite tricky! He manages this challenge commendably in this online exhibition and leaves us asking for an encore.
Some of Ankeli’s other works will be featured in this section. Look out for other artists soon!
PLEASE NOTE: all artworks featured in this section are strictly copyright of the artist.
Christopher Ankeli
Christopher Ankeli was born in Kaduna and graduated from Kano State Polytechnic with a Higher National Diploma in the fine art of Painting. He spent quite a lot of his years of practice experimenting and exploring the major mediums of painting, with stints at tutoring but has predilection for watercolour painting. He has participated in several group exhibitions within and outside Nigeria and his works adorn many homes. He currently works and resides in Lagos as a full time studio artist.