Enotie Ogbèbor Interrogates Migration Issues in ‘Perilous Journeys’

Yinka Olatunbosun

The British Museum is the destination for collectors and critics in search of the latest offerings by Enotie Ogbebor, a renowned artist. This highly anticipated art exhibition, titled “Perilous Journeys: Reflections on Migration,” kicked off on July 27 and is expected to run till September 24.

Inspired by the complexities and challenges faced by migrants across the world, Ogbebor’s collection delves deep into the emotional and physical landscapes of their perilous journeys. With a mastery of techniques drawn from Benin art tradition, the artist offers a poignant and thought-provoking exploration of migration, its causes and consequences.

The British Museum, renowned for its commitment to showcasing art that sparks conversations and creates awareness, is honored to host this groundbreaking exhibition in the prestigious Room 3, providing a captivating environment for visitors to engage with the artwork.

‘Perilous journey’ helps each viewer to navigate a visual expedition, unraveling the multifaceted narratives of migrants worldwide. The collection intertwines themes of hope, resilience, loss, and the human spirit’s indomitable strength. Each artwork encapsulates a unique story, offering a glimpse into the personal experiences of those who have undertaken arduous journeys in search of safety, freedom, and a better life. Far from being just an expository piece, the works serve as the artist’s call on concerned authorities to stem the tide of frustration that leads to illegal migration.

Indeed, this global premiere showcased artist’s ability to blend aesthetics with social consciousness that had been a sub-culture in communities where mass migration is rife.

According to the 2023 Global Slavery Index report, Nigeria ranked 38 out of 160 countries with the highest number of slaves- 1.6million. With focus on Edo State known as a hotbed of human trafficking, Ogbebor presented a painting and a sculpture in brass using the ancient lost wax method of the Benin bronze casters guild in Igun street, reputed as a UNESCO World Heritage Site. This historical location still houses brass casters who maintain the 500-year-old tradition of lost-wax casting.

His pieces powerfully capture the routes of traffickers, evoking the emotional impact of this horrendous experience. Drawing inspiration from the Queen Idia mask, commonly known as the FESTAC mask, Enotie traces the current human trafficking phenomenon back to the British invasion of 1897. This invasion resulted in the attack on the Benin Kingdom, mass killings, looting of the Benin bronzes, and the imposition of colonialism, which disrupted centuries-old societies governed by taboos, cultural norms, traditions, and laws, replacing them with foreign influences that fostered an unhealthy pursuit of materialism.

A poignant testament to the harrowing experiences faced by migrants, shedding light on the human trafficking crisis prevalent in Nigeria, particularly in Edo State. The exhibition features a diverse range of art forms, including photographs, paintings, sculptures, and installations, all of which aim to provoke empathy and raise awareness about the issue. Reportedly, many migrants have become the target of trafficking gangs with some losing their lives while making journeys across the Sahara and Mediterranean. On the one hand, Enotie’s large-scale painting is inspired by these migrations and highlights the personal tragedies involved in human trafficking.

On the other hand, the recently-cast brass sculpture draws on iconic images popularly associated with Queen Mother Idia from the historic Kingdom of Benin. This work references the British military expedition against Benin City in 1897, the lives lost and the wider associated human tragedy, as well as the looting of objects from the royal palaces. While drawing attention to the consequent loss of cultural knowledge, Enotie who is actively engaged in current debates around the repatriation of objects from the Kingdom of Benin reinforces the necessity of cultural education with this show.

These pieces by Enotie are featured alongside another powerful work by Mexican artist, Betsabee Romero who used discarded bus tyres as her canvas. This installation also reflects the conversational responses to migration on the American continent.