THE YEAR OF KNOTS HELEN NZETE A SOLO ART EXHIBITION CATALOGUE THE YEAR OF KNOTS HELEN NZETE A SOLO ART EXHIBITION CATALOGUE Copyright©2024 A catalogue of art exhibition Arttitude & Culture Code NG This catalogue contains original images from the artist. All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the copyright owner and publisher. Curatorial/Graphics Design: Rowland Yohanna Goyit Villa 28, BNL Life Camp, Alex Ekwueme Way, Abuja July 12 - July 16, 2024 THE YEAR OF KNOTS HELEN NZETE A special thanks to Maaike and Jürgen Bartelink. To my darling daughter Ire, for inspiring me to be better To my family the Nzetes, Onwukas and Anyamas And my brother and friend Rowland And to all the children of the world. 1 I n this solo exhibition of Helen Nzete, we are once again brought into the inner chambers of her thoughts, her experiences and her responses. The works seen together help us to have a deeper appreciation of the many people we meet, look, see and experience. The works are mainly portraits of different faces, yet their oval shape would suggest a certain genetic connection. These are faces without exposing shoulders or even their necks. The visual strategy tends to give the portraits a refreshing experience from the usual. Most of the compositions are faces set on a flat picture plane, with different sizes of ropes in their expressive musical movement. Ropes assume a symbolic signature of Nzete. They take on philosophical significance because of their constant presence in her works. Some works have faces in relief mounted on the picture plane. The palette essentially cool graphic colours, becomes a landscape upon which these faces are created. Some single portraits some in their multiples. All her works speak to the exploration of the self, identity, memories, experiences and expressions. The materials she used are paper, fabric, rope, acrylic, gold leaf, copper wire, and bronze leaf. The supports are either canvas or board. Nzete's use of these materials reveals an experimental creative fascinated with the process as well as the outcome. “At peace again”. With this work, as with the others where the faces are sculpted reliefs, the artist would appear to be drawing our attention to the ephemerality of life, its transience and the dialogue between life and death. These are issues that we are not traditionally comfortable with, even as a deeply religious country. At peace again, for me would appear to represent a memorial of a loved one. The rich flowers around the face would suggest that the personality so remembered is well loved. “Dubem”. Mixed media. 2024. Dubem is a story that is focused on children born with autistic challenges. This is a growing demographic concern that was once uncommon or denied. It is very possible that the artist may have firsthand experience of a family of children with this condition. Dubem is captured in three different colour schemes set in a lush flower garden. The three portraits appear to be the same face. For me, the overall visual effect is unsettling. Dubem could be a frozen face emerging from trauma. The red eyes further create an eerie feeling. It calls for attention and asks many questions. “Of tomorrow”. Mixed media. 2024. This work set two almost equal circles on the centre of the picture plane. The upper circle has a blue eye; while the lower has the eye vanished rather swiftly into oblivion. A rope, depending on how you wish to read it flows into the picture plane from the top left-hand corner to the bottom, flowing gracefully out at the bottom left. The entire picture plane is covered with fine delicate ropes in concentric circles. What we see is something that looks like a cosmic map. The artist would like to see the composition as a future world where children are safe. Indeed, any living species are the most threatened and vulnerable, they are children. We see this in poverty, where wealth is displaced with obscenity and during wars. THE YEAR OF KNOTS: ART PIECES, DETAILS AND FACES FOREWORD JERRY BUHARI 2 “Unseen” is a portrait of half the face of a youth. Through the brief narration of the artist, we learn that she seeks to tell a story of a common happening in many families. Certain children are often neglected. These are usually quiet children who are introverts. As a lecturer, I can easily identify with that. Quiet children easily go unnoticed. It is only when they do something extraordinary or outlandish that they become visible, for good or for bad. “Collective memories”. This is a portrait of a youth whose face is perfectly oval. The bright piercing eyes gaze into our own eyes, almost expressionless. The face painted in golden yellow hues represented in graphic style, registers in our hearts as if holding us accountable for something. If we are courageous enough to accept it, this face seems to beg for answers, and attention or even accuses us of neglect. Isn't this the story of Nigerian youth? If one is to summarise one's thoughts about these exhibits, it would be that here is an artist fascinated with humanity. Her curiosity and passion to see, to know, and to experience humanity, of which she is a part of demands that we look at her works again and again. By so doing one can partake of her voyage and even her person. This is perhaps one of the most treasurable and pleasurable offerings that art bequeath to humanity. Jerry Buhari July 2024, Zaria We are once again brought into the inner chambers of her thoughts, her experiences and her responses... together help us to have a deeper appreciation of the many people we meet, look, see and experience. “ ” 3 INTRODUCTION M y encounter with Helen Ogochukwu Nzete many years ago, during her undergraduate studies at Ahmadu Bello University, Zaria, left me with the impression that she is bold, brave, humble and intelligent, in a certain interesting manner. Her doggedness in demanding for what she considers her right, without being disrespectful, also reaffirmed my convictions that tutors must always be fair, objective and open to scrutiny by their students. Helen Ugochukwu Nzete (b. 1986), from Delta State, had her primary education at Handmaid's International Primary School, Abuja and completed her secondary school at Federal Government Girls College, Bwari Abuja. In 2010, she obtained a B.A. Fine Art degree, specialising in sculpture from A.B.U, Zaria. Her cosmopolitan experience, considering her schools background can be attributed partly, for her open mindedness and her ability to interact freely with diverse people, irrespective of culture, religion or race. In the course of her personal development, she has engaged at some point in creative business enterprises and has participated in a couple of group exhibitions and two solo exhibitions before now. Today, like yesterday, my opinion about her remains the same and has been somewhat validated. This is because, she has developed into a fearless, bold, brave and innovative, yet humble artist, better than how she started. It is Helen Nzete's believe that, if women identify their strengths and harness them, they can solve most of the challenges and problems that confront them, within the societies they inhabit. Indeed, the challenges and problems are numerous and will require a rich dose of "art and advocacy " or what you may call artivism , to resolve them. Drawing inspiration from the complexities of her personal experiences and challenges faced by children globally, such as issues of abuse and exploitation, to the broader spectrum of children's rights, Helen employs the metaphorical concept of knots to symbolize the interconnectedness and otherwise of these challenges. Thus, the urgent need to address them, as a collective responsibility. Her art technique, which juxtaposes the entangled complexities of unresolved childhood experiences with the ongoing struggle for children's rights, aims to break the cycle of trauma, by empowering adults to rediscover their past and in turn, become effective advocates for a brighter future for children. DUNIYA GILES GAMBO FEARLESS, BOLD, BRAVE AND INNOVATIVE, YET HUMBLE ARTIST 4 Granted, children innocently inhabit a world of vulnerability and their voices often muted by the worries of society. Helen reminds us in her “Fragments of me” that each of us carries within ourselves, the echoes of childhood experiences, some tender and transparent, others laced with obscurity and pain. The reoccurring faces and ropes, reveal a deeper truth that these knotted pasts are entangled as potent metaphors for the injustices children face today. By confronting our personal 'knots', we gain better understanding, which helps us to develop the required empathy and a heightened sense of urgency to secure the rights that all children deserve. Knots are intricate and tenacious, symbolizing restriction, adversity, and the unyielding force of the past upon the present. However, they can also be undone, revealing resilience, as well as vulnerability and yet, the potential for transformation. This exhibition therefore invites us to confront the tangled truths of our own childhoods, unlock our compassion and ignite the change needed for the healthy growth of the children today, tomorrow and in the future. This is the Helen I know, this is what she presents and represent, she is the person I am presenting to you. Please join her to create a better experience for our children and thus, our future. DUNIYA Giles Gambo Ph.D Professor of Art History and Criticism Department of Fine Art Ahmadu Bello University Zaria July 2024 Indeed, the challenges and problems are numerous and will require a rich dose of "art and advocacy " or what you may call , artivism to resolve them. “ ” 5 “ The Knot” holds a profound symbolism in culture and art history. Same originating from the Igbo Ukwu Bronzes of South Eastern Nigeria and early Celtic Art in Europe has been endured over time and reflecting an amalgam of history, culture and artistry. The domestication of this symbol may vary in interpretation, but a prominent quality that it possesses remains expressions like unity, eternity and the cyclical nature of human existence as woven together in its thread of interpretation in artistic expression. Drawing inspiration from the deep cultural roots of Bantu knots and hairstyles in African societies where knots have served as a form of cultural expression, Helen's knots is a reminder of how these knots were used in coming-of-age rituals and ceremonies. The number and pattern of knots could indicate a person's marital status, age group, or milestone events. In some traditional Africa societies where ropes and hairs are knotted in curls and coils believed to resemble shapes in the cosmos. The style involves parting hair into sections, twisting those sections, and wrapping the twists around themselves to create neatly separated buns or knots. It is obvious that Helen understands how hairstyles are deeply intertwined with cultural heritage, personal expression, and resistance to societal norms. Her creative awareness of this nuance reflects a deeper connection with the rich history of African traditions, beliefs, values, and its important role in black identity. This fascinating symbolism across cultures and time periods is what Helen Nzete is exploring in “The Year of Knots”, her 3rd solo mixed media exhibition, to create unity and connection for people, ideas, or spiritual realms, while emphasizing collaboration and cooperation to advocate for the protection of children from traumatic experiences. The loops or endless knots in her work represent timeless concepts of relationships, of eternity and infinity. The knot is a symbol of strength and protection, providing a sense of security and resilience. Cultures around the world use the knot to convey commitment and love. During wedding, knots signify the binding of lives and love. The symmetrical formation of knots captures balance and harmony which is synonymous with equilibrium in life. Whether in the designs of Celtic sailor's knots or the knotted bronze works of Igbo Ukwu, these intricate symbols remind us of our shared bonds and enduring connections. This bond and connection with the past appear to be the fundamental factor THE KNOTS: AN INTERTWINED CONFLUENCE OF HISTORY 6 influencing present realities for most adults. By acknowledging this fact, Helen is calling for a deliberate conversation on the need to protect and safeguard today's children from violence, abuse and negligence. Beyond the conversation on child rights advocacy, Helen Nzete seems to have sent us on an errand to explore and uncover the creative and philosophical significance of knots in art history. As such, we are confronted with how knots symbolize unity, eternity, and interconnectedness, drawing from Celtic art of Europe, the Igbo Ukwu bronze vases of Eastern Nigeria and Bantu hairstyles of Southern Africa. These intricate materials and technique have left an indelible mark on artistic expression, emphasizing the ropes that bind us across cultures, time periods and experiences. However, the global community is yet realize that the traditional natural fibre rope craft of Nigeria and other parts of the world are highly endangered by the introduction of synthetic nylon polyester and polypropylene ropes. Ken Okoli PhD Professor of Aesthetics Department of Fine Art Ahmadu Bello University Zaria July 2024 Helen Nzete seems to have sent us on an errand to explore and uncover the creative and philosophical significance of knots in art history “ ” 7 T he conceptualization of this show has been quite challenging and rewarding at the same time. To put together any idea that attempts to visit the past in order to understand the present and prepare for the future, is a herculean task. Depending on whom you ask or your personal experience, art can evoke anything from distinct memories to expectations of tomorrow, The Year of Knots is conceived as a compelling showcase of mixed media art that delves into the intricate tapestry of childhood experiences and their impact on adults. Renowned for her thought-provoking and socially conscious work, Helen Ogochukwu Nzete delves into her third solo exhibition with a collection that serves as a strong commentary on the challenges faced by children worldwide, while simultaneously celebrating the resilience and strength that can emerge in the face of such adversity as children become adults. The thematic core of this exhibition revolves around the concept of a "Knot" as a metaphor for the complex and often tangled issues surrounding children and growing up. She ingeniously weaves together various artistic elements, including paintings, sculptures, and multimedia installations, to explore the interconnectedness of these challenges and the imperative need to give a voice to the unspoken realities of childhood experiences. The body of work unfolds as a visual narrative, inviting viewers to untangle the knots of each piece, symbolically untying the rope that bind our collective and individual childhood experiences. She skillfully incorporates diverse mediums, from traditional canvas paintings to found objects, creating a multi-sensory experience that engages the audience on a profound emotional level. Through her art, Helen have been able to address issues such as child labour, access to education, healthcare, and protection from violence. Each piece serves as a powerful catalyst for conversations around these critical topics, encouraging viewers to reflect on the collective responsibility society bears in ensuring that adults safeguard the rights of children. She questions the concepts of destiny in relation to nature verses nurture. "The Year of Knots" is more than an exhibition; it is a call to action, a platform that serves as a powerful medium for advocacy, challenging societal norms and fostering empathy towards the plight of children. By blending creativity with a CURATORIAL PERSPECTIVE 8 powerful sense of purpose, she inspires viewers to become advocates for positive change in policies and attitudes that impact the lives of children and vulnerable people, globally. In this minimalistic exploration of the intricacies of early childhood development, Helen's work emerges as a confirmation to the dynamic power of art in advocating for a world where human rights are respected, protected, and upheld by every member of the society. While this exhibition celebrates the artist for her boldness to confront creative intentions and encourage other artists and art critics in Nigeria to tell the stories of those who can not speak for themselves, the exhibition’s goal is not simply to advance visual art as a medium of expression but rather to explore what is at stake in the society—what do these images mean, in terms of the public perception and art-world recognition of the issue under review?—and how it both interprets and influences how trauma, violence, poverty, ignorance and negligence are understood through art. Various writers have contributed to the volume of this catalogue with deep, insightful and critical review on Helen Nzete’s artistic nuances. While others examined the works on display, unravelling deferent layers and dimensions to the exhibition based on the merits of creativity, it remains extremely clear that her art have sparked a new conversation. The wealth of interaction within the space of art and advocacy has increased immensely since the doors of this conversation was opened. Where some see a confluence of visual elements and principles, others see a medium to relive a cherished or taunted past while facing the uncertainties of an unknown future. At the end, we must ask ourselves, what other art and advocacy inspired us? How can we continue to harness the power of creativity to drive positive change? Lets keep the conversation going! Rowland Goyit Curator Each piece serves as a powerful catalyst for conversations around these critical topics, encouraging viewers to reflect on the collective responsibility society bears in ensuring that adults safeguard the rights of children. “ ” 9 THE ARTIST H elen Ogochukwu Nzete is an award-winning multimedia artist working passionately to leverage the power of art as a tool for social change. Her works investigates issues, dilemmas and conflicts in society and its effects on individual realities. She holds a Bachelor of Arts degree in Fine Arts from Ahmadu Bello University Zaria, and has worked extensively in the art and creative sector as art instructor, teacher and programme coordinator. In 2014, she founded the Kids in Arts Workshop, Abuja. In 2018, she was recognized and awarded by the Embassy of Spain in Nigeria with the Social media Award for Visual Arts Competition. The Wotisart art magazine, UK. In their February and August edition of 2019, showcased her works as an emerging African Female Artists. Helen is the winner of the 2021 edition of the Spain – Nigeria Visual Arts Competition, hosted by the Embassy of Spain in Abuja, Nigeria. Her work was used as the cover art for the book IN HER WORDS: African Women Perspectives on Gender Equality. In 2019 Helen had her first solo exhibition titled “Perceptions” at the BNL Club House Abuja, Nigeria. Her second solo outing was in 2022, when she exhibited and launched a collection of NFTs and water colour paintings titled V is for... at the Matrix Gallery of Contemporary Arts, Abuja. Helen the current Welfare Director of SNA FCT Chapter and the exhibition coordinator of Muster Point; an annual group exhibition by S.N.A Abuja. She coordinated the Benin Bronzes Round-table 2023 in partnership with Goethe Institute and The Embassy of the Federal Republic of Germany. That same year (2023), she was part of the production team for “Conviction” a Nollywood movie as Artistic director. HELEN NZETE 10 Helen has participated in numerous group exhibitions, including: · Art Caffeine 2017. Afriartistry. Abuja, Nigeria. · Spanish Festivals and Traditional Celebrations 2019. Thought Pyramid Art Gallery. Abuja, Nigeria. · Balance for Better, Women Unite 2019. Chinese Cultural Centre. Abuja, Nigeria · Uncovered, Female Nigerian Artists 2019. British Village Abuja, Nigeria · A Gift of Blood 2019. Periods and More Resources. Kulture Kode Art Gallery Abuja, Nigeria · Arkane Afrika 2019. Hassan II Mosque Casablanca, Morocco. · Culture Cargo, Frankfurt Experience 2019. Frankfurt, Germany. · My View from The Other Side- Dreams and Reality 2021. Thought Pyramid Art Gallery. Abuja, Nigeria · La Experiencia 2022. Thought Pyramid Art Gallery Abuja. Nigeria. · Abuja Open House 2022. Transcorp Hilton · Abuja Open House 2023, Yunus Emre Institute, Abuja. · Home Coming. 2023 Ministry of Foreign Affairs, Abuja, Nigeria. Her multimedia artworks are in the collection homes, offices and public spaces such as the Development Bank of Nigeria, Anissa. El Jabbari ep Tagma. Former Ambassador of Morocco to Nigeria. (2019). Girl's Voices Initiative. Embassy of Spain in Abuja, Danielle Fichter – Private Art collector, Akpe Otu – Private Art collector, Maaike Bartelink , Patricia Lozanco among others. Helen lives in Abuja and works as a multimedia studio artist at Arttitude Arts and Design. 11 I have always wanted to have an exhibition on the rights of children but kept pushing it off until I encountered Chidubem. “The Year of Knots” begins with the story of a young autistic boy who I see around- Chidubem. His dad punished him one morning by pouring chili pepper in his eyes for peeping at his sister while she was dressing up. Upon hearing what had happened to this swollen and red eyed boy, I was furious and wanted to do more, then I knew I had to finally get this exhibition started. The Year of Knots seeks to confront us with our everyday realities as adults coming from an experience filled childhood. I hope to examine possible reasons or explanations to behavioural patterns in the life of adults- the good, the bad, the ugly and the beautiful. I hope that I can throw light on the importance of therapy in whatever form for children and families and how it shapes who and how we see things and translate them in our words and actions or inactions so that we can break the cycle of abuse, depression, frustration and embrace love above all for a better society. - Helen Ogochukwu Nzete ARTIST'S STATEMENT “ 12 REVIEWS NEGLIGENCE PAST PRESENT FUTURE ADULT SON DAUGHTER COMMUNITY ART SOCIETY VOICE INSPIRE REFLECT ENGAGE DISCUSS EDUCATE TRANSFORM ACTION DIALOGUE AWARENESS CHANGE HELEN NZETE ART-VOCACY ARTISM CHILD RIGHTS TRAUMA HEALING VIOLENCE 13 F or the past three years, I have been privileged to witness Helen Nzete's artistic evolution. Since her first solo exhibition, you can trace what has been an ascendant path to artistic excellence, which she is achieving by mastering all the possible techniques and, most of all, by not shying before any subject. Actually, for her series of works, Helen chooses to give free rein to her imagination and creativity both when she goes against formalities in an artistic landscape still dominated by schools and cultural models and when she is brave enough to tackle what are still taboos in the Nigerian society. Helen is an artist with a purpose who uses form and content to shaken our minds. What is her purpose this time? With the “Year of Knots”, she has decided to delve into the deepest hideouts of our consciousness. She is sending us adults a powerful message that should encourage us to untie our own knots, our own traumas and unspoken memories. This shall be the only way to guard our children from the masked wounds we come to society with, so that they can grow in a place where they can express themselves fully without fear. This exhibition is not accidental; it comes at a time where this message is more important than ever. How would they make of this world a better place tomorrow if they are exposed today to atrocities, if they endure horror, and no one is there to shield them from their nightmares? All of these years I have been privileged to know Helen through her works, but I have been even luckier to speak with her about them. She has come to me with blunt, necessary stories that have awaken my senses when confronting those works. I hope you come to this exhibition disarmed, because she wants to win over our long-born restraints and to speak directly to our hearts and minds, in a way she will unknot those knots through the eyes of a child. AN ASCENDANT PATH TO ARTISTIC EXCELLENCE Patricia G. Lanzaco Spanish Embassy. 14 A dvocating for children's rights through mixed media art. 'The year of knots' by Helen, is an exhibition that is thought provoking, her visual signature is quite distinctive, a style and techniques that appear to be unique compositionally. Helen Nzete visual signature is a strong exploration of children's rights, conveyed through the dynamic and expressive medium of mixed media art. The body of works in this her exhibition is a visual signature in art form to the resilience, hopes and struggles of children around the world, bringing attention to their voices and stories that often go unheard. The year of knots : weaving a narrative of children right exhibition, is an evocative exploration of children's rights, artfully express through the intricate and symbolic medium of knots. Each knot in this year-long series represents a story, a struggle and a hope, intertwining to create a powerful tapestry that advocates for the protection and empowerment of children worldwide. Exhibition Essence: 'The Year of Knots' is more than an artistic endeavour, it is a year-long commitment highlighting the complexities of children's rights. Through the exhibition, Helen Nzete uses the knot, simple but yet a profound symbol to represent the interconnectedness of children's lives and challenges they face. Each knot embodies a unique narrative, from the innocence of children dreams to the harsh realities of exploitation and conflict. Conceptually: Knots connotes interconnectedness which symbolizes universal connection, complexity and resilience. The body of works in this exhibition, represented intertwined nature of children experiences and the collective responsibilities to protect their rights. Metaphorically: The Knots visually convey the idea that children's rights are not isolated issues but deeply interwoven with broader social, economic and political contexts. Narratively: The works portray both personal and global stories, personally, each knot in the series is accompanied by a stories or messages, bringing attention to individual children and their unique circumstances. From the global perspective, the knot represents stories from different parts of the world, Nzete highlights the universal nature of children's rights issues while respecting cultural diversity. In her artistic technique, Nzete employs a variety of materials, HELEN NZETE AND HER SIGNATURE 15 ranging from ropes, threads, fabrics and mixed media to create each knot reflecting the diversity of children's experiences. Through detailed craftsmanship, Nzete meticulous process of knotting symbolizes the care and attention required to address and uphold children's rights. Highlight of The Works: The exhibition captures series of interesting and captivating works that transcends visual art to become advocacy tool. Works in this category are: “ Memoirs of Children's ” which captures the essence of childhood, the nature of growing up, the innocence, joy and the complex realities children face. Through her artistic signature, Nzete reconnect with childhood memories and broader context of children's rights. Also “ unseen ” is one of the works that delves into the hidden aspect of children's lives from living in poverty and conflict zones to those who face daily discrimination and neglect. The artist's work challenges viewers to confront these uncomfortable truths and encourage empathy and action. Through a combination of textures, colours and materials, she creates a powerful visual narrative through her visual signature that demands attention and reflection. Other outstanding works include “ what we fear once again is the unknown ” which is the exploration of the unknown as both a source of fear and a catalyst for growth. Nzete's artworks capture the tension between fear and curiosity, highlighting how children despite their vulnerabilities often face the unknown with remarkable bravery and imagination. The work invites viewers to confront their own fear while empathizing with the uncertainties that shape the lives of children globally. Conclusively: “ The Year of Knots ” stands as a unique signature of Helen Nzete's dedication to children's rights and her belief in the power of visual art to effect change. Through this exhibition, the artist weaves a compelling narrative that calls for awareness, compassion and action. Each of the knot is a reminder of one collective responsibility to protect and nature the future generations, ensuring that every child has the opportunity to thrive and realize the full potential. OBADOFIN SAMUEL BAMIDELE PhD Department of Fine Arts, Faculty of Environmental Sciences Lagos State University 08061278168 samuelobadofin2061@gmail.com 16 y first encounter with Helen Nzete's work was during her M first solo exhibition in 2019 titled “Perceptions.” Her multidisciplinary approach to art investigates the social issues around her environment. And it was evident in how she focused on using the face as a window to her characters' inner feelings and turbulence. Her second exhibition was about the power and symbolism of the female privates titled “V is ...” These past exhibitions show an artist in tune with the happenings in her environment and is enthusiastic about using her art as a tool to address them. What I find interesting about her work is her layered process-based studio practice, which enables her to take on themes, one at a time, and unravel them like balls of onion, with each layer revealing a fresh essence. It is often an enriching opportunity to view each new body of work from the artist. Her current oeuvre showing in this exhibition focuses her artistic gaze on children, beaming her light on some of the visible and not-so-visible challenges of being a child. Reviewing the images in the works for the exhibition, I realized that I was searching for the 'child' in the faces that Nzete featured in her works. But who is a child? Is it the infant, a toddler, a teenager, or even adults who can still be called son or daughter by someone? The understanding of who a child is clear albeit physically. A child grows to become an adult but psychology may view things a little differently, when it is suggested that adults seldom outgrow the elements of childhood in them. That child we were, still lives in every one of us. While Nzete's work pointedly addresses the Nigerian Child, it also becomes an opportunity to look deeper into ourselves, to recall the child we once were and how we can draw from our experiences to engage the children under our charge. Most of the mixed media in this body of work titled “The Year of Knots” were created using mediums such as cast paper, ropes, modelled floral designs and colours. The central idea of the body of work takes us deep into the annals of memory and psychology with the artist using her works as stations, taking us on a journey to and through some of the labyrinths of childhood. Children are the hope of our future-upon whose shoulders, our future must rest. As a result, we are often deeply concerned about their issues, and Nzete's work is an ode to them. Herself a mother, “The Year of Knots” exhibition is the artist's attempt to lend her artistic voice in dealing with the issues confronting children and their rights to good health, quality education, their right to play and more, even amid uncertainties. Some of the titles for the body of work in this exhibition include: “Memoirs of Childhood,” “Collective Memories,” “Unseen,” “Dubem,” “Of Tomorrow,” “At Peace Again,” “What we fear once again is the unknown,” and “Sunshine and Vibes.” They collectively speak about the uncertainties and fears surrounding the future of the Nigerian child. In the work “What we fear once again is the unknown” the artist speaks to the intricate nature of being and the myriads of elements that shape people even from the cradle, as we navigate the complex mazes of human relationships. The work conveys that while we live with some of our shortcomings, we shouldn't allow them to define who we are. Instead, those shortcomings should become the building blocks towards helping us find the true meanings and the essence of our lives. The work “At Peace Again,” references the need for courage in our earthly journey of self-discovery. We must take cognisance that the human spirit has a remarkable ability to self-repair and transform amidst adversity. According to the artist, “It is finding THE YEAR OF KNOTS: HELEN NZETE'S OFFERING TO THE NIGERIAN CHILD