UNSEEN, YET PRESENT: THE PARADOX OF HIDDEN IDENTITY IN CONTEMPORARY ART WRITTEN BY ROWLAND YOHANNA GOYIT

A Review of Bemi “Incognito” at the Art of Our Time Exhibition.

What happens when an artist deliberately chooses to go unnoticed in an exhibition centred on identity? In a world where visibility is currency and where artists cultivate distinct personas as part of their creative brand, opting for anonymity disrupts conventional narratives of self- expression. This deliberate act of concealment challenges the viewer to engage with the work beyond the artist’s name, shifting focus toward the layers of meaning embedded within the artwork itself.

In the context of the recent exhibition, organized by the Centre for Black and African Arts and Civilization (CBAAC) in collaboration with the National Gallery of Arts (NGA), Nigeria, themed “The Art of Our Time” held from 29th – 31st January 2025 at the Exhibition Pavilion, Abuja, one such piece, a 2025 mixed media on Canvas. 45 by 30 inches painting titled “Incognito” by an emerging contemporary Nigerian artist, Bemi, embodies this paradox of presence and absence. That successfully positioned contemporary African art as a site of dynamic discourse and innovation. By integrating an exhibition with a symposium on the African Art Ecosystem and the Global Art Market, the event bridged creative expression with critical inquiry, offering artists, scholars, and collectors a platform for engagement.

Among the standout works on display was “Incognito” exemplifies the profound layering of identity, perception, and obscurity in modern African visual narratives. The painting resists immediate recognition, demanding a deeper, introspective reading. By obscuring conventional portraiture with spiralling forms, the work raises questions about perception, selfhood, and the limits of visibility. The work calls for an exploration of how art operates within the broader discourse of identity in contemporary Nigerian and examines how such creativity can be positioned for international recognition.

The work “Incognito” is a critical exploration of identity and self-concealment, expressed through a striking and hypnotic interplay of colour, texture, and abstraction. The composition features a central figure whose head is depicted in three overlapping circular forms, each intricately textured with concentric patterns. The dominant hues of blue and black, contrasted with flashes of yellow, green, and red, evoke a sense of introspection, mystery, and fragmentation.

The topmost circular form, rendered in gold with a subtle red stroke, suggests a veiled or masked identity, perhaps alluding to the ways in which individuals navigate visibility in contemporary society. The middle section, dominated by blue, appears to reveal layers of consciousness or multiple facets of the self, hinting at themes of psychological depth and personal evolution. The lower segment, reflecting in a deepened gradient, introduces an element of duality, raising questions about perception versus reality.

Bemi’s technique of blending oil painting with textured concentric motifs that draws from both traditional African symbolism and modern abstraction. The circular formations may recall indigenous African aesthetic practices, such as the Yoruba concept of Ojú-Inú (inner eye or self-awareness), while the rich impasto and expressive strokes suggest contemporary engagement with materiality and texture.

As a key feature the exhibition, “Incognito” resonates deeply with contemporary discussions on identity in postcolonial Africa. In an era where digital visibility, migration, and cultural hybridity shape personal and collective identities, the artwork becomes an allegory for the tension between self-presentation and obscurity. It also aligns with the symposium’s discourse on the African Art Ecosystem, as it exemplifies how Nigerian artists navigate local traditions while engaging with global artistic trends.

There is no doubt that the work under review stands as a compelling visual statement on anonymity, duality, and self-perception within the broader spectrum of Nigerian contemporary art. The exhibition provided an essential space for critical reflection, and the inclusion of such experimental works underscored the vibrancy, complexity, and global relevance of African artistic expression today.

As an institution dedicated to preserving and promoting African artistic heritage, CBAAC serves as an ideal platform to frame Bemi’s work within the historical and contemporary narratives of African identity formation. Traditional African art has long embraced the concept of hidden identity, as seen from Yoruba Gelede masks, which shift identities in performance, to Nsibidi symbolic scripts, where meaning is layered and revealed selectively. Incognito echoes these cultural precedents, making it a valuable case study in how African traditions inform modern abstraction. Her decision to use concentric local raffia mats as the painting surface is deeply symbolic, merging materiality with meaning in multiple ways:

The concentric form of the raffia mat evokes cyclical themes such as life, ancestry, spirituality, and the interconnectedness of past, present, and future. Many African cultures view circular forms as representations of eternity and wholeness, reinforcing ideas of heritage and communal identity.

Raffia mats are commonly used in Nigerian traditional ceremonies, from birth to initiation and burial rites. By incorporating this material, Bemi imbues the artwork with layers of sacred and cultural memory. As an essential item in many Nigerian households, used for seating, sleeping, and social gatherings, the use of raffia mats could suggest themes of everyday life, resilience, and the continuity of traditions in contemporary spaces. This is a deliberate connection to the traditional weaving history of textile arts, from Akwete weaving (Igbo) to Aso Oke (Yoruba) traditions, reinforcing the artist’s engagement with indigenous craftsmanship.

Her artistic engagement with the raffia mat as a canvas requires a unique technical approach. Unlike traditional canvas, raffia is fibrous and absorbent, which affects how pigments interact with the surface. This suggests that Bemi might be using bold, layered, or thick applications of paint to counterbalance the uneven absorption of the material. The concentric design of the raffia mat naturally influences composition, and it is obvious that she aligns the painting with the natural curves of the mat, or does the artwork disrupt this flow? If the artwork follows the concentric rings, it could emphasize movement, rhythm, and harmony with natural forms.

Raffia’s texture allows for potential incorporations of other materials (e.g., fabric, beads, or carved elements), which could further embed traditional artistic methodologies into a contemporary narrative. The mixed media work sits at the crossroads of traditional craft and contemporary Nigerian art, engaging with multiple artistic legacies such as the Ekpe and Ekpo masks of the Efik and Ibibio, which incorporate raffia for movement and depth. The Yoruba and Igbo divination practices also use mats in ritual spaces, linking the material to spiritual engagements. The Mbari Mbayo and Osogbo movements encouraged artists to experiment with unconventional surfaces, making her work a modern continuation of these traditions.

The use of natural, locally sourced materials aligns with the eco-conscious art movement and the global shift towards sustainable art practices. It also resonates with the works of Nigerian artists like Nnenna Okore and Peju Alatise, who explore indigenous materials to challenge colonial artistic hierarchies.

By incorporating concentric raffia mats, used traditionally as a covering for containers, especially in Northern Nigeria, Bemi redefines the artistic surface, transforming a familiar, utilitarian object into a conceptual and visual statement. The work bridges the past and present, the personal and communal, and the tangible and spiritual. It is not just a painting but an artifact of living culture, inviting viewers to reconsider how traditional materials can be reimagined within contemporary Nigerian art. No doubt that her work would be a compelling addition to events like Dak’Art Biennale in Senegal, which highlights experimental African contemporary art. Bemi would be a great addition to residencies, institutions and fellowships around the world that creates avenues for practice and further exposure.

Reviewed by: Rowland Yohanna Goyit

Rowland Yohanna Goyit is an art historian, curator, teacher and cultural steward dedicated to amplifying the voices of underrepresented artists. He is interest in neurodiversity research, visual culture and art criticism.

His curatorial work creates immersive experiences, challenging traditional perspectives, while stimulating meaningful dialogues that explore the intersection of art, identity, and social perceptions, often featuring works by artists from diverse backgrounds and experiences.