Featuring artists Prince Merid Tafesse of Ethiopia and Charles Osaro of Nigeria
Charles Osaro is a Nigerian contemporary portrait artist based in Lagos, Nigeria. He paints faces, he sees this as the most interesting subject to paint because it’s one of the most important nonverbal ways of communication. As an artist, he is fascinated by the quick glance, subtle body language and expressions that lies beneath the human facials, he likes to capture different faces with different meanings. Charles is more interested in his sitter’s mood because it’s kind of a way of interpreting the sitter’s world. According to Charles, most time there are things that are best communicated through our expressions, that is why he likes to paint his subject looking directly at the viewers so as to create a direct connection with the viewers. His works are mostly spontaneous with loose effect achieved with squeegees, brushes and palette knifes. Most times his approach are by random accident which includes drippings, paint throws and splashing of paint on canvas which leaves him in a space of making do with what he has to protrude his image so the viewers can enjoy the physicality of the painting.
Prince Merid Tafesse
Prince Merid Tafesse, Ethiopian contemporary fine artist, is dubbed the King of Charcoal in Ethiopia for his masterful use of the medium. Powerful and provocative subjects and themes rise out of countless shades of grey executed through swift and sinuous lines. MOMA has accepted several of his charcoal on paper works into their archives, deposited by international curator Meskerem Assegued in 2004, in recognition of his unique ability. The soft-spoken studious dread-lock genius says, “My passion for charcoal allows me to catch the thoughts passing through my mind before they drift away.” His visual narratives are equally expressed through fresh free brush strokes, testament to talent and expertise derived from his education at Addis Ababa University Alle School of Fine Art & Design where he specialized in painting. Prince Merid’s photographic memory facilitates the creation of impeccable model-less portraits, figures -spaces and places, an affront to stereotypical notions of art from Africa, surpassing boundaries.