Ugoma Ebilah is a veritable multi-hyphenate! Trained in economics, business and finance, Ugoma has made a career out of pivoting. After graduating with a B.Sc Economics degree (Second Class Upper) from the University of Ibadan she continued her academic pursuits at the University of Manchester where she took an MSc in Business Economics (Merit) She started her career as an analyst in oil and gas with stints at Schlumberger and Ocean and Oil before gaining some work experience in real estate and principal investments.
She was subsequently employed as Head, Business Development at Helios Towers before deciding to tread the path of entrepreneurship. Her first entrepreneurial foray was in hospitality which saw the setting up of the eclectic and multi-function space, The Life House, which was an event center, art gallery, restaurant, yoga spot and more rolled into one.
Her next venture was in fashion and design and using The Life House as base, Ugoma launched Zebra Living, which she described as a Fast Fashion and Ready-to-wear clothing and accent interiors brand. It was a rapid success with over 20 collections in 6 years and quickly became one of Nigeria’s most recognizable and emotive fashion brands.
Deploying artistic expression for social impact has been a key weapon in Ugoma’s arsenal and it doesn’t matter whether it is music or books or movies. For 10 full years, she has been Festival Director for the Lights, Camera, Africa…film festival which provided a platform for independent and off kilter films and film makers to reach and interact with a discerning audience of cinephiles in Nigeria and in the process made the festival a fixture on Nigeria’s culture calendar.
In her new incarnation as founding director and chief curator at BLOOM Art, Ugoma has made some great strides; she has curated and produced art exhibitions with some of the most exciting and accomplished modern and contemporary artists including Muraina Oyelami, Tam Fiofori, Marcia Kure, Uchay Joel Chima, Lemi Ghariokwu, Gbenga Offo, Victor Ehikhamenor, Angela Isiuwe, Rom Isichei, Olu Ajayi and Tega Akpokona to name a few. Art aficionados and enthusiasts have been quick to identify her as a veritable tastemaker and dynamic force on the Nigerian art scene which has seen her curate numerous art and culture projects for corporates and individuals, some of whom include Constant Capital, First Bank, Microsoft, Stanbic IBTC, Rand Merchant Bank, Helios Investment Partners, Heritage Bank, McKinsey & Coronation Bank.
In the space of seven short years, Ugoma has become a sought after counselor for players in Nigeria’s secondary art market on account of her eye for good art, ability to spot fresh trends and what many consider a firm handle on the nexus between art and finance. On account of this, Ugoma and BLOOM Art have successfully closed several private secondary market transactions, placing invaluable modern and contemporary art works in the collections of some of the continent’s greatest collectors and these include works by Ben Enwonwu, Uche Okeke, Ben Osawe, Obiora Udechukwu, Yusuf Grillo, Gani Odutokun, El Anatsui, Uzo Egonu, Ndidi Dike and Muraina Oyelami to name a few.
In February 2021, despite the rampaging Covid-19 pandemic and sluggish global economy Ugoma and Bloom Art originated, advised and executed the biggest private secondary market art sale and placement yet in Nigeria; the sale of an early 1960s painting by Ben Enwonwu MBE, valued at approximately $1,000,000, thus making her the first Nigerian curator and dealer to successfully sell and place a modern art piece of such repute and value – a feat only previously achieved by international auction houses.
Formative years and influence
When I think about it now, from the prism of my 41 year old eyes and mind, I recall enjoying growing up. At the time, it did not feel so enjoyable, with all the rules, strictness and what I felt at the time was a quasi-military style of living. My siblings and I had a governess growing up…yes you heard correctly, a governess – who enforced my parents rules and insisted on annoying things (at the time) like drawing, music lessons, personal hygiene, forced siesta, table manners, elocution and caring for and preserving our belongings. Everything was all so very organised.
I also vividly remember a softer and more enjoyable fun side, living in a communal house living with many cousins and extended family members and therefore being mandated to share.
I remember living in a very beautiful house which itself was an architectural statement that my father, an engineer with a strong penchant for beauty and design and my mother, an accountant and stunningly beautiful homemaker, built. I remember that we had nice furniture and objects everywhere, with strong design influences and that we were not allowed to be reckless or wasteful with our possessions. I remember loving primary school a lot – it was activity-filled, international, freeing, and sparked my curiosity (Thank you Grange School & Mrs Wilhelm in particular) – some of my best friends today are from that shared primary school experience.
My memory is blotchy at the best of times, but I can honestly say that overall, I had a good and memorable experience growing up. I am indebted to Chief Emeka Ebilah (my courageous father and way maker) and Lolo Elemanya Ebilah (my darling mother and loving best friend) for the gift of love, shelter, provision, exposure to Igbo culture and a world class education which they sacrificed to give me.
I consider myself super privileged and blessed to have had so many multifaceted influences on my life, education, viewpoint, habits, values, work ethic, philosophies and relationships. I am still unfurling, and growing as time goes by but staying very much connected to my inner child.
Zebra Living building opportunities while notching up an annual turnover of about $80,000
Zebra Living was actually more than a social enterprise but a commercial enterprise which had a lot of heart and active social interventions. We raised funds and gave actively and frequently to charitable initiatives – as a personal and company policy.
Zebra Living was my first formal foray into the creativity and entrepreneurship. A fast fashion and ready-to-wear clothing line and brand which grew to onboard and accent furniture and interior accessories offering. Our unique selling points were affordability, classic staple designs, emotive and experiential showcase events and super personalised customer service. This led us to popularity and a strong loyal following locally and internationally which in turn led us to our financial success.
Capacity building within this entity came in the form of hiring and training of labour, for our purposes as a fashion and lifestyle brand. The team consisted of tailors, pattern makers, beadwork artisans, weavers and so on, who worked with us and received important skills which enabled them to go on and be successes elsewhere and even start their own businesses. I have since moved on from that fashion design and manufacturing enterprise, but stay completely in love with fashion and actively patronise my fellow Nigerian fashion designers who are taking the continent and globe by storm – #buynigerian.
I am honoured to be considered a pioneer in this space of fashion design and retail. It was a wonderful time and experience to hire and inspire young Nigerian men and women to dare to be creative makers and artisans who were bound to higher finishing and creating standards.
Being Festival Director for the Lights Camera Africa film festival
The vision was to fill the gap in film offerings, film exhibition options, and to provide a platform for independent and alternative films and filmmakers from the African continent to reach and interact with a discerning audience of cinephiles in Nigeria. Our vision was to be a home and incubating space to the indie filmmaker and film lover and to also be a platform for discourse, support, community and collaboration. The Lights Camera Africa film festival inadvertently became a way-maker for many of today’s leading directors, actors and resource persons in the industry particularly those working off the beaten path, and this is an achievement that I am super proud of.
The experience so far has been as much of an honour and a delight as it has been a grueling and challenging journey. Altogether a worthwhile journey, with the various kinks and pains eased by super human beings like Lanre Shasore, my festival programming partner and collaborator and kind encouraging testimonials from gifted filmmakers like Kenneth Gyang, who for example on the 9th of June 2021, dedicated an Instagram post to me and the festival. I will share an excerpt which I hope gives you a summary of the vision, passion, experience and impact of the festival combined.
“The star of this post is Ugoma who got in touch with us in 2013 on Peace Anyiam-Osigwe’s recommendation. She organised a kickass premier for us at The Wheatbaker with all these fancy people and press. This was 24 days before the movie’s release and we didn’t have money for publicity and as indie filmmakers, we bank on word of mouth … and the audience’s word of mouth from that festival was insane. Sincere thanks to Ugoma …for helping us through our formative years” Kenneth Gyang said.
There are so many more people who have inspired the festival’s work and have been inspired and celebrated by the festival – Tunde Kelani, Tam Fiofori, Akin Omotoso, Abba Makama, Chika Anadu, Lala Akindoju, OC Ukeje, Kunle ‘Nodash’ Adejuyigbe, and so many more.
We must all get busy to build our communities and cities and cultures and countries, and this call to action is precisely what the festival has always heralded. We will continue to play our role.
How has Nigeria benefited and learnt from the festival?
I believe Nigerian film makers of a certain genre consider the festival to have been pivotal for their careers, sense of expression and artistic purpose. Many film makers who featured or were associated with the festival often express their indebtedness to our festival for providing a strong and prestigious platform for their niche films, by connecting them with our equally niche cultivated audiences and reconnecting them with their raison d’être as artists, chroniclers and storytellers.
I am eternally moved by the words of my dear Uncle Tam Fiofori (acclaimed photographer, writer, documentarian and cultural icon) who once praised our festival for “returning nobility to the filmmaker”. There can be no better accolade and no better giver of the accolade than Mr Fiofori.
On Nollywood
I am thrilled at the developments in the industry…I celebrate the innovation, the collaborations and the audacity to do big things (bigger budgets, bigger premieres and bigger crews). I also celebrate the acuity to continue to speak to varied audiences and the departure from the ‘single story’.
Nigeria is a vast and complex land with 200 million plus individuals living within her boundaries. Each of those people with complex and unique experiences and affectations. So the Nigerian film, entertainment and educational offerings must be as vast as her people.
In a wide spectrum of developmental, economic, civic and cultural indices, Nigeria is not even scratching the surface yet (she hasn’t even started) – so perfection is the least thing I expect from her in general or in the specifics of her film industry. I wouldn’t correct anything. I choose to celebrate and encourage everything and anything that any Nigerian decides to do or even just try to do.
The key to our collective success is for us to all be doing our bit…and to keep on doing and spend less time and energy critiquing what people are not doing.
The initiative ‘Woman Rising’
The inspiration for starting “Woman Rising” was quite simple, to convene, gather and network women who were creators, receivers or enablers of the arts. This inspiration remains although this project is now in hibernation due to COVID and some personal setbacks I faced. Looking back on the 6 or so active years of producing this project, I can say that we successfully provided an entertaining and fun platform, which also served a developmental and opportunity-creating purpose. Female artists and musicians in particular (because music is my ultimate first love) could create, collaborate and exhibit on the platform of Woman Rising – we were proud to catalyse and/or support the performing careers of the likes of Simi, Waje, Ruby Gyang, Pilani Bubu and Bumi Thomas. In other realms of the arts, the platform also proudly showcased and enabled the creations of filmmakers like Joanna Lipper and Chika Anadu as well as those of writers, like ‘Molara Wood whose beautiful book ‘Indigo’ was the special literary focus of our 2014 edition.
Learning and mentoring opportunities also abound through the “Woman Rising” platform- from our annual champagne brunches which featured keynote speakers like Dr Oby Ezekwesili, Yvonne Fasinro and Adeola Azeez to the music workshops held by the likes of Tamar Osborn.
We sought to celebrate all things woman by focusing on female excellence, communality and creativity, while highlighting the power of active enablement and networking. I believe we did just that.
BLOOM Art
Art literally happened to me. I trained in economics and finance and was attempting to build a career in the finance profession when I caught the bug… the distractions from the world of art, design, beauty and creativity were too strong for me to resist and in the end, I gave in and followed my passion. Once I discovered that I had a compelling passion to go pointedly into the art business, I knew that I needed to intensify my education, network and experiences. I did this by engaging with those who were in the field already and shadowing them, befriending artists, scholars, gallerists and collectors; seeing as many exhibitions as I could and also travelling extensively and reading with an open heart. I also invested quite significantly in series of courses in art, finance, exhibition design, curating and writing respectively.
Gobbling up all the knowledge I have been able to access and afford, both formally and informally, is a crucially important habit and I would consider that one of the keys to my accomplishments till date. I am also indebted to the precious invaluable talks with the late Bisi Silva and the subliminal inspiration and mentorship she gave to me.
Nigerians and Art
Nigerians appreciate art. Visually, what I can always see is that Nigerians are to me, some of the most gregarious, happy, celebratory people on the planet. We shine and love who love to adorn themselves for function as well as for tradition. So it follows in my estimations that we would also love beauty and beautiful things. The misconception that surrounds Nigerians not appreciating art comes largely from misinformation, and also the fact that many of us have never had the opportunity to experience and engage with art. I am supremely confident that Nigerians can appreciate art, will appreciate art and will become the biggest investors in our art. All that we need to do is keep on educating, creating, showcasing, writing and providing contexts for that art. This is a significant part of my work…and it is also a collective duty.
Executing the $1m private secondary market art sale in Nigeria
Every once in a while, a special art piece comes into the orbit and this was the case for me with this piece. The experience has been totally affirming. Many forces came to play in this one moment. The seller chose me and trusted me, based on my several years of experience with successfully executing secondary market transactions; curating numerous exhibitions of both contemporary and modern art; my personalised humane style and approach to customer service and collector engagement.
The buyer also did the very same in choosing and trusting me but most importantly in listening to my advice. Believe me, it took some convincing, but I was relentless because I needed the painting to be elegantly and importantly placed to honour the late Ben Enwonwu, and all the other great forbears so I was really dogged about this.
The work we do is academic, emotional, spiritual and technical all at the same time an unusual balancing exercise. On a good day, all these features must align and in this case, I would say that the stars did align for me.
Not to over romanticise things, let me add that what was truly crucial was the fact that I was ready. I have been ready and I have learned over the years to stay ready and always show up. I have also done my very best work to protect my brand, elevate the emotive quality of that brand and also build and enforce trust and integrity over the years, and in this unique and unusual moment (despite the limitations of the pandemic), I achieved a rare, great and historic milestone for myself, for the arts, and for the heritage.
As it was a discrete private sale, as are all most art transactions, this hasn’t had a huge impact on my business yet. Word of mouth is important in my work, so I believe that in a few months and years, the trickle effects will be felt. An important outcome of this sale has been the fact that I created incredible value for two individuals, further buttressing their trust and deepening their love and investment in art.
In addition to that and most important outcome I would say, is the profoundly positive impact this has had on my confidence, courage and belief in myself and in the perfect alignment of the universe, and these combined factors will hopefully stand me in good stead for the future and with all my planned projects including my forthcoming foundation and arts society, Mbari Kola…so help me God.
Admonition
Explore and find your truth and let it lead you to your vocation. When and if you arrive at that vocation, honour and respect that vocation with all your might, passion, soul and effort. Stay learning. Rest often. Ask for help. But don’t take it personal if you don’t get the help you ask for. Trust your instincts and trust the process. Do the work. No short cuts. Believe that good things will happen. Be kind. Be courageous. Tame your ego. Stay gracious.
