The New Gong Magazine
       
Publishers of New Writing and Images                                                    
                  
As a sculptor Waritimi is always in
close communion with nature
through trees. His work reflects a
striving to ensure that no part of the
making symbolic expressions. “I
believe that no part of the tree can
be said to be useless,” he says.
“From the roots right up to the
leaves there is always some use to
which you can put it art, just as it is
the case in nature.”

“The Crunch” (made of bark of
wood, thread, acrylic colour and
wood glue)  shows people
squeezed by a barrel of oil,
reflecting the life of the inhabitants
of the delta who have been left with
the worst effects of oil production
after seeing its profits taken away
from their land.
In “The Scroll” (made of bark of
wood, acrylic colours, thread,
wood glue and excelsior)
Waritimi seeks the graffiti
effect, providing a platform
where the ills of Nigeria
(corruption, unemployment,
police brutality, etcetera) are
listed.

Not even tree stumps or spindly
branches are left out as they all
get deployed in the construction
of meaning in Waritimi's art.


                  
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