I have been shouting ‘Exhibition’ ‘Exhibition’ since… Well, the first day of the exhibition came today and although it’s a week long (and there are other absolutely breathtaking art works at the venue/gallery) I know some people would not still visit.
So, here are the three works I exhibited and their interpretations.
The word ‘Obinrin’ is Yoruba for ‘Woman’. On the finished work in the gallery, I watermarked the top and bottom edges with 9 different words meaning ‘woman’ in 9 different African languages.
This picture unpretentiously depicts the much undervalued strength, focus and elegant gracefulness of many African Women. Obviously, the strength is visible in her arms and her back; her focus is obvious from the way she looks ahead even with all the plenty activities around her and her elegant gracefulness is apparent in the undeniable symmetry created by her hairstyle, the design of the big bowl on her head and even the way her arms hold the bucket.
This is the African woman.
Originally Titled: Omo Maami
This picture has dual meaning. But one thing is obvious for both meanings: The ‘baby’ is too old to still be backed.
The first interpretation relates to Nigeria. Nigeria, just as this boy, is too used to being strapped to the back, helped, regarded as a child, an invalid and a dependant. When in fact, we ought to be walking on our two feet. We are straddled and limited by our own mental and internal inhibitions as well as external and foreign ones.
Secondly, this picture depicts the relationship and bond between a typical African mother and her baby. The concept and idea of total independence of an African child is foreign to the nature of the African woman as she still pets, scolds and loves her ‘baby’ as though he were truly still a baby.
Beyond The Curtains of The Present
This picture has received the most variety of interpretations as it obviously speaks to different people in different ways.
For me, however, I see this picture as depicting the truth in the clichéd mantra, ‘The Children are the Future’
If you notice, the child is set at the background of the picture and at the foreground is a torn-through covering (which looks more like it was torn to expose the child). Well, it’s the same with the present and the future. If only we look through the curtains of the present, we will truly see that the children are the future of now.
Bringing it home, however, the jagged and violent edges of the tearing depict that in Nigeria, there has to be a serious and strong-armed determination (not a mere parting of the curtains) to tear through this present curtain for the Children to really be the future…. Especially in politics.
Thanks for visiting my exhibition!
Have some small chops and wine on your way out of here.
Oh that’s right! You’re not in the real gallery. ??