A Presentation and Walkthrough of Works by Nduka Ikechukwu
On February 12, 2026, G.A.S. Lagos hosted Artist Open Studio, a presentation and walkthrough of works developed by Nduka Ikechukwu during his four-week residency. During his stay, Nduka focused on research and experimentation, using the period to reinterpret and reassess the direction of his practice. Designed in two parts; a closed, guided feedback session followed by a public presentation, the programme created space for constructive dialogue with art professionals before opening the work to a wider audience.
The event opened with a welcome address from Communications and Events Coordinator Catherine Bardi. Attendees introduced themselves, briefly sharing their backgrounds and reasons for attending. Nduka then presented an overview of his artistic journey, beginning with his training at the University of Nigeria, Nsukka, an institution known for encouraging students to work with unconventional materials. His early practice centred on using clay sandbox shells, which laid the foundation for his current material choices.
During the residency, Nduka reflected on the relationship between his recent works and earlier series. Rather than focusing on form alone, his interest lies in how material and process work together to communicate ideas. He revisited his earlier series Nkata, in which basket forms function as metaphors for relationships within Igbo communal life. The basket becomes a symbol of interdependence, individual strands relying on one another to form a whole. This draws from the Igbo apprenticeship system, where shared labour, patience, and long-term commitment shape social and economic structures. This exploration continues in Filtered; Good Rhythm for Good Morals, where the form of ventilation filters mirrors the careful selection of language and rhythm found in folktales. In Igbo society, folklore plays an important role in moral education, guiding behaviour through storytelling rather than direct instruction.
His most recent body of work, Ancient and Modern, further developed during the residency, focuses on repair as both material process and cultural metaphor. Inspired by childhood memories of repeatedly patched clothing, often described as “ancient and modern,” the works reflect a culture of fixing, reusing, and making do. These acts of repair extended beyond garments to toys and household objects, revealing a way of life shaped by resourcefulness and care. The introduction of the calabash deepens these ideas. Traditionally a domestic object, it carries histories of labour and everyday use. Combined with striped belts and processes of sewing and tying, it becomes a vessel for memory, holding traces of endurance and adaptation.
Attendees were invited to take a closer look at the works, followed by a Q&A session where Nduka spoke more deeply about his inspirations and future direction. The evening concluded with the public presentation, as he guided new guests through the projects in small groups, sharing insights into his process and inviting dialogue.
Event Details
Date: 12th February, 2026
Time: 4:00pm - 6:00pm
Location: 9b, Hakeem Dickson Drive, off T.F. Kuboye Road, Oniru, Lagos
About the Artist
Nduka Ikechukwu
Nduka Ikechukwu is a Nigerian artist whose practice is inspired by his identity and cultural heritage, creating vibrant sculptures using net belts and stripe belts. Born in 1997, Nduka holds a Bachelor’s degree in Fine and Applied Arts from the University of Nigeria, Nsukka, where he is currently pursuing his MFA. He participated in the Biennale for International Sculpture in Ouagadougou, Burkina Faso (2025) and has exhibited in group shows with reputable galleries in Nigeria, the USA, France, Portugal, and beyond. His work is held in both institutional and private collections locally and internationally. Nduka was a resident artist at Ulo Nka Space in 2023 and was the first runner-up for the Art Report Africa & DicaArts Prize in 2023. He currently lives and works in the university town of Nsukka.
Nduka's residency is generously supported by The Osahon Okunbo Foundation (TOOF).
