Missing
Peju Alatise
2014
Mixed media

‘Missing’ is a series of textile printed canvases with the silhouettes.  Positioned with spaces against each other, but with backgrounds of textile prints of what appears to look like Dutch- wax resist fabrics, patterned in various colours. They all individually portray the identity of female children. What we refer to with great sympathy and care ‘The Chibok girls of 2014’. These girls are victims of the result of what is the war between government and terrorism, they are the rope in the tug of war, and caught in between and made to rot. They are the victims of what would futuristically be in the months after their kidnapping as the tragedies of a war. Sold into sex slavery, born into it, physically abused and violated, never to remain the same again, always with the dredging memory. Alatise paints a silhouette of the head of anonymous girls in the centre of each canvas, some of the 85- 96 canvases and empty spaces, are bold face images of little girls in primary school hairstyles. With the background of the ever glowing textile fabrics. Some left bare and background created dark to contour and make the shape of heads.  Some spaces left empty as they represent in better significance the physical absence of the abducted girls. With rimed textile boarders that still capture a spirit of the body taken away.

In recent times the economic depression within Nigeria has led to alot of poor turn of events, other than just the depletion of the structures which govern Nigeria’s societies such as ‘Religious leadership, Family values, Political Governance, Education and Economy’, it’s also made people lose a lot of hope with regards to seeing a secure future in the land of their birth. Thus making the hard decision to move through extenuating circumstances to gain greener pastures. The circumstances I speak of are links directly related to the recent news outbreak of the African immigrants who sought to migrate to Europe for work, however became the master ploys in the grand scheme of human traffickers, gangs and other ill-fated souls within the Libyan community.                                                                                                                            Remembering the connection between the instances of rapes, child prostitution, sex trafficking of minors, as sexual harassment circumstances that the African migrants might have endured, I then thought of the abducted Chibok girls who may have endured the exact same or equal tragedies. It’s a terrible truth that some people have to endure such harsh circumstances and be manipulated into the traumatic situations which they might find themselves in through these pursuits for a better futures. It is truly sad.

Reference

Pejualatise.com. (2017). PEJU ALATISE « ARTIST’S STATEMENT «. [online] Available at: http://www.pejualatise.com/artist-statement/ [Accessed 6 Dec. 2017].

My Art practice has been guided by themes which involve questioning the surface of subjects I do not understand, such as the human condition towards the theatrics of culture, religion and social intimacy. I would like to explore pathways in mediums other than 2 dimensional painting and drawing, I see the content which I illustrate in my art as expressive and the very embodiment of my emotions, often times involving intimate revelations, at times obscured and vulnerably becoming the subject of my own work as a means to continuously discover my identity. I would like to produce also performance pieces, with the aid of objects of significance in relation to my explored subject matter. Spoken words pieces as I have become fond of verbally narrating my work, incorporating visual art pieces with physical body performances accompanied by musical iterations or speaking might be an interesting direction to go towards.

My process of working and belief system towards the process of creating is explosive= provoked, ecstatic, spontaneous and unapologetic whilst swimming in a pool of ambiguity as they portray fragments of obscured elements of my personality. I view my work to be uncensored and censored as well, as it is influenced by aspects of my cultural heritage, family values and a vague mix of adulterated personal figments, during the thought process and also production.

Ideally a big warm open space would work best, a serene atmosphere which I can disrupt with my vivacious Afro beats music and the soulful listens of Neo-soul playlists. Surrounded by Afro- futuristic décor and lively warm colours on curtains and walls, and lastly a Wenzels hot chocolate machine in the corner.

Falling through into Bedos end
Tomi Olumide
2017
Mixed media
Painting
414 x 591mm

An uncertain, fulfilling, unapologetic space of ambiguous ecstasy and unconsciousness

Crowd Commotion
Olumide Onadipe
2016-2017
Plastic sachets and electric cable
153 x 174 cm

My first observation of the installation was the physical elements from which it was made of. The plastic- ball- like structures which had been time consumedly- combined together at the looks of it, as it appears that each fragment was placed together in such a meticulous manner which gave the impression of some sort of preciousness towards the process as a contrast to the actual appearance of the work, which is sits restless in its ambiguity.

When I did observe it further, I realised the multitude of structures were not of balls at all but the forms of spiralled sheets of folded and wrapped synthetic plastic sheets, kernelled and then tied in place with metal wire in a way which looks like the artist was cautious of revealing the process in production how they had worked to their audience, through the neat arrangement of the wire assembling. 

The story behind the artwork I think is about the climate of the city of Lagos. The artist grew up in Lagos Nigeria describes the street vibe and atmosphere of the busy city and its people as well, through the illustration of the subject by the multi repetitive plastic sculpted installation. I believe the artist’s production of the work best describes the phrase ‘hustle and bustle of Lagos’. 

The title ‘Crowd Commotion’ is about the disruption, restlessness and the uncertainty of the state and atmosphere of Lagosian (Inhabitants of Lagos state). Lagos is a metropolis city and so is very busy and greatly populated as well, with respects to that, the artist has symbolised that through the bold repetition of the plastic elements which I believe represent the multitude of various individuals. In my lifetime I have only known the appearance of the product ‘Pure Water’ to be in two shades of blue, (Sky blue and Dark blue). This I became become aware from a recollection of my childhood in Lagos, remembering that the brand of ‘Pure water’ has on its transparent nylon sachets colour fonts of either seen the light blue colour in my younger years while growing up in Lagos as well, but more recently I recall seeing the darker blue fronted labels and greyish transparent appearance.

I think the use of the plastic medium in its multi production illustrates population, and towards this the two colours represent the age brackets in the Lagos populous. I think the installation illustrates the age bracket in populous of the Lagos people, as we see it in two colours which distinctively in multiples almost cancel each other out, however the grey plastic does seem to wipe out the sky blue.

References 

1-54.com. (2017). 1-54 Contemporary African Art Fair. [online] Available at: http://1-54.com/london/artists/onadipe olumide/  [Accessed 4 Dec. 2017].

SMO Contemporary Art. (2017). Olumide Onadipe – SMO Contemporary Art. [online] Available at: http://www.smocontemporaryart.com/artist-details/olumide-onadipe/  [Accessed 4 Dec. 2017].

Smocontemporaryart.com. (2017). Cite a Website – Cite This For Me. [online] Available at: http://www.smocontemporaryart.com/wp-content/uploads/2017/09/Crowd-Commotion-20162017Plastic-sachets-Electric-cable-153-x-174-cm-1024×975.jpg  [Accessed 4 Dec. 2017].

Part (14)                                                                                  Nikki S. Lee
2002
[photograph]

At first, I am alarmed by the arm which rests across her back and unto her left shoulder, as the artists makes no facial expression of discomfort. But the gaze away from the character to her right, as well as the gap of space suggests another illusion in play.

Her facial expression, seems without care and unbothered, as though the arm around her is of someone she has no emotional ties too, however the hold looks as though he knows her, and she is unhinged by his endeavour for intimacy. The inexpression in her face could very much illustrate her being coerced into this pose with the embrace of this man/ person on her right, to accompany them to maybe a social event of some sort. Thus, suggesting that she is being made to be seated with him, therefore an involuntary expression of happiness or intimacy, but expression of subtle resentment and ambiguity.

Within the photo the symbol that suggest the uninterested expression towards the person on her right, are the elements of her ‘dolled up appearance’, stare away from the embracing character, facial expression of non-flattery and cold obligatory body expression. The lighting in the background also plays a role in the scenery, as its brightness stays in background contrasting the dark wears of the female subject, and her mood as well. An ironic turn of events like a person saying that she should smile, as random individuals do often tell moody looking people at times. The light acts as an influencing factor, portraying its self as the uncontrollable antics of society’s structural unwritten rules which we as individuals might bare at times, whilst the situation is out of our control.

In relation to this an article ‘The projects, parts, And Layers’’ Od Nikki S. Lee’, from website Creators Vice, written by Kyuhee Baik (2011)’, suggests ‘Miss Lee performs in this scene which describes the connections between performance and non-performance,’ which also translates my earlier idea of ‘the female subject being a participant of some coerced agenda,’ performing a particular role which she did not voluntarily agree to. However it could also be her current situation hence the non- performance element.

Reference                                                                                                                                                          Creators. (2017). The “Projects, Parts, And Layers” Of Nikki S. Lee. [online] Available at: https://creators.vice.com/en_au/article/z4y8zx/the-projects-parts-and-layers-of-nikki-s-lee  [Accessed 5 Dec. 2017].

Understanding what I cannot accept                                                                                                      Tomi Olumide                                                                                                                                            2017                                                                                                                                                                    Acrylic and Dye pigment on paper                                                                                                                29.2 x 41.8cm                                                         

I worked on this painting during my summer holiday in Lagos Nigeria. Working on this in my small room/ studio posed a big health and safety issue only greatly concerned with after the entire process. at first because of the fumes which came from the printing ink and the dissolve of it with petrol, as a substitute for white spirit, which was very effective, however served as a great health and safety risk, but it was worth it. I would say the series of prints and paintings which I did on that day, were a way to get relief from the stresses life had brought, and the painting was a happy accident, which I was able to personally connect with intrinsically. The need to be in solitude, was the drive and influence in experimenting with this process. The stress and chocking factors of feeling stuck, pushed me to exert my frustration through a medium which I was familiar with, especially one which I had become fond of because I during my 2nd year college FMP.
Due to the mass production of the other works within it’s’ collection, I sped through the process of being gentle, precious with what I intended to create and spontaneously created the textures of the works with the aid of a wooden and rubber panelled squeegee, over a background of ready-made dye pigmented dry paper. I believe the fast paced work ethic helped the work turnout the way it did because if I did not work in such a manner it probably would have had a different result. I deem the entire process a making of erratic art, turned into a happy accident. The creation of these works was led by sentimentality, thus neglecting the objectivity of including symbols of significance, to show purposefulness and meaning relating to subjects not indulging in vanity and self-pity.

Submerge in Utopia
Tomi Olumide
2017
Mixed Media
446 x 635mm

A mixed media self-portrait created with the aid of Acrylic paint, photocopied paper, spray paint and spray bottle. Creating a piece towards my contemporary project and dabbling in a pool of uncertainty towards the final outcome, however baring the reflection of my identity, by using a photocopied scaled down print of a lead drawing on red paper (most beloved colour).

The size is about 420 x 594mm in a portrait orientation. I would like to enlarge the scale of the work by making the entire piece a wall mural (about 5 ft on both sides), surface made of primed MDF board, Stretched canvas or panel primed board of the same scale, hung to or nailed to the supporting wall it’s anchored by.

I cannot imagine the presentation of the work being in any form other-than rectangle, however it might be interesting to see it in an irregular shape too. I would however like the subject to be different, as it seems very narcissistic to have a blown image of my face. Having subjects or characters that are of a worthy cause or community project would be the subject matter. Where I could make a repeat pattern of the (image above with different subject matter) positioned in various angles, incorporating text, motifs, and collaged elements of sculptural objects relating to the theme of the work or fragments of my imagination which are aesthetically pleasing in paring the work.

I think having a play with non 2 dimensional objects with the wall mural would be interesting to show a distinction of the form and also illusion of relevant elements to the subject matter, which could either capture the audiences interest or bore them, for the most part I hope for the first.

Another way to illustrate this could be to make a short animation which would be in illuminated effect show the motion of the hovering rings of colour around the centralised object or character. In my head It appears like the ‘moving- atom’ from the popular animation ‘Jimmy Neutron’.

My blog has been a portal for displaying my written assignments. Honestly I did not enjoy the method of displaying my work to the public, as I was under the notion that it would be in confidence between tutors and students, nevertheless I do understand the objective of it preparing one for the mind-set of being confident with displaying their written work, more so sharing their opinions with others in a public space, and not being too precious and sentimental with opinions. Guarded I mean.

I’ve used evaluation templates from college and also articles on sites like artnet.com and a few others which I randomly looked through as a source of inspiration. So my words wouldn’t seem so muddled when portraying my thoughts. The worst thing is having your words not being seen in the best light and with the intentions you had whilst making them up.

I think the most important lesson I’ve learnt is not to procrastinate, it’s a bitch in every sense of the word. Feeling like you would get to it, and find yourself rushing to meet deadlines, it’s the most pathetic, depressing, embarrassing and dreadful thing that could demoralise an individual. And my words of comfort to myself after self-reflection on my performance through this semester is. Get a grip and lastly motivation is a lie so get your shit together

In past times before now, I had like I’m sure others did purposely ignored the entries of their contemporaries who had given early submissions, because of the shame or the reminder of responsibility. I’ve learnt that sometimes we need that pressure, we need that feeling of guilt, to remind us to just get on with it. So many reasons to babble on however I have more work to do.

Original Untitled
Tomi Olumide
2017
Ink on photocopy 
21 x 29.7cm

The work above is a darkened grey scanned photocopy holding markers (drawing tools). Initially made for a studio drawing workshop which I changed my mind towards using. It however worked very well in these adaptations, as I have appropriated elements of this piece into the following works.

I was inspired to create this style of work from the influence from a past drawing workshop which had involved photocopying art works we were interested in for our Contemporary Art project. I’m also very interested in incorporating text and motifs into my drawings and paintings, as it’s a very animated habit which mediates between childishness and passion of defining my points through verbal representation. I have found using motifs and figurative drawings or lines are a way to obscure my messages, be playful as well as distract my audience from the entire context of the work, while at times they could be guidelines to the context of the work.

Blank Untitled
Tomi Olumide
2017
Ink on Collage
21 x 29.7cm

Red Untitled
Tomi Olumide
2017
Ink on Collage
21 x 29.7cm

On the surface of the work are irrelevant lines and also text which do depict my personal frustration with my relationship at the time. Drawing on the scanned piece, was in fact a way to relieve myself of the tensions which resided within my mind at the time. Then unaware of the possibilities of carrying on the sequence of reproducing it into other forms, that still communicate emotional frustration, joy of transitioning into something more.

I used a photocopy of the work above and cut it in in a horizontal position, where a curtain looking omitted gap like bar graph was formed. This template became a flexible means to reproduce my ideas in various juxtapositions. The individual backgrounds becoming the supporting image laying against the back of the curtain strip, would in fusion with the strips form a collage of the two independent pieces merging them into one body, where the printed resulted would be further worked on with white and metallic ink drawings on its body. There forming the works ‘Red Untiled’ and ‘Black untiled,’ which illustrate the themes described in the ‘Original untiled’.

Chocker tentacles
Tomi Olumide
2017
Paper Sculpture

The curtain stripped piece was played with further by arranging it in positions of jewellery, like a choker necklace but with 9 black tentacles camouflaged in white and gold inscriptions.

Blood rose
Tomi Olumide
2017
Paper sculpture

Silent rose
Tomi Olumide
2017
Paper sculpture

Whilst still in this position, I would take the choker necklace to be the anchor for a black paper rose, on the background of either Red or Black A3 paper, to engulf the full length of the tentacle strips. The miniature sculptures titled ‘Blood  rose and Silent rose.’

After this the combination of the 4 works would then make my sarcastically titled end piece to conceal or Nah?. A collage of these pieces ‘Original untitled+ Chocker tentacles + Red Untitled + Black Untitled+ Red figurative drawing of male genitalia, then resulted in To Conceal or Nah?

To Conceal or Nah?                                        Tomi Olumide                                            2017                                                            Mixed media
21 x 29.7cm