Contemporary art from Nigeria. (Arts and Culture).

African contemporary artists have so often in the past fought an almost impossible battle to have their work taken seriously on the world stage. Critical judgement has too often been clouded by cultural misconceptions, which help form an impenetrable barrier through which few African artists have emerged.

However, recent years have seen a gradual shift in attitude in the West and many Sub-Saharan artists are now finding their work exhibited in some of the world's most celebrated galleries.

London's October Gallery in conjunction with the Nigerian High Commission recently mounted one of the best group shows of Nigerian art in many years. Titled "Contemporary Art from Nigeria", the show is both a celebration of 40 years of Nigerian independence as well as a welcome showcase for the work of many of the country's living legends.

According to the Gallery's artistic director, Elizabeth Lelouschek: "Over the last decade, there has been a kind of awakening in the West to contemporary African artists. The huge success of "Africa 95", which showcased the work of artists from all over the continent, gave a huge boost to African artists. That event in many ways helped to create a genuine interest in the West for African art and that interest has grown. For us, this trend has allowed us to develop a strong relationship with many of the artists who appear in the show. And I feel that this relationship has been crucial in helping us to raise the public profile of their work."

Some of the artists featured in the exhibition include stalwarts of the Nigerian contemporary art scene -- such as Bruce Onobrakpeya, Tunde Odunlade and the indomitable Twin Seven-Seven.

Taken together, their work helps to illustrate the vast diversity of Nigerian contemporary art. Their pieces range from the almost dreamlike surrealism of Bruce Onobrakpeya's Dance in the Bush of the Ghost series, to the quiet beauty of Taya Quaye's Married Couple, and the disturbing Beast Rider by Twin Seven-Seven.

Each painter's style is unique and their only common link is their ability to view the world in an entirely different way. A quality which artist Emmanuel Jegede, whose work also appears in the exhibition, feels is very much an integral part of Nigerian life.

"I think that we are a very visual people," he says. "We see our environment in a very unique way. This has enabled the country to continue to produce many of the continent's greatest artists."

Nigeria's artistic legacy dates back thousands of years. The earliest known Nigerian sculptures are thought to have been produced around 900 BC by the mysterious Nok Kingdom. These beautiful terracotta heads are among the earliest art objects to be found anywhere in sub-Saharan Africa. They are testament to a civilisation whose work was less influenced by Persia or Greece but who instead drew on indigenous culture.

Around the 12th century, the work of the Ife Kingdom started to dominate the region. These beautifully crafted, detailed busts easily rival the work produced centuries later at the height of the Italian Renaissance.

Better known to Westerners is the work produced in the legendary city of Benin, capital of the Edo Kingdom. Benin art was produced primarily for the wealthy royal family whose patronage was crucial for the development of the work.

Says Jegede: "Throughout its history, Nigeria has always had a tradition of royal patronage, which was crucial for the development of our artistic tradition. It is only with colonisation that this tradition died out. Fortunately for us it has recently started to be revived, but now it's with successful businessmen and an expanding middle class taking over the traditional role of the royal families. It is very important that this tradition continues because without it the art scene in Nigeria would collapse."

To ensure that the public in Nigeria maintains a close relationship with its artists, many such as Twin Seven-Seven have turned their hand to writing and have produced well-written books on their careers.

Some have even been published by the October Gallery. "It's crucial that African artists do this," says Jegede. "In many ways, it's our only means of defending ourselves. In the West, many of the critics who review our work have little or no knowledge of Nigerian society. So it's impossible for them to understand the social and cultural context the work has come from, Therefore it's perhaps more important for African artists than artists elsewhere in the world to place their work in some sort of context. Not only for Westerners but also for future generations back home. After all, they will be the artists and patrons of tomorrow."

Contemporary Art from Nigeria has proved a great success with crowds flocking to see the wonderful work displayed there. This success will ensure the continuing relationship between the gallery and African artists.

According to Lalouschek: "These shows are among the most successful that the October Gallery has mounted, and I think the relationships that we have established with the artists will continue for the foreseeable future."

This sublime celebration of many of Nigeria's finest artists is a fitting tribute to 40 years of the country's independence.