International Sculpture Center



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Amarachi Okafor

Karu, Nasarawa State. Nigeria
none, 234, Venezuela
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Phone: +234 809 185 0190

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 Amarachi is educated with Bachelor’s degree (Painting) and MFA degree (Sculpture) from University of Nigeria Nsukka. She has also studied for an MA in Curatorial Practice at Falmouth University UK. During her university studies in Nigeria, she worked as artist assistant with El Anatsui (Ghanain born, Nigerian based Sculptor). She has also worked in the curatorial department of the National Gallery of Art, Nigeria since 2008. She was recipient of the Unesco Aschberg artists’ award in 2007; Commonwealth Connections award in 2009, and some other artist residency grants.

Concerned keenly with the amalgamation of colour and form, her built Paintings and Sculpture Installations majorly obtain from her interest in fashion and the hands on process of sewing and patching.

“Drawn to working in creative partnerships within my art practice, transformation of material, research, writing, and producing art projects, for me, are art making process where words and ideas are ‘tangible’ art materials, and collaborations, a way of negotiating practice. An art practice related with curating is therefore an invaluably stimulating way of working, for me.

My motivation stems from my curiosity about the connections between demonstrative and intellectual creativity, the tactile material and the ephemeral.

My art usually discusses socio economic topics: contemporary culture and history (memory); exploring our modes of engagement with these phenomena and sometimes the consequences of our actions and inactions as regards these topics.

Sewing is a special process for me in my work, stemming also from  my tacit knowledge of this process of making which I associate with the women around me in my local community. I have also trained locally to develop this process. Clothes have followed people’s lives literally very closely, with all that this implies. I notice also that my immediate society is a fashion conscious one. It is interesting to me that in Nigeria, fashion becomes a contest amongst and across social classes.

More important to me is my perception, that the patching and mending of every pliable broken piece of material that I adopt into my work, is the healing, of these bits and pieces, of things, and of myself. My sewing processes are long drawn restorative sessions, alluding also to the possible amendment of methods in my Nigerian society.

I am interested in making beautiful pieces, but I am also motivated to make art purposefully for addressing issues towards positive societal change. I aspire to instigate active artists’ spaces that would provide for art practice and discourse, availing fellow practitioners of motivation and creative direction.”