To Have and to Hold: Chinonso Eze

The Kaduna Fashion and Art Festival (KAFART) is back this year for its 6th overall edition and 1st edition as a biennial. The theme is “To Have and to Hold.” We had earlier spoken to the festival director, Ganiyat Sani, about what this edition promises. We spotlight some of the exhibiting artists and designers, asking them questions about their creative origins, their distinct interpretations of the theme, and how their heritage and local communities shape the narratives they choose to preserve against the threat of erasure.

Take us back to where your relationship with art began. What are your earliest memories of making, and who or what first made you feel that creating was something you could do, and perhaps needed to do?

My journey with art started in Inyi, Enugu State, where I grew up in a pottery-making community. My grandmother was a traditional potter, and I spent time watching her work with clay. I wasfascinated by how she turned simple clay into something useful and beautiful. Looking back, I can see how much those childhood experiences have shaped the artist I am today. 

This year’s theme, “To Have and to Hold,” asks what we choose to hold, what we let go, and the cost of holding on. When you first sat with those words, what did they stir in you, and how do they show up in the work you’re bringing to KAFART?

When I heard the theme, I immediately thought about the traditions we inherit and howeasilywecan lose them as society changes. For me, it’s about holding on to the things that make uswhowe are and finding ways to pass them on to the next generation. 

Tell us about the piece, or body of work, you’re exhibiting. What is the story behind it, and what do you hope someone feels or understands when they stand in front of it?

I am exhibiting two piece of works , which I made at the early phase of my practice, (AdaMamaI and Ada Mama II 2024) inspired by traditional African women’s hairstyles. I have alwaysbeeninterested in how these hairstyles express more than beauty; they also carry stories of identity, culture, and belonging. Many of these styles are becoming less common today, and I want mywork to remind people of their beauty and cultural significance. 

Tell us about the piece, or body of work, you’re exhibiting. What is the story behind it, and what do you hope someone feels or understands when they stand in front of it?

My ideas often come from memories, observations, or cultural practices that catch my attention. Once an idea stays with me, I start thinking about how I can express it through my materials. I enjoy experimenting and allowing the work to develop as I go. For me, creating is not just about making something beautiful; it’s about telling a story. 

KAFART asks what endures in the face of erasure and forgetting. Is there a story, tradition, skill or memory from your culture, family or community that you feel is at risk of being lost, and how does your work help you hold onto it?

I worry that some of our indigenous traditions, including traditional pottery and hairstyles, aregradually being forgotten. These practices hold so much knowledge and history about our people. Through my work, I hope to keep these stories alive and encourage people to appreciatethe cultural heritage we have inherited.

What does it mean to you to show your work at KAFART, and how has your community, your city and the way you grew up shaped the way you see and make?

Showing my work at KAFART means a lot to me because it gives me the opportunity tosharemy ideas and connect with other creatives. Growing up in Maiduguri and in a pottery-makingcommunity in Inyi has influenced how I see the world and approach my art. I amhappy tobepart of a platform that creates space for conversations about culture and identity. 

What is the work you haven’t made yet that excites you most, and what do you hope people carry with them after experiencing your work at KAFART?

Looking ahead, I hope to explore larger ceramic installations using my miniature clay pot- stacking technique. One of my biggest challenges is access to a reliable kiln and the highcost of firing ceramics. Because my work involves stacking delicate miniature clay pots, firingisparticularly challenging. These limitations sometimes restrict how far I can push my ideas, but they also motivate me to keep exploring possibilities. Ultimately, I hope to create work that preserves our cultural heritage and reminds people of the traditions we risk losing.