Raging Symbolically in 3-D

Emmanuel Ndogo

In a burst of creative fury, Akeem Muraina unleashes “Agbalowo m’eeri,” a snarling sculptural piece depicting a bull. It appears to charge towards the viewer with unbridled ferocity. Crafted from the discarded remnants of a plastic fuel tank, steel, bolts, and nuts, this 34” x 26” x 44” mixed-media masterpiece is a searing indictment of subsidy, that most insidious of scams concocted by the rapacious to prey upon the hapless masses. As the bull’s jagged form emerges from the shadows, its very presence seems to seethe with indignation, as if the artist’s own outrage has been distilled into this twisted, metallic creature.

The title, “Agbalowo m’eeri,” echoes like a battle cry, a call to arms against the exploiters who feast on the suffering of others. In this visceral, unflinching work, Muraina, a son of Oyo State, lays bare the ugly truth: that subsidy is a ruse, a cleverly crafted lie designed to line the pockets of the greedy while the vulnerable are left to suffer. It  is a clarion call, a defiant scream in the face of injustice, and a testament to the transformative power of art to confront, challenge, and change.

This captivating work was, alongside several others, featured at his most recent exhibition, titled Metaphysics Alliance, which was held at Signature Gallery on Awolowo Road, Ikoyi, Lagos from April 27  to May 4.

 In Muraina’s world, these sculptures are not mere static objects; they are dynamic expressions that blend elements of storytelling, symbolism, and emotion to distill an immersive and thought-provoking experience for those who encounter them. His use of multiple dimensions in his work invites viewers to question their own perceptions of reality and consider the interconnectedness of all things. At the aforementioned exhibition at the Signature Gallery, much of the works revolve around the theme of cows, pastures, and tenants.

As a sculptor, who has paid his dues in the local art scene, the 1993 Yaba College of Technology graduate, who also holds a 2001 Federal College of Education, Akoka, Lagos technical teacher certificate, has participated in several exhibitions. Notable among them were the 2008 edition of the Society of Nigeria Artists annual exhibition, titled October Rain and the National Gallery of Art-organised Art Expo the following year. As a member of the Society of Nigeria Art in Lagos, he was honoured with the Distinguished Stewardship Award by in 2008.

As a socio-politically conscious artist, Muraina has consistently been critical about the state of affairs in the country. The state of the national economy, for instance, falls within his first line of sight. He recommends that Nigeria redirects its steps back to agriculture even as it attempts to balance it with the dependence on crude oil export.  He, for instance, deploys the metaphor of the biblical narrative of seven fat cows, which alludes to Joseph’s interpretation of the pharaoh’s dream, to interrogate the true nature of apparent buoyant economy through crude oil exploitation. “I made the seven fat cows, with plastic from tanks to illustrate different characters of how the cow behave — the aggressive, the sober, reflecting them in different portrait actions,” he explains. 

With the metaphor of these cows, he dissects the sad history of injustice and exploitation that chsracterised the management of the national economy. With one of the cows,  titled “ Akinb’ogunlo “, meaning martyr, he pays tribute to people like Ken Saro-Wiwa, who died defending their natural resources. Another sculpture, titled “ Igi owó “ which means Tree of Wealth, depicts manilla – a commonly used currency in pre-colonial West Africa- as the fruit of the tree. 

Ultimately, Muraina imbues his works with deep meanings that elevate them to a level they cannot be ignored.

• Ndogo writes from Lagos