Faïson has exhibited his work in Nigeria since 1995. His first exhibition was in Maiduguri and was organized by the Alliance Française. 1999 to 2000 commissioned works (10 paintings of therapeutic value for the Federal Neuro-psychiatric Hospital, Maiduguri, Borno State, Nigeria). He exhibited his work in Zaria in 2001 and 2002.
Presence Africaine, Acrylic, Enamel and Fabric on canvas, 2005, 156.5 x 136.5 cm (right).
2003 was a great year for Faison. From May 26 to May 28, he won the second price at the "Exposition - Concours de l' Art Bantu Contemporain", organized by CICIBA/MINCULTURE at the Hilton Afric Art Gallery, Yaounde, Cameroon. In June 17 through June 27, Faïson took part in the "Exposition d' Arts Platiques Contemporains du Cameroun à la Coupes des Confederations", organized by MINCULTURE at the Galerie MASSAI MARA, Paris/Lyon, France. From November 3 through November 12 he participated in a group exhibition "LA COULEUR ET LA FOI", commemorating Marc Vivien Foe, organized by the Republic of Cameroon at La Salle des Pas Perdus de l'UNESCO, Paris, France.
Les Auditeurs Africains I, Acrylic on canvas, 2001, 122.8 x 90.5 cm (Left).
In 2004 Faïson participated in "Exposition d'Arts Plastiques Contemporains Camerounais" à l' occasion de la visite de MR. KOICHIRO MATSUURA, Directeur Général de l' UNESCO at the National Museum, Yaounde, Cameroon, January 16. Then, February 26 through March 5, an exhibition "Organized Confusion" at the Alliance Française in Kaduna, Nigeria. From September 20 through October 16, Faïson was one of three artists that participated in an art residency/exhibition organized by Aftershave International at Maraba Pottery, Kaduna State, Nigeria.
Croyance En Furie, Acrylic on canvas, 2001, 122.8 x 90.5 cm (right).
In 2006, November 13 to 17, "Defence Exhibition" at 300L Studio, Ahmadu Bello University - Zaria, Nigeria. November 22 through 26 "Conference/Exhibition ZAS at 50", at KIL A.B.U, Zaria, organized by Zaria Art School/National Gallery of Arts, Abuja.
It is good to have and do Art that heals our wounds: Art that inspires tolerance, promotes love and the inescapable omnipresence of the divine spirit; Art that projects our cultural identity in the give and take, potpourri of globalisation. My art is pluralist, to meet the exigencies of effective communication in contemporaniety; it defines, asserts and records the image of a modern Africa reconciled with its past and gearing up for its future.
Bluesy, Acrylic on canvas, 90cm x 60 cm (left)
Much of Faïson's art particularly in Acrylic, Enamel and Oils, display his back-to-the-roots nature. But don't quickly think it's all about the past. Hilarion thinks that a stable future needs solid foundations. And genuineness is suitable from tradition. Though "images of the past" seem overly evident, they carry deep messages that squarely address the present/future. Since we are use to clichés about art from Africa, these works will readily hold your attention as the artist takes you on a smooth ride to the future.
Love, Enamel on canvas, 2005, 137 cm x 91.7 cm (right)
It is very important to ease the gap wrought by colonization for the purpose of fluid continuity. The above lend credence to the artist's statement below, which is a vision and a mission.
However, a pervasive but conciliatory use of motifs/symbols is manifestly present. Faïson's use of colours though international in outlook stick to the Cameroon Grassland traditions where the ordinary shades of sun baked bricks and clay pots, the gray of cinders and places of worship, the blue (indigo) of the twilight sky and Ndop royal cloth, the red of cam wood, palm-oil, sunsets and blood, the green of nyuseji* and the high attitude prairie, the white of palm wine, salt, and bones; the yellow-ochre of sunbursts at dawn and the golden blur of the elusive leopard, significantly augment the sense/celebration of life, and profoundly reinforce the presence of the Almighty creator Jehovah.
Cleansing, Enamel and India ink on canvas, 122 cm x 122 cm (left)
The works are results of a systematic study "Adapting Cameroon Grassland Palace Motifs Into Painting". The study is broken down into seven stages in order to show distinct developmental capacity of the motifs and to meet the taste range of individuals. The stages are: exploration of motifs, abstract exploration of motifs, development of motifs, figural infusions, sensitive compositions, simplified compositions, and existential compositions.
Shall We Dance?!, Enamel on canvas, 2005, 122 cm x 92 cm (right)
To see more pictures, visit the Gallery.
|For more information or to purchase a painting e-mail Hilarion Wirdzeka Faison.|