Black in Color: Portraits reveal the culture within a color.

Upcoming Show: Jan. 19- Mar. 16

“Black in Color” at Noyes Cultural Arts Center in Evanston, IL will feature 25 of Sam Onche’s new paintings, two of which are highlighted here. Each artwork in this solo show examines the individual identities of Black people and brings to light the inherent color in Blackness, as observed by the artist in the United States and Nigeria. He expresses themes of pride, style, hustle, and heritage with the significance of one color. This show is about vibrance and richness within a word that may be perceived as colorless.

“I’m asking a question about the color black, which is usually negative space, devoid of color, and pointing out that there are shades to add power to the term,” said Sam Onche. “Color is a theme in my work, and my culture comes through in the patterns and the fabrics. I recreate African culture and my experience from childhood through colors, pulling from the patterns and textures of these fabrics.”

Patterned negative space behind abstractly colorful portraits features African wax print or Ankara fabric. The artist’s sister designs clothing and shares her leftover fabric scraps with the artist, who incorporates these pieces abstractly into a clear portrait. These reused materials create a visual flow across all the artworks and point to a collaboration that links all the paintings. This motif of pattern contributes to a communal African identity in the portraits as the artist blends repurposed Ankara with paint on each canvas in the collection. As a whole, this show is a reflection on both the connection among a community and the individuality of its members. Every portrayed person is part of a common network, but the figures in each of these unique portraits display a strong sense of stylized identity. 

Troubled Youth, Oil, acrylic and fabrics on canvas, 38 x 54, 2023.

In “Troubled Youth,” bold and sweeping brushstrokes and carefully placed fabric fragments make up the subject’s face, rich in color and texture. The various red Ankara patterned fabrics blend to create a solid flowing background for the expressive figure sitting at the forefront. The result is a dynamic portrait, the figure’s gaze contemplative. A style akin to collage constructs a character with distinct features and visible feelings.

'“Black in Color examines identity within community, simultaneously emphasizing colorful individuality and overlapping commonalities. The subjects of these portraits each wear expressions and accessories that accentuate their bold features, a quality the artist emphasizes and celebrates with thick outlines and deep color contrast”. 

Color is meant to introduce cultural richness through the interplay of different shades and hues; the relationship between colors represents the beautiful interactions that make up a culture. In addition, the dynamic shapes show the momentary quality of these paintings. The pose and focus in “Lady by the Well” create a fleeting portrayal that the painter captures in bright abstraction. The artist defines beauty as a multicolored and multicultural idea, which he aims to capture in most of his portraits. The absence of black in this painting creates a visual representation of the variety of colors and styles encompassed in Blackness.

Lady by the Well, acrylic and fabrics on canvas, 40 x 60, 2023.

The colors washing across the lady’s skin bring to mind the water referenced in the work’s title, which was inspired by Sam Onche’s experiences with the process of fetching water from wells in his community in Nigeria. As he paints, using water and solvent to create a wash across the canvas, he recalls a memory from Nigeria, which inspired him to craft the visible streaks on the portrait inspired by water dripping down the sides of a clay pot. Each portrait is an experiential vignette, ranging in mood from the vulnerability of a quiet moment at home to the stoicism of an outward-facing representation. The show combines these flickers of culture into a story of a people, but the themes reach outside the scope of the specific subjects. Within this “Lady by the Well,” Sam Onche sees many people, including himself. 

While these are all portraits of Blackness, they are for everyone, an audience with rich and varying experiences of culture and humanity. “Working with color has no limit; I’m telling stories as I search for the best combinations of colors,” the artist said. “I wish to weave those various stories into one common dream.” 

Strength Through Illustration

I was recently interviewed by Communication Arts about my stylistic influences and my passion for depicting black characters.

How did you discover your passion for art?

I’ve had a passion for art since I was a kid back home in Nigeria. I remember watching cartoons, action movies and reading comics all the time, which motivated me to make my own creations and design my characters based on the world around me and my imagination. My decision to become an illustrator comes from my hunger to tell stories and create beautiful work. There is something special about bringing an idea to life and also watching how much impact that idea or creation has on people.

What media do you like to work in, and why?

Honestly, it depends on what I’m trying to achieve. Overall, I love working traditionally on canvas, paper or panel. It’s nice to see and feel the textures, marks and even flaws that exist when using traditional media. On the other hand, working digitally is also nice. I use Procreate for my digital work, which is so convenient to draw and paint on, especially because I love to make a lot of adjustments when I work.

One influence you incorporate in your work is afrofuturism, an art style that combines Black identity and freedom with sci-fi aesthetics. What sparked your interest in this genre, and what does it represent for you?

I would say my early introduction into afrofuturism comes from my love of sci-fi movies, action figures and comics. Later on, after taking the time to study and really understand what the concept stands for and looks to achieve, I got immersed. It’s so cool creating characters that look like me and command a strong presence. The most important thing for me is to create an image that brings hope for the future for people of color in our ever-changing world.

Having moved to the United States from Nigeria, how does your background influence your art?

I always say that growing up in Nigeria and then moving to the United States was the best thing that happened to help my art grow. At first, I struggled with finding a way to mesh my experiences from both worlds but later on found a way to make it work. My use of color and the way I sometimes exaggerate forms or shape language comes from my experience with Nigerian art. I would say the swagger in my style comes form being in the United States, which can be found in music, fashion and everyday life.

What have some of your favorite client-focused projects been like, and what have you learned from them?

My favorite client-focused projects have been mostly illustrating covers and design. It could be an album, book or magazine cover. I enjoy listening to people’s stories, visions and dreams, and then bringing those to life. For instance, when music artists send me songs for an upcoming album, listening to them helps me get in the flow when designing a cover. I just love being a part of the journey.

I would say I’ve learned a great deal from working with different clients, from being able to deliver work before deadlines to making quick turnarounds if need be. I’ve also learned how to listen, which helps to understand expectations and give constructive criticisms and well-thought-out ideas.

It’s so cool creating characters that look like me and command a strong presence. The most important thing for me is to create an image that brings hope for the future for people of color in our ever-changing world.” —Sam Onche

Tell us about your book SOGO: The Art of Sam Onche and your upcoming title The Art of Black. What inspired you to put these books together?

SOGO: The Art of Sam Onche is my first art book. My goal was to introduce the world to my work and thought process and put together selected works inspired by a variety of things to show my diversity and reach.

The Art of Black is my upcoming book that I’ve been working on for four years now. I want to create a new visual experience with this book, which I hope will inspire many people visually and emotionally.

You’ve also illustrated the children’s book The Beat in My Head by authors Ariel and Brandon Blackwell. What are some of the unique opportunities and challenges of illustrating children’s books?

Illustrating children’s books opened my eyes to a different world. Working with children brings a certain kind of joy and purpose. Watching kids listen and look at imagery I created for the book made me emotional. The greatest challenge for me when I worked on the book was to made sure my illustrations were relatable and visually stimulating to grab the attention of kids.

Additionally, you also show your work in galleries, having participated in The Great State of Illustration in Maine exhibition earlier this year. What do you like about participating in exhibitions?

Being able to show work in galleries is a dream come true for me. Showing work alongside legends and greats in the illustration world in The Great State of Illustration in Maine exhibition was a blessing. I love everything about participating in the exhibit. Most of all, I see the exhibit as my way of giving back to the state of Maine for all the opportunities it has provided me.

What is your dream assignment?

Illustrating a cover for The New Yorker or Vogue. When the opportunity comes, I know I’ll design a cover that would stand the test of time.

What excites you about illustration right now, and where do you think the field is going?

I’m excited about creating illustrations that are thought-provoking and fresh. My use of the word fresh is my best attempt at describing the creation of a new experience. I think the illustration field is going to greater heights. Looking back at covers designed by J. C. Leyendecker and covers now, I would say that the field is in safe hands.

Do you have any advice for illustrators just entering the profession today?

Pull inspiration from your experiences rather than copying from someone else. Listen to your voice even when others might not seem to understand your vision.

Sam Onche is an award-winning illustrator and painter based in Chicago. Born in Benue, Nigeria, Onche moved to the United States in 2015. He studied studio art at Colby College in Waterville, Maine, with a focus in oil painting. Onche uses digital and oil media to create paintings and illustrations for posters, prints, book covers and album covers. He uses Black art as a voice to speak on issues and expectations, as well as to represent Black people in our world today. Onche has created work for clients including BiblioKid Publishing, Color of Change, Harper Collins, iCanvas, Netflix, Saatchi Art, Sennheiser, Shein and Unfinished Legacy.

Afrofuturism: Black Bodies and Hopes for the Future.

Android man 2023 Pastel on canvas, 40 x 60

The heart of Afrofuturism can be found in African-American science fiction. Today, it is generally used to refer to literature, music and visual art that explores the African-American experience. Concretely, it  can be understood as a wide-ranging social, political and artistic movement that dares to imagine a world where African-descended peoples and their cultures play a central role in the creation of that world.

I entered the world of Afrofuturism through comic books, sci-fi movies and NASA magazines. Since the Black Panther movie took the world by storm, the term “Afrofuturism” has become even more popular. My personal interest in the topic today lies in taking a deep look at Black bodies. A blackbody as a machine is an idealised physical body that is able to absorb all incident electromagnetic radiation, regardless of frequency or angle of incidence. For centuries, Blacks have been dehumanised, the history of enslavement demonstrates the different ways Black bodies have and continue to be hindered yet still standing firm like a machine.

My work titled “ Android man” is my representation of the Black body with afrofuturistic lenses. The mechanical body of the man is a symbolic representation of the man's strength. This body is composed of different components that work together as a single unit. The man with his eyes shot can only dream for a  future where he dares to imagine a world where African-descended peoples and their cultures play a central role in the creation of that world.

The Man in the Maze

Man in the Maze, 2023 Mixed media on canvas, 48 x 60

Some may be familiar with the story of the labyrinth built for King Minos of Crete to imprison the man-eating Minotaur. The labyrinth maze is the very symbol of confusion and disorientation, the trap that confounds efforts to escape. At times, life itself seems to be a maze, as our journey along its tortuous pathways leads to wrong turns, dead ends and unknown destinations.

We can all agree that we've all embarked on a journey of some kind as citizens of the world. While some of these journeys may be ongoing, finished or on pause, it is most certain that we have experienced some form of struggle or resistance. I use the maze as a symbol to represent the struggle of Blacks. For centuries, Blacks have been manipulated and denied their rights. Their struggles have been overlooked by authority, the endless corridors in the maze measure the problems Blacks face. I try to show the outcome of these problems and struggles with the torn mesh vest the man wears. 

It is very hard to miss the bold abstract shapes seen on the face of the man. Oval shaped eyes, yellow crowned eyebrows and nose that come together to form the face. My use of abstraction has its roots in the need to express an idea, rather than simply portray a subject. I've distorted,  reshaped, and manipulated shapes to create an image. In this image I hope to remind Blacks of their true origin. One that is rich, strong, bold and beautiful.