Former Dean School of Art, Design and Printing, Yaba College of Technology, Yaba, Lagos, Dr. Kunle Adeyemi is an accomplished artist with rich experiences in class and studio.
Since leaving the YabaTech in 1984, he has traversed the art landscape exploring new grounds while seeking knowledge and experimenting with innovative methods in art creation. His almost 40 years’ creative odyssey that will be reflected in his forthcoming solo art exhibition tagged Innovative testament, will be featuring paintocast, paintograph, printworks, and mixed media. The former Chairman Society of Nigerian Artists (Lagos) chapter’s trajectory is characterised by doggedness, commitment and love of the art. Most of his works promote the value of nature, environment and the need to preserve the nation’s cultural heritage.
Specifically, the artworks for the exhibition are a fall-out of his doctoral thesis in his desire to contribute new knowledge to art space. And this body of works create avenue for intellectual argument and debate, which is a hallmark of scholarship. Indeed, Innovative Testament is ‘an infinite creative adventurism that is ever-evolving and ever-unfolding with superb works of art emerging from his eclectic and energetic soul.’
At a recent gallery talk in his studio in Mushin, Lagos, Adeyemi traced his creative route dating back to his childhood experiences through his studio attachment years with great masters such as Bruce Onobrakpeya, his love for colours and new expression modes.
Among his collection for Innovative Testament his forthcoming exhibition are his recently produced high-relief sculptural pieces of birds, leaves and trees. They include Dialogue with Nature I, II and III and other series in the thematic dialogues. Notable of the exhibits are his old Yoruba ‘Agbada’ dress and the Jakan (embroidery) inspired Paintograph and Paintocast’ works, which include Jakan I, II and III, Agbada Nla I, II and III, Dem-O-Crazy for Whom?, The Persistence of a Winner I, Ecstasy of a Lead Drummer, Female Form III and IV, Drummer Ensemble II, Dialogue: Primary Instrument in Democracy I, and It’s time to wind up (the Festival is over) II, among others will spice the collection.
The exhibition is not all about visual art as Adeyemi will offer about six poetry works entitled Interfacing literary poems with my Art, which include Democracy for who? The ruler or the ruled? Women protest for the adopted girls, Ancestral mask, Chibok Tears and Adeoba. The solo exhibition, which will be curated by Moses Ohiomokhare will open on June 18 till 30 at Tim & Carol Art Gallery, on Oba Dosumu Street, Ikeja GRA, Lagos.
My New Expression
“The new expression in my art has its roots firmly planted in the traditions of simple sculpture forms especially African wood carvings, natural materials, environmental, people, places, things, spiritualism, socio-cultural milieu and general contemporary situations. These and many more are the vehicles used in creating my own style. My words, like the age-old African folk pattern, are thoughtfully designed to chart the course of lives of the people of my generation, document the present and create ways for a viable future, inform, educate, refresh, entertain my audience and posterity, and create avenues for self-expression, especially on societal ills. Even the patterns are much more than old-designed decoration for the sake of decoration. Some are imbued with pungent contents; while some refer to ancient battles, as in some of my elongated ‘house post series’. Some represent words or wisdom in visual forms. Some reveal and document the native sacred things in shrines and palaces and other sacrilegious places.
“The repetition sometimes of these symbols, patterns and motifs in my works give room for a real presence and emphasis. It is also thematic and visually soothing. The overall composition creates a soothing ambience of tranquility, spirituality and shimmering brightness. I play with different combination of patters, motifs and symbols to create my own multilayered invocation of traditional Africa. These symbols, patterns and motifs bring life to my composition. I arrange them in a way that the shapes and forms become a kind of visual music, whereby the rhythm and movement define and create moods, ranging from mystery and adventure to romance and even whims. These motifs and symbols in my works are graphic and dynamic in character. They also inhibit a virtual treasure of decorative possibilities.
The spiritual representational meaning and ritual significance of the patterns, forms, motifs and symbols are essential instruments and creative expressions of the beliefs and philosophies of traditional Africa. Little wonder that these symbols and motifs almost take the place of a written language.Examples abound in Nsibidi and Uli art of southern Nigeria, Andrika from Ghana and Ona of the south-western Nigeria. The designs are a kind of visual communication, which makes it easy for verbal and visual meanings to come together to offer spiritual or physical protection, interpret omens and offer blessings. The patterns and symbols depict leadership and ethnic affiliation, and represent proverbs and religious principles.”
My Colours
“I use colour as the heart and soul of my art. With paint, I could produce any colour that comes to my mind. I use colour as a catchment to create atmospheric meaning and identity. Most times, my colour generates or creates some philosophical questions such as, ‘what am I?’, ‘who am I?’, ‘why am I treating that subject?’, ‘where am I?’ and when or in what mood am I when creating the picture? I run my colours from neutral earth hues to warm reds and indigo blues. I use colour to create illusions or new worlds and evoke some vivid antique memories.
Colour is very crucial in the production of my artworks. Like any other artist, I have my favourite colours which often dominate my palette. My favourite colours find their way into any of my works irrespective of its theme. The colours have a way of presenting themselves naturally in my work. My exposure to the world of print-making further enlarges my vision of the colour spectrum. I now see colour as a tangible, solid thing that runs the heart and soul of my art. I feel the warmth of the reds, the natural, neutral softness of the earth colours, the uplifting azure of the blues, the cheerful glow of the yellows and the unifying drab and withdrawn nature of the browns, which I use sometimes to play on sophistication, mysteries and earthly riches.
I found out that vivid application of colours makes my works shimmer, glow, mix, mingle and create, not only its own beauty, but the beauty I perceive. Colour is a powerhouse that moves me spiritually and emotionally. It soothes my heart, lifts my spirit and energises my mind. Sometimes, it makes me feel jubilant or sad, agitated or calm. Colour is a major player and catalyst in the therapeutic function of my art. I have, in my little way, made my art perform this therapeutic function with bold approach in using vibrant colours, sometimes flat as they are, in a grandiose metaphorical description of colour.”
