By Jonathan Imafidor
In the realm of contemporary Nigerian art, Shade Fagorusi stands as a radiant filament, weaving a captivating narrative through her solo exhibition. Raised in Akure, Shade is a textile artist whose creative journey is interwoven with the fabric of her upbringing. Drawing inspiration from the lens of childhood memories and the nuanced drapery of adult experiences, she embarks on a visual quest, adapting these varied narratives into a collection that extends beyond the boundaries of conventional art practice.
Shade’s works in her solo exhibition tagged “A million stitches” brightened up the exhibition hall at the National Museum, Onikan, Lagos between the 26th to 3Oth November,2023.
Artists, art enthusiasts, collectors, and members of the public were privileged to enjoy in awe the dexterity, technicality, magnificence of her hand-stitched embroidered pieces.
The genesis of Shade’s artistic journey can be traced back to her formative years, where two neighbors emerged as catalysts, sparking the flame that would ignite her artistic passion. A local cloth weaver, engrossed in the dignified art of aso-oke, and a skilled craftsman adept at knitting woolen cardigans, became the muses that guided Shade’s artistic awakening. The magical transformation of threads and knitting yarns into objects of beauty and function captivated her, leaving a lasting mark on her artistic psyche.
A graduate of the prestigious Obafemi Awolowo University, Ile ife, Folashade Fagorusi is an embroidery artist who harnesses the tactile appeal of needle life into her visions. and knitting yarn to breathe
The vertical stitch technique, a signature element of her creative outputs, bestows an inherent elegance upon her works. Each piece, meticulously hand-stitched, ventures into the realm of realism, casting subjects using the chiaroscuro technique. The female form assumes a central role in her body of works, embodying an evocative and resonant subject matter. In this exhibition, her body of works can be categorized into three groups.
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In the first category, it is observed that Shade boldly transcends the familiar confines of her artistic lexicon. For instance, “Slay Queen,” “City Girl,” “Lady in Purple,”and
“The Young Lass” standout pieces challenge the viewer’s perceptual boundaries with a striated picture plane that weaves a mesmerizing illusion.
Each striation, laden with meticulous details, comes alive when contemplated from a distance. This category of artworks captures young female characters frozen in a moment of prime charm; their distinctive hairdos rendered with a flat touch that borders on the sublime. The subjects are well contrasted against a vibrant, one-toned background.
The “Reflection” series introduces a novel dimension to Shade’s artistic repertoire, featuring subjects embroidered on batik fabric. The interplay of shadows, executed in chiaroscuro, mirrors the subjects themselves, adding depth and nuance. This departure
from her customary materials showcases Fagorusi’s artistic versatility and her willingness to encroach territories within her craft.
Shade’s artistic journey takes a unique turn in the third category, as she ventures into a distinctive exploration of materials, introducing cement and sugar sacks as unconventional canvases for her subjects. Partly departing from her conventional mediums, this deviation becomes a prominent feature, signifying a deliberate and contemplative shift in her artistic discourse.
The juxtaposition within Shade’s work in this category features embroidered representations of aged male figures and energetic young female characters on empty cement sacks. This deliberate choice hints at a nuanced commentary, where the artist ingeniously utilizes waste materials as a backdrop, delving into the realm of recycling. This artistic endeavor resonates strongly with contemporary ideals of sustainability and environmental awareness.
Sugar and cement, as commodities, stand as staples in Nigerian society, paradoxically both widely consumed and yet exorbitantly priced. This discordance further magnifies the socioeconomic disparity between the affluent and the less privileged. Cement-related vocations, traditionally dominated by males, find representation on the empty cement sacks, while the sugar sacks, associated with a predominantly female sphere, host the embroidered female subjects. This deliberate placement invites viewers to reflect on societal roles and expectations associated with gender- a prominent theme in Shade’s work.
In essence, her exploration of these materials goes beyond their visual appeal, serving as a strong commentary on societal structures, gender roles, and the economic disparities entrenched in the fabric of Nigerian culture. Through this series, she not only embraces artistic innovation but also challenges observers to contemplate the underlying narratives woven into her material choice.
Shade’s artistic oeuvre serves as a reflective surface which captures the dichotomy inherent in her society. In this exhibition, gender roles, the optimism of youth and the penitence of age find a striking expression within the stitches of her creations, all resonating with the socio-economic conditions of her homeland – Nigeria. Her recent journey into incorporation of found items signals a transformative journey, a pointer to her newfound commitment to sustainability and environmental consciousness. As she charts a course into the realms of recycling, the future holds the promise of an unfolding saga—a pointer to innovation and creative evolution. Continuous exploration is a fuel that keeps the flame of creativity alive, and Shade has proven to be on this course.