Bayo
 Studio

African Modern Art
 

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The "Human Art" of Bayo Iribhogbe....
Color • Perpetual Motion • Spontaneity  

Bayo's Synopses of Works

MARKET SCENE
My native experience in bargaining live..
Very typical in a one-day African market.
Freedom to negotiate back and forth
For more or less on both sides
With rigid irregularity.
Exaggerating to debase or inflate,
Debasing to nullify or deflate,
Exchanging, replacing, refusing....
Bumping and laughing with abandon,
Mesmerizing with words on either side
With tactical interjection of wishes
To fuel or diminish the power of bidding.
Finally.... Satisfaction is mutual
.....by Bayo Iribhogbe, Copyright © 1995....
 
A NATIONAL TRAGEDY
In series of flashes, it unfolds;
Like in a movie, but it's real.
With two similar experiences
I'm numbed to the bones
And disoriented to the basics
I'm so emotionally dogged in
To paint the usual me.
Watching helplessly my fellow humans,
Fighting back, ... calling, whistling,
Screeching, screaming, yearning for help
Moving, shoving, rushing for air.
Flying, oxidizing, gone beyond
And leaving behind countless traces.
Yet, I fight on with my tool to gain control,
To show the world that I am down but not out;
That I am tougher only to recover to a higher plain,
'Cause I am too raw to stand aloof.
Too equipped to take the low road
For heaven's sake, let's do something!
To save the human race.
.....by Bayo Iribhogbe, Copyright © 2001....
 
PRESSURE
This work was produced as a result
of the move I made to quit my 'payroll'
job where I was nothing but
a number... just a human robot.....
Somehow in this painting, I find myself
wedged in between forces.
Feeling more strongly confident
about what I am, I determined to get out,
move on and take control of my destiny.
..... by Bayo Iribhogbe.... Copyright © 1989
 
THE DANCE
Excerpt ...........................
.................... I resisted the pressure
to participate.....In self isolation,
I let my imaginary fun flow on the canvas.
 
I felt a serene pleasantness.
Something clicked; I couldn‘t stop.
The music was on
To fuel the spirits.
My knife was dashing
From color to color.
The crowd was forming
All over the surface....
I kept them swinging all the way,
Through the month of February & beyond.
Then suddenly, the crowd stopped
To freshen up I thought, but no !
They didn‘t look back,
But just moved away,... tired,
Only to find myself playing to a different tune.
....... by Bayo Iribhogbe, Copyright © 1995.......
 
THE RETURN
As usual, the palette knife comes
in handy to express my feeling about a
'movement' that is gravitating away
from the center of crises, crises caused
by strong ethnocentricity and greed.
 
After many unfortunate events in
the early period of Nigerian civil war of
1966-70, the most hard-hit tribes
realistically decided to move back to
their 'roots',.... to their villages,.....
for security and ethnic support.
.... by Bayo Iribhogbe, Copyright © 1978
 
TOGETHER
I have always believed, from my
experience, that a couple, no matter what,
should endeavor to stay together as long
as they live.
So, I use the trees as a symbol of two
persons living and growing together all the
way. Then by the trees, I place two empty
rocking chairs symbolizing that even
though we can’t see them, they’ve grown
old together to the end, and ultimately
left together.
.......by Bayo Iribhogbe, Copyright © 1990
 
THE DREAM
Although I did not participate actively in the Nigerian
Civil War that started in the 60‘s, it was nevertheless a
psychologically devastating experience for me.
I missed some of my friends who fought on both sides
of the zones and never made it back. I felt the trauma of
seeing people being forced by war to move families away to
resettle themselves. I escaped with a few friends to the
capital city and remained incognito among the Yorubas in
order to avoid being mistaken for an Ibo. The most
disturbing part of all was to watch the pain, hunger and
death that came upon the children and the aged that were
left behind around the war zones...
This is one of very few paintings in which I used the
brush; and I really thought I was doodling in the process...
.... by Bayo Iribhogbe, Copyright © 1976
 
WE
THEY CAME PEACEFULLY
IN WAVES.........
TO VOICE OPINIONS......
FOR THE RIGHT OF FREEDOM.
FREEDOM TO MARCH.......
FREEDOM TO EXPRESS
HIGH AND LOW EMOTIONS,
FREEDOM TO LISTEN.....
FREEDOM TO CHOOSE.....
FREEDOM TO ACT.........
FREEDOM FOR THE RIGHT OF
FREEDOM.
... by Bayo Iribhogbe, Copyright © 1989
 
MAMA II
Look in her eyes; the worries you can‘t see.
The shadow of innocence covers her face.
Look in those eyes; ...something about them.
She appears determined to protect her own.
The bond between them gives that away.
A real MAMA, Yes,.. That‘s right..... !
She‘s got the strength, the will and the dream:
The strength to talk with authority,
The will to keep them together
And the dream to nurse them to duty.
Ma a a a..., les go o o o home..... !
............ Bayo Iribhogbe, Copyright © 1995
 
CAMEL DRIVER
Some of my early sketches at
Samaru-Zaria in Nigeria were later used
for larger compositions, and this is one
of them.
It is a clear reminder of my life at
Samaru. I tried to ride a camel once......
...... very temperamental.
..... by Bayo Irighogbe, Copyright © 1976 ........
 
UNTITLED II
For over a year now, I have known people
die helplessly without a choice. Medical
experience does not seem to have the answer.
It got to a point where, after a few social
encounters, I felt so emotionally charged that
I had to let it out in color.....
After creating a linear crowd of helpless
humans, I spread colors around in patches,
and... VOILA ! What a relief ! .....
....by Bayo Iribhogbe, Copyright © 1991
 
BOARD OF TRADE
Paintings done for the Chicago Board of Trade.
 
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Paintings Copyright© 1976-2014, Bayo Iribhogbe, New York, New York 10013.
All rights reserved. No part of these paintings may be reproduced, in whole or in part, in any
form for profit (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright
Law and except by reviewers for the public press) without written permission from the artist, Bayo Iribhogbe.