Ugandan Peter Oloya's journey from adversity to artistry

___________________

 ART AND CULTURE 

Peter Oloya, who was born in Uganda in 1976, was abducted by the Lord’s Resistance Army as a child, where he endured the horrors of being a child soldier.

Despite this harrowing experience, Oloya’s spirit remained unbroken and he managed to escape after sustaining wounds in a fierce battle.

Returning to his forever changed hometown, Oloya turned to the wisdom imparted by his grandmother who was a potter. 

With unwavering determination, he embraced art as a means of self-education and emotional healing. From making and selling toy cars as a child to working as a DJ, he earned the funds necessary to pursue his education, ultimately graduating from Makerere University in Fine Art. 

Oloya, who lives and works in Uganda, has since then also set up his own charity to help other boy soldiers and abducted girls through drawing and sculpture.

His creative prowess spans both painting and sculpture, and he has gained acclaim through prestigious commissions and residencies. Notable among these is his sculpture Crane, presented by the people of Uganda to Her Majesty the Queen at the Commonwealth Heads of Government meeting in 2007 in Kampala.

Oloya's work has also been recognized through the commission of the ‘African Footballer of the Year’ BBC award trophy. 

In 2019, he was honoured with the PJLF Pangolin London Sculpture Prize, a testament to his unique creativity in the realm of Ugandan Sculpture. This award has allowed him to delve into a new body of work which explores the modern African cultural experience. 

In an era marked by the waning of traditional activities in Africa, Oloya’s art articulates the complex and rapidly evolving cultural responses to contemporary issues. 

This new body of work intricately weaves together elements of traditional and modern African culture, and covers themes such as modernity, ideals of beauty and the climate. 

Oloya, who is an artist-in-residence at Pangolin London, is set to showcase this new work highlighting his remarkable talent and the profound narratives he brings to life through his art.

His exhibition opens in January 2024. 

The show promises to be a visual and emotional journey, offering a unique perspective on the vibrancy and diversity of Oloya’s artistic expression.

Among the pieces to be showcased, there will be a selection of works offering a compelling commentary on culture, history and politics. 

This includes a sculpture of a Chinese face mask symbolizing the enduring influence of China in Uganda, and a bronze titled Sheep Justice that navigates the intersection of corruption and the law.  

The theme of modernity is vividly portrayed in many of the sculptures. 

In Bride Mask, Oloya has incorporated mobile phone keypads into the figure’s headpiece, presenting a thought-provoking observation on the integration of technology in modern life in Uganda. 

Another striking piece, Culture and Modernity: Phone Dress, combines phone parts with traditional bark cloth symbolizing the evolving interplay between cultural heritage and the relentless march of modernity. 

What’s more, Peter’s intricate ‘Gourds’ bearing logos of international megabrands such as ‘Coca Cola’ and ‘Fanta’ examine the dynamic between tradition and modernity. Originally used as vessels for water, these gourds bear contemporary designs, serving as symbols of transformation. 

Oloya also explores the concept of beauty in his work. Crafted from white marble, the stunning sculpture of an African female head emphasizes the differing standards and definitions of beauty. 

Also touching on aspects of beauty is his stunning work Aspects of Beauty: Lawino which pays homage to ‘the most beautiful girl in the village’ - a term steeped in cultural significance. This sculpture echoes the iconic poem ‘Song of Lawino’ by Okot p’Bitek, 1966, which reflects on the impact of colonization on African society.

The artist’s intriguing works My Planet My Child I and My Planet My Child II convey profound messages about our relationship with the Earth. 

The former depicts a figure holding a ball symbolizing the earth, while the latter portrays a baby standing with a seedling growing from its hand, urging us to consider the Earth as our child, entrusted to our care, rather than thinking of the planet as ‘Mother Nature’ and assuming she will look after us.