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Speaking about his life-long dedication to the fine arts,
Maitre Afewerk Tekle instills in his audience the importance
of using art to inspire people, to uplift nations and
to create an optimistic view of life. “What we do
today must reflect today’s life for tomorrow’s
generation and pave the way for the future generation,”
he asserts with passion and reflection. He teaches us
that “art is in every fabric of life.”
Few
moments are as electric as when the Most Honorable Maitre
Artist World Laureate Afewerk Tekle walks through a crowded
auditorium at Stanford University to give an insider’s
view of his accomplishments and life adventures. Elegantly
clad in the sheer white of the Ethiopian national costume,
Maitre Afewerk lets his artistic mind captivate the audience
as he takes his red-bordered netela to demonstrate the
various ways one can wear it for different public venues,
including as a graduation gown. He receives an enthusiastic
thunder of applause as he concludes his brief introduction.
It is the first time since the mid-1960’s that Maitre
Afewerk Tekle has traveled to the United States to talk
about his award-winning artwork. As the featured speaker
for the annual Pioneers Forum organized by the Stanford
Ethiopian Student Union, Maitre Afewerk shared his personal
journey with the Ethiopian-American and larger Bay Area
community on March 7, 2004.
Afewerk
Tekle, an internationally recognized artist, was born
in the town of Ankober in Ethiopia on October 22, 1932.
Having grown up in an Ethiopia battling fascist Italian
forces, Afewerk was acutely aware of the destruction of
war and the need to rebuild his native home. Intent on
acquiring skills that would allow him to contribute to
Ethiopia’s restoration, the young Afewerk settled
on pursuing his studies in mining engineering. His family
and friends, however, had already recognized his inner
talent in the arts. Around town he was know for his drawings
on walls using stones, and for possessing a curious and
ever reflective mind. Despite his natural gravitation
to the art world, at the age of 15 Afewerk was chosen
to be sent abroad to England to commence his engineering
studies.
Maitre
Afewerk recalls being summoned by Emperor Haile Selassie
to receive last-minute advice prior to his departure.
“To this day I cannot forget his words,” the
Maitre says pensively. “The Emperor began by counseling
us to study, study, and study.” he told the audience.
“He told us: you must work hard, and when you come
back do not tell us what tall buildings you saw in Europe,
or what wide streets they have, but make sure you return
equipped with the skills and the mindset to rebuild Ethiopia.”
Maitre Afewerk later confides that this sermon rang in
his head each time he was tempted to seek the easy life,
free from the responsibility of rebuilding his nation
and uplifting his people.
As
one of the earliest batch of African students admitted
to exclusive boarding schools in England, Afewerk faced
culture shock and the occasional strife caused by English
bullies. Yet he remained steadfast in pursuing his studies.
He especially excelled in courses such as mathematics,
chemistry and history, but it was not long before his
teachers discovered his inner talent for the arts. With
the encouragement of his mentor and his teachers, Afewerk
decided to focus on refining his gift and enrolled at
the Central School of Arts and Crafts in London. Upon
completion of his studies he was accepted as the first
African student at the prestigious Faculty of Fine Arts
at Slade (University of London). At Slade, Afewerk focused
on painting, sculpture and architecture.
Upon returning to Ethiopia, Maitre Afewerk traveled to
every province, staying at each location for a period
of up to three months, immersing himself in the study
of his surroundings and absorbing Ethiopia’s historical
and cultural diversity. He reflected on and pushed himself
to become an Ethiopian artist with world recognition.
“I had to study Ethiopian culture,” the Maitre
states, “because an important ingredient of a world
artist is to have in your artwork the flavor of where
you were born.”
He
passionately adds, “My art will belong to the world
but with African flavor.” Above all, Maitre Afewerk
worked diligently in the hopes of using his artwork as
a social medium with which to highlight the history, struggles
and beauty of his native home. Although he was educated
abroad, he fought against what he called “the futile
imitation of other artists’ works, Western or otherwise.’’
With
the message of rebuilding Ethiopia still ringing in his
ears, Maitre Afewerk quickly decided to relinquish the
ministerial post assigned to him upon completion of his
university studies, and opted instead to devote his full
attention to painting and exhibiting his artwork both
at home and abroad. At age 22, Afewerk Tekle held his
first significant one-man exhibition at the Municipality
Hall in Addis Ababa in 1954. He followed up his success
by conducting an extensive study tour of art in Italy,
France, Spain, Portugal and Greece, paying particular
attention to collections of Ethiopian illustrated manuscripts
as well as acquiring skills in stained-glass artwork.
Returning home he was commissioned to create religious
art for St. George’s Cathedral. He also worked on
some of the first sculptures depicting Ethiopian national
heroes.
His
designs and inspirations were soon printed on stamps and
national costumes. Most notably, he conceptualized and
designed the elaborate stainedglass window artwork in
Africa Hall at the headquarters of the United Nations
Economic Commission for Africa. With the income and savings
he acquired by selling his artwork Afewerk designed his
own 22-room house, studio and gallery, which he nicknamed
‘Villa Alpha’.
By 1964 Maitre Afewerk had held his second successful
exhibition, thereafter followed by his first exhibition
abroad in Russia, the U.S.A. and Senegal. Touring African
nations at a time when Africa was under the yoke of colonialism,
Afewerk Tekle used his paintbrush to fight for the dignity
and honor of African people. Focusing on the struggles
ensnaring black people, he shared his quest for liberation
and equality, naming his artwork with titles such as ‘Backbones
of the African Continent,’ ‘Africa’s Heritage,’
and ‘African Unity.’ “Your brush can be
quite stronger than the machine gun,” he says facing
his audience. “I wanted to show how you can write
Africa through your artwork, what it means to have liberty,
to have your fellow humans completely equal.” The
theme of African independence and the interrelationship
of African cultures are indelibly etched in Maitre Afewerk’s
paintings.
Many
art critics have tried, time and time again, to label
and categorize his work as having either European or African
influence, and sometimes even both. However, he tells
us that “you should be free and liberated in your
thoughts and style. Your art should speak to you in your
hidden language.” Maitre Afewerk notes that 10% of
his work is considered religious art while at least 50%
echoes Ethiopian influence. But there is room for him
to explore and develop his own style that speaks to his
inner muse. Today, Maitre Afewerk’s art is known
and celebrated throughout the world, and indeed he has
achieved his dream of becoming an Ethiopian artist with
world recognition. He has uplifted Ethiopia, and at the
same time his art has been infused into the daily life
of his community and fellow citizens. Walking or driving
around Addis, it is difficult to miss his current art
projects depicting today’s heroes such as world champion
runner Haile Gebresellasie. At the bottom corner of the
painting there is an Amharic phrase that says it all:
“Yitchalal!” (It’s Possible!).
At
the end of his presentation Maitre Afewerk opens a window
into his private world as he shares the fact that he always
spends time in the private chapel in his home prior to
commencing work on a piece of art, and again after it
has been completed. To him it is a place of inspiration.
“At the end of the day, my message is quite simple,”
he says. “I am not a pessimist, I want people to
look at my art and find hope. I want people to feel good
about Ethiopia, about Africa, to feel the delicate rays
of the sun. And most of all, I want them to think: “Yitchalal!”
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