In this exhibition, Adekola explores the entangled histories of Black identity and the British Empire through the use of oil bars, drawing and the Adire fabric on canvas. Informed by post-colonial narratives and his research into works of prominent theorists Stuart Hall, Kehinde Andrew, and Franz Fanon, the works in the exhibition, invites viewers on a journey that dissects the past while promoting a resilient and dynamic Black identity.
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The exhibition's title, 'How Beautiful We Were (Are)', draws inspiration from the acclaimed novel by Cameroonian author Imbolo Mbue 'How Beautiful We Were', which touches on themes of power and the impact of globalisation on traditional societies while emphasising the strength and resilience of an African community in the face of historical challenges.
Adekola's works pay homage to this sentiment, reflecting the artist's deep-rooted examination of post-colonial narratives, migration and social injustices. As a conduit for promoting identity and equality, the works include a range of media and techniques such as painting, installation, drawing and the use of bleach; allowing for a comprehensive exploration of themes such as migration, diversity, inclusion, globalisation, and identity politics. Central to Adekola's current practice is the repurposing of Adire fabric, an indigenous and cherished indigo-dyed fabric, adorned with captivating patterns and cultural legacy rooted in Adekola's hometown of Egbaland, Abeokuta - the epicentre of Adire making in Nigeria.
The artist's relocation to the UK in 2021 for his MFA program and subsequent cold-induced illness on the first night served as catalysts for introspection, evoking contemplations on how his ancestors might have endured similar adversities. Under the lens of this personal experience, Adekola began to apply this textile, with the intention to foster a cultural environment that sustains the vibrancy of the African identity.
By affixing these fabrics onto canvases, the artist creates a visual manifestation of African identity; distinct and historical, forming a connection between the physicality of fabric and the resonance of cultural memory. In the purposeful act of cutting and pasting, reminiscent of the Cubist movement, Adekola dismantles and reconstructs, sketching new narratives and reimagining collective experiences, a concept which he refers to as "the beauty after the chaos". The interplay of fabric and canvas becomes a metaphorical dialogue between heritage and artistic expression. The artist's decision to incorporate the fabric as a symbol of identity indicates a deliberate departure from conventional forms of representation and depiction of black faces, a stance that accentuates the significance of authenticity and cultural specificity within Adekola's expression.
Lending its voice to the broader discourse on the past, the present, and future of people of African origin, How Beautiful We Were (Are) poses critical questions on how we represent ourselves as individuals and as a collective while challenging predominant narratives of history.
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WORKS
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ABOUT THE WORKS
The titles of the individual pieces find their origins in Michael Jackson's poignant lyrics from "They Don't Care About Us," alluding to the experience of marginalisation and discrimination faced by Black people around the world by the government and media. Each work offers an introspective glimpse into the artist's critical engagement with historical narratives and their continued relevance in contemporary society. They function as a strong artistic statement and a platform for dialogue on the beauty and richness of Black culture and ongoing pursuits of racial equality.
Within the constellations of faces the artist portrays, a recurring drawing takes centre stage, inspired by an image of the renowned Nigerian writer, Ngozi Chimamanda. These intentional gender-neutral representations interspersed across the paintings serve as a potent visual motif; inviting viewers to reflect on the power of collective identity and the unifying force of blackness across diverse aspects of humanity, transcending geographical, generational, gender, and ability boundaries.
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WORKS
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