Over viewing the Drivers Dexterity George Osodi’s Oeuvre on Safety on the Nigerian Road

Using Drivers Dexterity’s censorship of photos and drawing attention to these types as profiles of the state of a major infrastructure, I used them as a vestigial to a narrative that embodies various contexts. These represent the Nigerian nation’s identity and background. The work of art is the censure on which the transient memory of the discourse of real people’s daily lives is based: “Art makes spatially perceptible the perceptions of time by pushing what is ever fleeting into the calm context of a symbol”[1] Therefore, reflecting on the consequent rhetoric inherent in the linguistic / pictorial / cultural turn and the techniques used by the p. Derelict infrastructure; participation. In reality, in the actualisation of a synchronic study, the use of symbols, such as scaffolding keeping the tale that inflects an identity; and the phono-centric pictures, are indispensable synergies. This essay examines what to do by drawing attention to the pains of others. The photographs of George Osodi go beyond the showmanship of contemporary Pictorialist photography’s anaesthetizing and picturesque instruments. The perceptive viewer is drawn by these images to an extreme degree of seminal appreciation of his subjective interior space.

Author(s) Details

P. Graves, Nelson
Department of Fine and Applied Arts, Ignatius Ajuru University of Education, Rumuolumeni, Port Harcourt, Nigeria.

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