Ugo Jesse: Illustrating to inspire
Many are conversant with the cartoons signed @UGOJESSE. The man behind the creations, Ugochwuku Jesse, who describes himself as a foodie, has over time become popular for his illustrations on cancer awareness, patients and survivors. He has also endeared himself to many who draw inspiration from his works. In commemoration of World Cancer Day, which was marked on February 4, speaks to him about his advocacy on the disease and switching from International Relations & Diplomacy to the creative industry while impacting the world with his work.
How did you get into cartooning?
I actually started doodling on sand but I transferred into manga (anime) and sketches for my younger ones. It became a must do every day, so much so that when I did not do it, I would be snubbed by them so bad I’d have to do it eventually. So, it graduated from being a careless hobby into a source of entertainment. Then we became digital three years ago.
What are the themes you most enjoy working on?
I enjoy everything. No one supersedes the other. It is like asking a father who his favourite child is.
You also do sketches on cancer. Please tell us about them and what the motivation was to start?
Well, I can’t really remember why I started cancer sketches or what actually motivated me to illustrate them. But it basically revolves around hearing anonymous stories of how the scars made them have low self-esteem and mostly even stopped them from doing what they loved, alongside the bills they had to pay for treatment.
What has the experience been like for you so far?
It has been hard, uneasy, beautiful, bittersweet, unexplainable. It gets better day by day. It has been amazing, inspiring and most importantly a great learning process. There is nothing more fulfilling than knowing that your work is impacting someone’s life, no matter how little. So I am entirely grateful that I am contributing my own very little quota to the course of humanity. It is beautiful and humbling. I cannot over emphasize how joyous it has been to learn so much from what I am doing.
Has there been any one piece that has been difficult or most emotional to bring to life? Please tell us about it and why it was.
Well, every sketch comes with its own drama with me. When am working I talk to the sketches to speak to me. It is like babalawo doing incarnations, [laughter]. There is always drama, there’s so much emotion, action even comedy, that all ends up being in one sketch, that we all get to see at the end of the day.What’s your thought process like when you are about to start working on a cartoon that is cancer related?
I get emotional most times and rather than allow it break me, I churn it and make it the fuel that guides my sketches. I also always try to make sure my sketches speak what I feel.
During your creative process, are you able to detach yourself from the emotions and simply create the works as something you need to do for the benefit of others?
It is sometimes very difficult to detach myself emotionally from my work because I try to put my mind through the mental and emotional phase of the people going through this journey. This is for me to be able to capture just an iota of what they feel. The truth is, you can’t exactly feel how they feel or perceive their struggle, but you can identify with some of their challenges and put yourself in the process while creating the work and for my sketches, the ideas come from everyday happenings. Walking on the road, sitting on the bus, buying akara, anywhere and anything inspires me.
Do your politoons and the cancer illustrations co-exist without clashing or one suffering for the other?
Oh, I work all of them alongside, none has to suffer for the other, I create illustrations on various issues and relate to them as they come.
What feedbacks do you get from cancer patients and how does that impact your work?
The feedbacks are awesomely unexplainable and they give strengthen me further to always do more sketches to educate them and give them more hope.
Do you feel a part of the journey with the patients and how does this feel for you, personally?
It gets me very emotional, it gives me strength and courage actually. To see that someone who is like me is fighting and nothing is making him or her relent, shows strength on all levels. Then I have no choice but to be strong. It is the only choice I have.
You have illustrated a barechested woman on the runway. It is a powerful one in my view especially with getting women to appreciate their situations as cancer patients or survivors. What were you thinking when you did it?
I had just heard of an anonymous story of a model who was living her life until she realized she had cancer and felt the world had stopped. I wanted to show her and others facing the same situation or even similar, that it is not over until it is over.
You do a lot about women and cancer. What about the male folk?
I am still doing more research on it and it is very extensive. Once am done it will be everywhere.
What would you say is your biggest reward and/or lesson in your illustrating, about cancer?
The feedbacks I get are always beyond explanations. The joy I get to see, hear and read is worth more than occasional alert sounds on the phone. They are simply awesome!
You have worked with Project Pink Blue on cancer awareness. How is that coming on?
We partner on themes and ideas on how to create cancer awareness in Nigeria. Their work identifies with the purpose of my artwork on cancer awareness and they have been very resourceful in providing materials for my research on cancer awareness. Our connection was basically bond by our ideological goal. When we saw our works, we easily synched. So you can call it love at first sight.
Why didn’t you go straight to studying visual arts instead of International Relations?
I just wanted to do something other than what I was already blessed with. More so, I had the intense desire to learn how the international community related on different sociopolitical spheres, the history of Mansa Musa of Mali in the Trans Sahara political affairs drove me on a quest to understand events, decision and influences that changed the world’s political affairs with its prospects for the future. Before you became known for your illustrations on cancer, what
were you most known for?
Well, my politoons were widespread until I decided to soft pedal on strongly criticising the government after few threats were issued, to avoid stories that bring, “eyaah, sorry o, pele, ndo.” I focuse more on making illustrations that
It is sometimes very difficult to detach myself emotionally from my work because I try to put my mind through the mental and emotional phase of the people going through this journey
create awareness on health and social issues. I am also known for telling hilarious stories with didactic undertones.
Don’t you think that stopping your trend of politoons is a disservice to your audience who are the beneficiaries?
I didn’t stop making politoons, I only changed the pattern. I stopped making it direct and applied allegory, sarcasm and indirect characters to pass my message, my audience are mostly intelligent people so they get the subliminal messages without spelling all out. But it is trendier when its direct, like using the same characters of a particular situation instead of an indirect image. The goal is not to trend but send a conscious and subconscious message to the mind of my audience so that they can be politically awaken to act in the right course, to pilot the affairs of this country to greater heights.
Do you think you are able to sufficiently capture the emotions of your audience in a way that they gain the message and are not lost in the aesthetics of the
illustration?
I feel I have been to also journey through the mind of my audience judging from the feedbacks I receive. The testimonies I get reflect some of the personal experiences have encountered in their journey to surviving cancer. For example, I have received feedback from my followers stating how they have been inspired to rededicate their support to their spouses by tattooing scars on their chest and shaving off of their hair as seen in my illustrations. Many have also testified to understanding that showing support goes beyond cutting of hair but effectively giving physical and mental support as when needed.
It is actually amazing to see people tell you how their partners have changed in the way they appreciate their post cancer body after sharing my work with them. They emphasize how they have come to comprehend the psychological impact of body positivity when dealing with them. So I think I have been able to fairly journey through the thoughts of my audience through my illustrations, even though I may not exactly capture everyone’s different experiences.
Your sketches seem to mostly focus on dealing with the scars and physical memories of the disease. Would this be a correct analysis?
Well, it appears that way now because the recent ones were done to appreciate survivors and encourage them to live happier lives after their battle with cancer. However, it is worthy stating here that I started off with cartoons talking about cancer and its myths. Some of the popular ones were about correcting the notion that the size of your breast could cause breast or that men can’t suffer breast cancer. These were the early sketches to educate people more about it. For me, I think that phase was the introductory illustration to the subject matter and now we are addressing living with and surviving cancer. This is not to say have stopped creating illustrations about cancer myths.
Are you working on any themes or projects at the moment?
It’s a surprise so you all have to watch the space.
I focuse more on making illustrations that create awareness on health and social issues. I am also known for telling hilarious stories with didactic undertones