As the world reeled under the global Lockdown of 2020, Emmanuel Eni, Nigerian German art star, quietly released his fourth poetry book; a 321-page anthology of 600 poems titled “KINDONKIND.” This review takes a look at his Poetry in relation to his art.

The allure of poetry and art is that both possess something unsayable, which explains why they find a meeting point in the work of some gifted artists. This is true in Eni’s work as his Poetry inspires his art and vice versa.
His multidisciplinary streams of creativity are in constant flux allowing one to dive in or slowly walk into his cryptic messages.

His odyssey as a multi - media artist started during his undergraduate studies in Visual Arts, when he led casts ahead of some theatre arts majors. His work has always been invested in multiple expressions, the approximation he calls "contemporary Barock art." Before “KINDONKIND,” his recent anthology, Eni had published three poetry books namely "Masqueradeundressing," "Universes of Water," and "Death of the Curator". Although the Edo state born artist lives in Germany, he is also rooted in Nigeria through exhibitions and having works in some important private collections in the country. He travels to other parts of the world on the invitations by public and private institutions to showcase his art, either as a solo act or in company of troubadours.

The Benin bronzes, currently at the centre of global restitution debate were produced in Eni’s home region and are among Africa’s most important traditional art cultures. When he references his roots, he does so with the awareness that he embodies a genetic memory of an excellent artistic heritage. “Like the word was the origin of the image, my art derives a lot from my poetry,” says Eni - the brash-man of the muse, who in the last 35 years consistently pushed his practice to new limits. “My early life was one of culture, love and storytelling, but while in Europe, I have had the happy and not-so-happy experiences, which have helped me to surmount the hurdles of life such as poverty, rejection, dangers of death, and the compromising love of women,” “says Eni.
His work speaks to contemporary issues while looking back to nostalgia and history, like the mythical Sankofa.

To appreciate Eni’s work is not to see one independent of the other. He speaks with a powerful multivalent voice that has won him accolades. This includes a listing among the Forbes 200 most successful artists globally.
“The Blackman in European Kitchen,” as Eni is called (after one of his famous poems), through attentiveness to the sensibilities of his heritage and contemporary developments, is constantly searching for the praxis to distil his expressions while continuously working on the cutting edge of the avant-garde style.

Six years ago, Eni showcased his typical work at a well-attended solo exhibition of paintings, poetry and performance at the Thought Pyramid Arts Centre Abuja. Titled Haske Zanen, it comprised his new "lightPaintings" art, and the Performance of his poem “Blackman in European Kitchen.” The poem is about an African man who suddenly found himself in the kitchen of a European lady celebrating her birthday. Eni tries to surmount his challenges by engaging in a dialogue with his "inner sense of the world," while contemplating the differences and similarities between cultures. The performance dazzled the audience as the parched looking golden hues and the glowing lines on the large canvases hung on the wall, looking like images of glittering gold, partly covered in grime. The "Haske Zanen" paintings speak of time and the persistence of memory.

The “KINDONKIND” anthology "is about the deeper values encoded in life’s Dualities. In nature things come in twos, for growth and sustainability. The inside is part of the outside, with one connecting to the other. This interplay of this duality exists in opposites like day and night, cold and hot, life and death," says Eni. He explains further that, “time is always with every kind, through the introverted and extroverted dealings of one to one’s self, one to another, as well as one to nature.” He adds that “the poems portray the attraction and curiousness that could be encountered by relating to one another.” The underlying message in Eni’s poetry is from the standpoint of a collective understanding. This timely anthology includes pageant poems, poems on duality, love, spirituality and philosophy. Also included in this anthology are historical narratives relevant to the consequences of repetition of history. All the poems in this anthology were written in a span of 30 years. Some stories in the anthology revolve around war, violence and courage. Eni tells stories of valour, constructive achievements and discoveries among old African kings and legends. Some like “Chaka- king of Zulu!”, “Sundiata and Sumanguru,” “Ovoranwen Nogbaisi,” and “Hang – Kinjeketille,” sought to expand and protect their spaces.

Eni’s classic and ever green work, “Israel and Palestine” installation and performance, references the conflict in the middle - east, while drawing attention to the rising violence in Nigeria exemplified by violent groups like Boko Haram, Bandits, Herdsmen, ethnic militia and kidnappers. According to Eni, this stirs in him, the premonition of war and strife amongst other universal revelations in this book. “My hope is that this new book should bring joy in your victories, spiritual warfare, or in your daring journeys," says the artist. Other references in KINDONKIND anthology are evident in some of the poems like “Origin of the bell,” “The Girl and the water spirit,” “Do you love machine,” “Short story of Electric light,” “Gbomo Gbomo the wicked Kidnapper” and others.” As one reads the poems of Eni and contemplate his art, they appeal to consciousness, learning and reconciliation, allowing one to access aspects of the past and the future. "KINDONKIND" ISBN: 978-3-00-068028-1 can be easily ordered in his official facebook site and worldwide through all books outlets.

- Agwu Enekwachi is an Abuja based artist and culture writer.