Maryam Umar Maigida is a Nigerian Visual Artist, Freelance Painter, and Art Historian born September 12, 1994. She earned a Bachelor of Arts in Fine Arts, majoring in Art History, from Ahmadu Bello University Zaria.
As a multidisciplinary artist, Maryam’s style ranges from mixed media to near-naturalism and abstracts, often incorporating culturally significant fabrics, motifs, and materials. Her work frequently features women, exaggerated earrings, and African motifs, highlighting the richness of her cultural heritage.
Recently, Maryam has developed a new style emphasizing the Ajami Manuscript writing, symbolizing the revival of this Arabic-derived script used in writing the Hausa language before Westernization in Northern Nigeria.
Maryam has participated in numerous exhibitions globally, including:
– Apex Art (Arewa Me Too), New York
– Obsidian Group Exhibition, Black History, London
– World Art Dubai (2020, 2022, 2023)
She is President of the Female Artists Association of Nigeria (FEAN) and the Art Ambassador to Nigeria for Funun Arts Group, Dubai, UAE.
Maryam’s work continues to gain international recognition, solidifying her position as a prominent figure in Nigeria’s contemporary art scene.
Weaving Heritage into Vivid Visions: Gutsy Chat with Maryam Umar Maigida
1. Can you tell us about your experience studying Fine Arts at Ahmadu Bello University Zaria? How did it shape your artistic style?
My time at Ahmadu Bello University (ABU) was a transformative experience that broadened my understanding of the art world. I was fortunate to have renowned Nigerian artists, such as Prof. Mu’azu Muhammad and Prof. Jerru Buhari, as my lecturers, who imparted their expertise and passion for art. Although I majored in Art History, my comprehensive education from the Fine Arts department enabled me to hone my painting skills, laying the foundation for my future growth as a visual artist.
2. How did your interest in painting develop, and what inspired you to pursue it alongside Art History?
My interest in Art grew gradually from a young age. I had supportive parents and teachers who made my journey easier. I was invested in aesthetics and beautifying space. I also wanted to communicate and share my opinions with society through my paintings. As for Art history, I have always loved it and was good at it.I wanted to preserve the culture and traditions of our people in my works, which pushed me towards majoring in art history.
3. Your paintings often feature women, exaggerated earrings, and African motifs. What significance do these elements hold for you, and how do they relate to your cultural heritage?
“The woman” is a multifaceted figure who embodies the diversity and richness of our society. Through my art, I celebrate the African woman’s beauty, strength, and resilience by incorporating culturally significant mediums such as Ankara, African motifs, and more. These elements add depth and meaning to my work and serve as a testament to the African people’s heritage and traditions.
By depicting the African woman’s elongated necks, adorned with intricate patterns and motifs, I aim to showcase her elegance, poise, and inner strength. My art is a tribute to the African woman’s ability to thrive in the face of adversity, her unwavering resilience, and her unrelenting power. Ultimately, I aim to preserve our cultural heritage and promote a sense of pride and identity among African women.
4. Can you walk us through your process of incorporating Ajami Manuscript writing into your paintings? What inspired this new direction in your work?
The Ajami Manuscript is the culmination of my passion for revolutionizing the Almajiri learning system in Northern Nigeria. Growing up, I was deeply troubled by the challenges faced by these children, who were forced to learn in a language that was not their own. Introducing the Ajami script, a Hausa writing system based on Arabic, would be a game-changer in their educational journey.
The Ajami script has a rich history in Northern Nigeria, dating back to before the advent of Westernization. It was used to write books, poems, and other literary works, showcasing the region’s vibrant cultural heritage. By incorporating the Ajami script into the Almajiri learning system, I envision a breakthrough in how these children learn and engage with their education.
5. You’ve participated in numerous exhibitions globally, including Apex Art in New York and World Art Dubai. What do these experiences mean to you, and how have they impacted your career?
Participating in international exhibitions is crucial because it serves as a pivotal step in an artist’s career and offers platforms for global recognition and increased visibility. By showcasing my work on a global stage, I not only enhance the value of my paintings but also gain the opportunity to share my people’s rich narratives and cultural heritage with a diverse audience.
These exhibitions provide a unique chance to bridge cultural divides, foster cross-cultural understanding, and promote African art and culture appreciation. I aim to inspire a deeper understanding and appreciation of African culture’s beauty, complexity, and diversity by sharing my art with a global audience.
6. As the President of the Female Artists Association of Nigeria (FEAN), what initiatives have you implemented to support and empower female artists in Nigeria?
Reflecting on my tenure as President of the Female Artists Association of Nigeria (FEAN), I am proud to say that the past year has been marked by significant milestones. One of my key priorities has been establishing strategic partnerships and collaborations with like-minded organizations locally and internationally.
Through these efforts, I am excited to have secured multiple opportunities for Nigerian female artists to showcase their talents, gain exposure, and access new markets. These partnerships have enhanced our members’ visibility and provided a platform for them to engage with a broader audience, fostering growth, innovation, and creativity.
7. Can you share a personal experience or story of a woman who has inspired or empowered you?
“I’d like to share a significant moment in my journey, which was inspired by the remarkable Hon. Aisha Augie, Director-General of CBAAC. After completing my undergraduate studies, I stumbled upon her interview on TV, where she spoke about her passion for photography. What struck me was her dedication to her craft despite being a woman in Northern Nigeria, where creative pursuits are not traditionally encouraged.
Seeing her success, her studio, and her collection of cameras sparked something within me. I felt inspired by her courage and determination. Fate brought us together when I met her at a restaurant weeks later. She was warm, kind, and generous with her time. We collaborated on a painting, and since then, she has become a mentor, a friend, and an integral part of my life and art career.
Hon. Aisha Augie’s impact on my journey has been profound. She embodies the spirit of creativity, resilience, and empowerment, and I’m grateful for her presence in my life.
8. How do you think women can support and uplift each other?
Women can be a powerful force for upliftment and support by embracing the spirit of sisterhood. Being a sister’s keeper means treating others with the same kindness, compassion, and empathy we wish for ourselves.
By joining hands and hearts, we can build a more harmonious and equitable society for us and future generations. Sharing our experiences, learning from one another, and cultivating sincere relationships can help break down barriers and foster a culture of collaboration and mutual support.
9. To commemorate International Women’s Day, what message would you like to share with women worldwide?
To all the incredible women out there, I want to remind you that your uniqueness is your superpower. Don’t be afraid to tap into it, explore it, and express it to the world.
As we celebrate International Women’s Day, I urge you to own your uniqueness, to celebrate your strengths, and to lift up those around you. Happy International Women’s Day to all the amazing women who inspire, motivate, and uplift us daily.
Maryam’s Work
