In 2010, Ezefuna Ozor-Ejike began a transformative project, painting the Soweto Twin Towers for the 2010 Soccer World Cup. Overcoming challenges and dedicating six months to the endeavour, Ejike’s artistry has turned the towers into iconic landmarks, contributing to Soweto’s cultural legacy and inspiring generations to come. He took SAUL MOLOBI, Jambo Africa Online’s Publisher, down his memory lane…
In the heart of Soweto, towering at 90 meters high, stand the iconic Soweto Twin Towers, adorned with breathtaking artwork that tells a tale of resilience, dedication, and artistic brilliance. This masterpiece is the result of the extraordinary journey embarked upon by renowned artist Ozor Ejike, whose story unfolds with every stroke of the brush.
Ejike’s involvement with these twin towers dates back to 2010 when he was approached by WallScapes painting studios, owned by the late Gayle Rodman. Commissioned by FNB for the 2010 Soccer World Cup hosted by South Africa, the first tower became a canvas for Ejike’s artistic prowess. Little did he know that this would be the beginning of a monumental journey.
“Being entrusted with the opportunity to paint the Soweto Twin Towers was a dream come true, and to this day, I am both excited and incredibly humble to have been a part of such a monumental project,” he says with a tinge of satisfaction and double doses of humility.
Fast forward to 2017, and Ejike found himself facing a new challenge. Kena Group, an OOH Media advertising company, and Posterscope, an OOH Advertising Agency, approached him to paint the second tower adjacent to the first, featuring their approved artwork for Soweto Gold. Thus began a journey that would test his mental, emotional, and physical limits, but also reward him with a sense of accomplishment like no other.
The process of painting a tower of such magnitude is no small feat, as Ejike explains. It involves approximately 4,320 hours of both digital and traditional art-making processes, all aimed at placing a rectangular piece of A3 size artwork on a cylindrical structure with constantly varying dimensions. The challenges, however, don’t end there.
One of the most demanding aspects is the constant need to readjust the stencil-placement angle due to the tower’s incline or decline. Ejike notes that errors during this process can create distortions either upwards or downwards, requiring meticulous adjustments at meter intervals.
Access to the upper half of the tower presents yet another hurdle. The platform hangs far off from the working surface, making it challenging to reach. Safety precautions are paramount, with routine site inspections, power supply connections, and thorough checks of the gondolas and safety equipment carried out daily.
Wind speeds are meticulously tested at different levels to ensure safety under varying weather conditions. Despite all precautions, unexpected challenges, such as dysfunctional gondola motors or sudden gusts of wind, occasionally interrupt the artist’s routine, demanding quick thinking and decisive action.
As the days turned into weeks and the weeks into months, Ozor Ejike’s team faced not only technical challenges but also unexpected adventures that would test their resolve. The freezing temperatures at the tower’s summit were a constant companion, making each ascent a battle against the biting cold. However, it was the unexpected gusts of wind that added an element of suspense to their already daring endeavour.
One incident that remains etched in Ejike’s memory is the cable wheel malfunction at 80 meters. The sudden acceleration of the wheels sent a chill down their spines as they held onto the platform rails, their hearts pounding. Miraculously, they collided with the adjacent platform, avoiding a potentially disastrous situation. This hair-raising experience served as a stark reminder of the unpredictable nature of their canvas, suspended high above the ground.
Another challenge presented itself in the form of an unexpected storm. While painting the logo at the tower’s zenith, the team found themselves shielded from the rain due to the flared shape of the top. Yet, the entire tower vibrated under the intense wind pressure. Clipped to the tower with carbines, Ejike and his assistants waited patiently for the storm to abate, reflecting on the precarious nature of their artistic pursuit.
Yet, despite these challenges, the dedication to their craft prevailed. Each day concluded with the meticulous cleaning of brushes and priming the airless sprayers with water, preparing for the artistic battle that awaited them the next day. The routine site inspections became rituals to identify potential hazards, ensuring that safety remained paramount in their extraordinary endeavour.
The structural intricacies of the approved Soweto Gold artwork demanded precision and foresight. Ejike had to consider not only the placement of characters but also their alignment with arterial road networks in and around Soweto. The coordinate stencil technique, a method devised by the artist, allowed for the meticulous placement of elements using alphabets and digits, ensuring a seamless fusion of art and urban aesthetics.
Ejike’s method of image placement, the coordinate stencil technique, proves invaluable in ensuring the precise alignment of elements on the tower. This technique involves painting using alphabets and digits, providing accuracy and a systematic approach to the complex task at hand.
Throughout the six months spent on site, only 90 days saw favourable weather conditions for productive work. Yet, these challenges only served to enhance the satisfaction of the client, who recognised the exceptional effort poured into every stroke, despite the adversities.
The Soweto Gold Tower stands not just as a visual spectacle but as a testament to the indomitable spirit of an artist who faced every challenge with courage, creativity, and unwavering determination. Ejike’s journey is more than a tale of painting; it’s a saga of triumph against the elements and a celebration of artistic excellence.
Looking back, he says with a wry smile: “Witnessing the twin towers evolve into tourist attractions and iconic landmarks of Soweto is a deeply emotional experience. It goes beyond the paint and the artistic process – it’s a testament to the power of creativity to transform spaces, evoke emotions, and leave a lasting impact on the community. To see people from all walks of life appreciating and connecting with the artwork fills my heart with immense joy and gratitude. It’s a reminder that art has the profound ability to transcend barriers, tell stories, and become an integral part of the cultural fabric of a place.”
Ejike’s journey transcended the boundaries of conventional artistry. It became a narrative of conquering physical and environmental obstacles, a testament to human ingenuity, determination, and the transformative power of art. The Soweto Gold Tower, with its vibrant artwork, now stands not only as a symbol of cultural richness but also as a monument to the resilience of an artist who dared to dream beyond the confines of the canvas. The legacy of this epic journey will undoubtedly resonate in the hearts and minds of those who gaze upon the Soweto Twin Towers.
“As an artist, painting the Soweto Twin Towers was more than just a job; it was a commitment to creating a legacy. Seeing these towers now embraced as iconic landmarks in Soweto fills me with a sense of pride and accomplishment. It’s a legacy project in every sense – a contribution to the cultural tapestry of this community that will endure for generations,” Ejike, who is now a family man, concludes matter-of-fact. “Every brushstroke was infused with the spirit of Soweto, and to witness the towers becoming a source of inspiration, a backdrop for countless stories, and a symbol of artistic resilience, is a testament to the enduring power of creative expression. This wasn’t just about painting towers; it was about leaving an indelible mark on the canvas of Soweto’s history.”
Who is this artistic genius?
The Nigerian-born Ezefuna Ozor-Ejike – a distinguished visual multimedia artist, wall mural art producer, and faux painter – has left an indelible mark on the art world over two decades. His expertise spans hyper-realistic paintings, composite material sculptures, resin art productions, and digital creations, showcasing a versatile mastery of various art forms. Renowned for impactful mural productions in the Out-of-Home (OOH) advertising industry, Ozor-Ejike is not only an artist but also a mentor, guiding emerging talents towards success.
For nearly two decades, Ezefuna Ozor-Ejike has carved an illustrious path in the realm of visual multimedia art, earning acclaim as a wall mural art producer and faux painter. His artistic prowess extends across hyper-realistic paintings, composite material sculptures, resin art productions, and captivating digital creations, showcasing a versatility that marks him as a master of various artistic forms.
Ozor-Ejike’s reputation has been further solidified through his impactful contributions to the Out-of-Home (OOH) advertising industry, where he is recognised for his transformative mural productions. Beyond the canvas, he assumes the role of a mentor, guiding emerging artists on their journey to success.
Founding Artistic Endeavours:
As the Operations Director and Founder of 100th Century Media in Johannesburg, South Africa, from 2018 to 2024, Ozor-Ejike led with a visionary approach, steering the trajectory of multimedia art in innovative directions. Simultaneously, his brainchild, Timeless Evolution Art, founded in 2003, stands as a testament to his enduring commitment to artistic evolution over the past two decades.
In the digital realm, he served as the Social Media Manager at Home Active Projects in Johannesburg, South Africa, from 2021 to 2024, strategically intertwining his artistic vision with the dynamic landscape of online platforms.
Artistic Innovation and Animation:
Ejike’s foray into VFX compositing and animation as the VFX Compositor & Animation Artist at Merz & Matters (2012-2014) marked a period of innovative exploration. This role demonstrated his ability to seamlessly blend traditional artistic techniques with cutting-edge technology.
Leadership in Creative Executive Roles:
His creative leadership extended to his role as the Creative Executive at Sipajo Advertising (2003-2006), where he played a pivotal role in shaping visual narratives and contributing to the creative landscape of Johannesburg.
Commitment to Art Education and Community Impact:
Venturing into education, Ejike facilitated Sign Writing & Portraiture classes at the Creative Inner-City Initiative (CICI) in 2003, offering his expertise to aspiring artists. Simultaneously, his role as a facilitator in Arts and Crafts at the Phuthaditjhaba Community Centre in Alexandra Township (2003-2024) exemplified his commitment to community service, where he imparted artistic skills and fostered creativity among the youth.
Curatorial Excellence:
His artistic influence also extended to the role of Artist/Curator at Maitisong Art Gallery in 2002, showcasing his curation skills alongside his exceptional artistic talent.This is where he first met with this writer, yours truly, after he established the gallery, in collaboration with Ntombifikile Molobi, at the iconic Jungle Connection in Doornfontein, Johannesburg, in 1998.
Youth Empowerment Initiatives:
Ozor-Ejike’s dedication to youth empowerment became evident through his collaboration with CITY YEAR in youth empowerment campaigns. Through graffiti and wall mural art projects in township schools, he contributed to creating vibrant, empowering visual landscapes, leaving an enduring mark on the communities involved.
Ezefuna Ozor-Ejike’s narrative is not just a chronicle of professional achievements but a testament to his commitment to artistic evolution, community engagement, and the mentorship that defines his artistic legacy.