Troubles with the Nigerian Child


Size: 46 H x 36 W x 0.2 in

Ships in a crate This work will ship in a wooden crate. Read more

Shipping included
7-day money back guarantee We offer a 7-day money-back guarantee on all works purchased through Saatchi Art, except for limited editions printed specially for you. Framed prints cannot be refunded nor exchanged.
Trustpilot Score
  • 608
  • 1

Art Description

Painting: Oil, Environmental, Engraving, Enamel and Acrylic on Canvas and Other.


Original mixed media painting without a frame.

My paintings are original, vividly signed and dated on the front by myself.......Nweke Uche

MEDIUM: Mixed media
MATERIALS: Enamel, acrylic, oil colour,
sawdust, glue on canvas
SIZE: 46" height x 36" width


The painting panel is quite vertical in its compositional formatting is entirely dominated by geometric shapes, lines and tactile effects, all in variance. This can be glimpsed at several levels, from compositional format to the handling of colours and overall imagery. However, it is centrally dominated by an abstract shape re-echoing a schematic image of a typical Nigerian child, carrying a pan full of oranges. The weight of the wares is too much on her, which is evident through her steady gaze at one direction. It indicates a sign of hope. The shapes and lines that run across her is a metaphorical statement which shows that the fertile environment (Nigeria) she lives has been polluted by its leaders. It is no longer safe for her, and it is more or less that she is at the receiving end. In the words of Mr. Peter Obi (Governor Anambra state;2007-2015), “the society we are abusing today will take revenge on our children. Thus, the defined geometric shape that confines the teenager poses as an obstruction towards the fulfillment of her lofty dreams. This is tantamount to a great bondage.
Many of Nigerian children are exposed to long hours of work in dangerous and unhealthy environments, carrying too much responsibility for their age. Working in these hazardous conditions with little food, small pay, no education and no medical care establishes a cycle of child rights violation. The difficulty faced by the Nigerian child should really be looked into, as they have proven over the years that they are problems which have come to stay.
In recent time, the children have become street hawkers. They work in the streets during the day, and work even at night in some cases. Such life styles become very dangerous and nomadic type of life. There is little wonder therefore, that the future of these children is very dark and bleak as the glowing effects in the painting clearly reflects that. In the past, children worked with their families, learning skills they would need as adults. But today, children are forced to work for their own and their family’s survival. The money earned by children workers’ has become significant part of the family income. There are many children in Nigeria who work under inhumane conditions hidden from public view. The conditions of some of these children are compounded by the fact that they do not receive any form of formal education. Because of the ramifications and consequences of child labour, it is no longer that it is actually illegal in Nigeria, although the sheer scale of the activity gives the impression that it is legal.
Many argue that child labour is associated with poverty. And they believe that until concrete measures are taken until concrete measures are taken to tackle and reduce poverty, child labour will continue to be with us. They say that parents and guardians who push their wards towards paid or unpaid labour do not do so because they have been left with no choice. Some do so because they are widowed and the means by which they can look after the family is several limited.
The structure of this painting panel is defined by a subtle and structural manipulation to assert a three main media used in the painting, via sawdust, white glue and oil colours. These constitute a distinct geometrical relish that cuts across the entire composition, assuming a low relief painting in two dimensional forms. The use of blue, red, yellow, purple and green which seems seem to occupy almost the entire painting surface, with blue as a dominant colours. In the painting also, the use of intense colour contrast is to evoke mood. It allows a viewer to experience the kinetic power of the painting in a real life situation. This is achieved by the tactile values and optical effects of sawdust are too pronounced, as the colours are well rendered in avalanche of beauty. The structural line that cuts across the surface composition is a metaphoric symbol which arouses dynamic visual rhythms for the sake of variety and unity harmony.

Again, a glimpse at this painting can fathom out themes of poverty and as well as the need to look inwards to environmental sustainability. Thus, the relevance of the exploration is to manage sawdust from saw millers and add value to it so as to enable it contribute to environment sustainability, in view of the advocacy against climate change, due to the way it is being burned to ashes in most timber saw mills. The question is how do we replace the burning of sawdust with recycling to painting and equally save the environment? This question therefore, gave root to this painting.


The process is actually initiated by the desire to create a painting that demands attention and has a dynamic appearance. With this approach, I maintain textural effects and geometric shapes as a focal point with recycled waste sawdust and glue as a binder.
However, the relevance of the style is to manage sawdust from saw millers and add value to it so as to enable it to contribute to environmental sustainability, in view of the advocacy against global climate change, due to the way it is being burned to ashes in most timber sawmills. One may ask-How do we replace the burning of waste sawdust with recycling to painting and equally save the environment? This very question, therefore, gave root to this style of my painting.
Notwithstanding, this approach to painting is my own unique way of contributing to the environmental sustainability through reduction of pollution and health problems arising from sawdust combustion, through creative means of recycling the waste sawdust into painting. This will reduce greenhouse gas emissions while enhancing the quality of life and public health of the people.

Keywords: Paintings, Abstract Art, Child Labour, Contemporary Art, Original Painting, Conceptual Art, Geometric Paintings, Contemporary African Art, African Arts, Cubism, Mixed Media Art, Sawdust Exploration

Subjects: Abstract

Styles: Abstract, Conceptual, Cubism, Fine Art, Modern

Mediums: Oil, Environmental, Engraving, Enamel, Acrylic

Materials: Canvas, Other

Prints: Abstract Art Prints, Abstract Art Prints, Conceptual Art Prints, Cubism Art Prints, Fine Art Art Prints, Modern Art Prints, Oil Art Prints, Environmental Art Prints, Engraving Art Prints, Enamel Art Prints, Acrylic Art Prints, Canvas Art Prints, Other Art Prints