Abayomi Barber's Philosophy of Naturalism

Bust portraits are an integral part of Nigerian art, and were particularly common in the Nok, Ife and Benin kingdoms. Many portrayed realism, a skill that some Westerners deemed impossible by African Artists. Sculptor and painter Abayomi Adebayo Barber would prove them wrong. 

Born in 1928, Barber grew up in Ile-Ife which is the present-day Osun State. It is considered the cradle of the Yoruba people which have a fascinating history, culture and language. Barber would from a young age create art inspired by his Yoruba heritage. 

Barber studied sculpture at Yaba College of Technology in Lagos, and later studied art in London while also assisting artist Obafemi Awolowo. He returned to Lagos in 1971 to lecture at the University of Lagos. 

Barber created an informal afro-surrealist school of art, known as the Abayomi Barber School of Art. It debunked the idea of tagging art as “African,” because of the demeaning expectation by Europeans. The school also practiced art as being the universality of individual artists' experiences.

Barber felt that artists of his time produced art that supported Western misconception. He therefore, positioned his artistic ideologies against Western perceptions of African authenticity as ‘primitive’, ‘crude’, and ‘unskilled’.

Just like the father of Nigerian modernism, Aina Onabolu, Barber’s art is often viewed as not exuding Africanness. Barber’s work mixes naturalism and surrealism. 

The bronze bust 'Ali Maigoro' epitomizes Barber’s philosophies of naturalism and his penchant for depicting non-elite people. The smiling man is depicted in realistic proportions, highlighting his ageing features. It's a prime example of Barber's artistry.