The Zaria Rebels: Yusuf Grillo
Published 17 October 2024 in The Legacy
Uche Okeke Legacy Editorial
Yusuf Grillo is one of Nigeria’s most revered artists and had a profound influence on the country. Born in 1934 to a Yoruba family in the Brazilian Quarters of Lagos Island, Grillo was exposed to the Yoruba culture from an early age which would have a long-lasting impact on his practice in later years.
As a founding member of the Zaria Art Society, he played a central role in shaping the Natural Synthesis philosophy and built his distinctive visual identity and artistic language around this ideology. He received a diploma in Fine Art and a postgraduate diploma in education from the Nigerian College of Arts, Science and Technology in Zaria (NCAST - now Ahmadu Bello University), and his later studies took him abroad where he received further training between 1964 to 1967 at the Camberwell College of Arts, UK, and the Central School of Art and Design, London, UK, which exposed him to the necessary skills needed to master various techniques which he merged with his deep-rooted Yoruba heritage.
The Zaria Art Society
Formed in 1958, the Zaria Art Society was an important point of encouragement for Yusuf Grillo, as it was to so many of his contemporaries. They believed that Nigerian art should reflect their unique heritage and contemporary realities, rather than merely imitating Western techniques and ideals, and was the catalyst needed to spark a revolution that would impact the future of Nigerian and African Modernism - and art as a whole.
Having been born into a Yoruba family, Grillo was no stranger to the long-standing traditions and aesthetics of his people, and his time in the Zaria Art Society was less about connecting with his roots as it was about having the freedom to express them. Like with all Nigerians studying art under colonial rule, he was trained in highly Eurocentric art forms and practices that allowed little to no room for indigenous experimentation, and this is what the Zaria Art Society sought to change. As one of the founding members of the group, Grillo was instrumental in shaping Natural Synthesis, which became the core philosophy of their artistic practice. This philosophy called for the blending of indigenous African artistic traditions with Western techniques to create a new, distinctly Nigerian art form, and for Grillo, this meant integrating the geometric precision and formal elements he had learned in European art training with the deep symbolism, spirituality, and aesthetic sensibilities he had grown up with. The Zaria Art Society allowed Grillo to experiment freely, pushing the boundaries of not only his practice but of what Nigerian art could be, and it was during this period that he began to hone his signature style, characterized by the vibrant use of colour and geometric forms that would become his hallmark. The society’s emphasis on reconnecting with indigenous roots gave Grillo the platform to fully explore the cultural and spiritual dimensions of Yoruba art in ways he had not yet been able to, and the work he created in this period highlights his desire to celebrate Yoruba mythology and practices while contributing to the broader revolution the society was birthing.
The collaborative atmosphere within the Zaria Art Society was a key aspect of the society that played a vital role in the development of Yusuf Grillo’s visual identity, as it allowed him to engage in intellectual and artistic exchange with like-minded individuals. At a time when Nigerian’s were often isolated by rigid colonialism, spaces for creative collaboration were rare, especially for those who sought to challenge the dominant ideal. The Zaria Art Society was unique in that it provided its members with total freedom of cultural identity and artistic voice. It was an environment of mutual support and creative challenge that shaped his views on art and society, reinforcing his belief that Nigerian art should not only reflect local culture but serve as a vehicle for cultural preservation and education. For Grillo and his peers, this offered more than just artistic growth - it provided a psychological upliftment that fuelled their confidence and determination. The exchange of ideas among the society’s members fostered a sense of solidarity, making them feel part of something larger than themselves, and the society became a sanctuary where they could challenge each other, explore new ideas, and validate their efforts to redefine Nigerian art on their own terms. This collective energy empowered them to push against the prevailing European standards, and the shared sense of purpose and cultural pride allowed Grillo and his peers to manifest a future where Nigerian art would be both globally relevant and deeply rooted in proudly African traditions.
The Zaria Art Society was committed to cultural authenticity, and placed importance on finding a balance between tradition and modernity - a balance that would enable Nigerian art to evolve while staying true to its roots. His time with the Zaria Art Society was not just about rejecting Western norms, but about defining a path forward for Nigeria. It was a period of exploration, innovation, and cultural affirmation that shaped his career for decades to come, and helped establish a new direction for Nigerian art that resonated well beyond the confines of the group, influencing future generations of artists.
Artistic Style and Techniques
The most prominent feature of Yusuf Grillo’s work is the stunning array of bold colours and geometric shapes he would use to express the emotion and meaning behind the piece, often in deep blues, purples, and greens - tones that hold certain significance in Yoruba culture.
Colour plays a vital role in Yoruba society and serves as a form of communication, symbolism, and expression. Each colour carries its own cultural and spiritual meaning and name - blue (būlūū), for example, is associated with peace, tranquillity, and harmony; red (pupa) signifies power, sacrifice, and transformation; and white (funfun) is considered the colour of purity, spirituality, and the divine. Colour has been used in Yoruba rituals, to indicate status and mark important life events for thousands of years, and evidence of this has been found in excavations of the ancient city of Ile-Ife, which was founded between 500BC and 1000BC, and continues today on garments and adire textiles, traditional sculptures, and body painting. In Grillo’s work, these cultural meanings are embedded in his choice of palette, giving his paintings a deeper layer of connection to his heritage and the beliefs and aesthetics of the Yoruba people. His deliberate use of these colours draws the viewer in, inviting them to engage not only with the visual beauty but also with the cultural meanings beneath the surface. For Grillo, colour was not merely an aesthetic choice, but a way to communicate deeper spiritual and cultural narratives.
Beyond his striking use of colour, Grillo’s compositions are notable for their intricate geometric patterns - inspired by traditional Yoruba textiles like adire (tie-dye) and the intricate designs found on carved wooden panels - which bring structure and rhythm to his work. These patterns serve as both decorative and functional purposes, and harmonize the abstract with the figurative to help to direct the viewer’s eye across the piece. By working with composition in this way, Grillo created a visual rhythm that guides the viewer’s attention while conveying a sense of movement and emotion to creating a dynamic, layered narrative. This can be seen well in his piece Eyo, where the white figures representing the Eyo masquerades of Lagos are strategically placed within a structured geometric background. The figures stand out amongst the rich blues, greens and purples, emphasising their role as divine messengers and drawing the eye toward them, and this use of this colour palette and careful placement of shape and line expresses the serenity and solemnity of the festival, inviting the viewer to feel a connection with the spirituality of the event. Engagement with Yoruba cultural traditions was at the core of his work, which are infused with their rich mythology, symbols, and spiritual practices.
Whether exploring themes of spirituality, mythology, or everyday life, Grillo’s art reflected his profound connection to his heritage, evident in both the subject matter and the stylistic choices he made.
Impact on art education and younger generations
Yusuf Grillo has had a mammoth influence on the generations of artists that followed in his footsteps, and his approach to art, rooted in the principles of Natural Synthesis, continue to inspire many emerging artists that seek to redefine the narrative surrounding identity and aesthetics.
Grillo's distinct visual identity contributed to the groundwork for a new wave of artists that has come to be known as the ‘new Nigerian artists’ - a generation of contemporary artists who emerged in the late 20th and early 21st centuries and are characterised by their innovative practices that embrace Natural Synthesis. Notable figures El Anatsui, Nike Davies-Okundaye, and Obiora Udechukwu have specifically acknowledged Grillo's influence, and the influence of the Zaria Art Society as a whole can clearly be seen in the practices of the three equally innovative artists - El Anatsui with his large-scale sculptures and installations made from bottle caps and other recycled materials, challenging conventional norms in sculpture and exploring themes of consumption and waste; Nike Davies-Okundaye, artist and educator, celebrated for her textiles, traditional adire fabric designs, and her role in promoting traditional crafts and techniques; and Obiora Udechukwu who combines Western art education with traditional African art forms, and explores the interplay between oral tradition and visual storytelling. Many of the ‘new Nigerian artists’ are also influenced by social commentary and political engagement - another characteristic shared with Grillo and the Zaria Art Society - and draw inspiration from the Zaria Rebels’ belief that art should reflect local culture while addressing pressing societal issues, which can be seen in the work of artists Toyin Ojih Odutola and Yinka Shonibare - known for their thought-provoking pieces that address stereotypes and engage with themes of identity, race, and globalisation.
Grillo’s influence extended far beyond his artistic practice, and his emphasis on art education - something he keenly shared with Uche Okeke - was key to the emergence of this younger generation of artists. After the Zaria Art Society was disbanded in 1975, he became head of the Art Department at Yaba College of Technology where he dedicated himself to nurturing younger talents until 2005. During his tenure that lasted over 25 years, Grillo developed a curriculum that emphasised the equal value of traditional and contemporary aesthetics and practices, and encouraged students to engage with the Natural Synthesis philosophy. This approach gave them the same haven that was offered to him at the Zaria Art Society - one that encouraged experiments with various media and techniques, allowed for the development of a unique artistic voice, and, crucially emphasised the importance of remaining connected to their roots. Beyond the classroom, Grillo’s cultivated an environment of collaboration and innovation and providing students with opportunities to showcase their work and participate in exhibitions. This wasn’t limited the Yaba College of Technology - he was actively involved in various cultural institutions and initiatives that aimed to promote Nigerian art both locally and internationally, and participated in workshops, exhibitions, and art forums, to continue his mission of advocating for cultural education and the need to preserve Nigeria’s artistic heritage.
Yusuf Grillo was intensely committed to uplifting creatives on the African continent, and the work he did completely shifted the trajectory not only of Nigerian and Africa art, but the lives of so many individual artists, many of who would go on to achieve significant recognition in the art world and credit his guidance and support as instrumental in their development.
Exhibitions and Legacy
Yusuf Grillo's artistic journey has been marked by numerous exhibitions and recognitions that highlight his significant contributions to the art world, such as the 1975 First International Conference of African Art held in Nigeria, which aimed to celebrate and promote African artistry on a global scale.
In the following years, Grillo's work was featured in prominent exhibitions such as African Art in the 20th Century, 1982, held at the Centre Pompidou in Paris, and Contemporary African Art: An International Perspective, 1989, at the Newark Museum in New Jersey, alongside Uche Okeke, Bruce Onobrakpeya, and Bisi Silva, a younger member of the Zaria Art Society who became known for her curatorial work and promotion of African artists. Both of these exhibitions showcased the richness and diversity of African art to a broader audience, many of whom hadn’t seen such large and organised displays of this art form before, and helped amplify the visibility of Grillo and his contemporaries, cementing their roles in redefining African artistic narratives. His contributions didn’t go unnoticed, and he received several accolades throughout his career. In 2005, he was awarded the Fellowship of the Royal Society of Arts in the UK, recognising his commitment to promoting art and education, and was also a recipient of various national awards, including the National Merit Award in 2014, honouring his impact on Nigerian art and his dedication to nurturing younger generations.
Since Yusuf Grillo’s passing in 2021, his legacy has only grown, with his work continuing to be celebrated in posthumous exhibitions, scholarly literature, and high-profile auctions. Several exhibitions have been held to honour his legacy in the years following his passing, notably, Yusuf Grillo: A Centenary of Colours in 2022 - a major retrospective of his work showcasing an extensive collection of his paintings, drawings, and stained-glass pieces held at the National Museum in Lagos. Grillo’s works have also gained significant attention in the international art market, and his vibrant geometric paintings have appeared in prestigious auction houses such as Bonhams and Sotheby’s, where they fetched impressive prices. In particular, Grillo’s Drummer's Return (1983/1999) achieved a record-breaking sale price of ₦78.4 million (about $190,000) at Bonhams in 2021, setting a new auction record for Grillo and further solidifying his status as one of Nigeria's most prominent modernists. In addition to exhibitions and auctions, Grillo has been the subject of numerous scholarly publications and critical essays that examine his legacy and role in shaping the course of modern Nigerian art. His influence is frequently discussed in literature on African modernism, and he has been featured in Nigerian Art in the 20th Century by Osa D. Egonwa, and Modern Nigerian Art: From the Zaria Rebels to Contemporary Masters by Chika Okeke-Agulu, ensuring that younger generations continue to be influenced by his incredible visual language and philosophy.
Yusuf Grillo was, and continues to be, an extremely powerful and impactful individual. As with his contemporaries, his desire to make a change, to create an environment that didn’t favour one over the other and uplifted all parts as aspects of the whole, entirely shifted the trajectory not only of Nigerian and African art, but the country and continent itself. His journey, and that of the Zaria Art Society as a whole, marks a significant period of history that continues to influence African art, and will do so far into the future.