Anthony Azekwoh

In the aftermath of the Lekki Shooting, a grave event in Nigerian history, the artist explores Nigeria's dichotomy of governmental fear and glimpses of unity. Inspired by iconic Nigerian figures like Chinua Achebe and Peter Obi, his work, "There Is a Country," critiques and reimagines a Nigeria in flux. Amid corruption and societal failures, he focuses on a resilient hope, advocating for a new narrative of what it means to be Nigerian today.

There is a Country

"In October 2020, the Lekki Shooting shook Nigeria, a horrifying tableau unfolding minutes from my doorstep. That night, fear gripped us as we clung to hope and each other. Yet, amid despair, I saw unity—an unlikely nation emerging from the shell of the old. Peter Obi’s rise two years later rekindled my faith. This led to 'There Is A Country,' my artistic response to Achebe's lament, 'There Was A Country.'

Unlike Achebe’s localized Igbo story, my narrative is a mosaic of my Delta State-Igbo heritage and Yorùbá influences. It's not just about shifting identities, but also about Nigeria's dynamic evolution, accelerated by digital globalization. This series challenges what it means to be Nigerian today, projecting a diverse, complex identity onto a global stage.

In essence, 'There Is A Country' isn't just a collection; it's a manifesto. It exists in the paradoxes, in the unity forged at Lekki, in the eyes of a new generation penning its own destiny. Despite the chaos, there's a narrative that refuses to bow—a resilient story symbolized in every brushstroke and pixel. 'There Is A Country,' a tale for today’s Nigeria, captures the enduring spirit of a people and place unwilling to be sunk.

There is a Country

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