Ayobola Kekere-Ekun

The core of my artistic practice rests on three foundational pillars. The first is an attraction to lines. I find lines genuinely fascinating. A single line can connect and separate, enclose and exclude, direct and misdirect, all at the same time. The second pillar is the seeming neutrality of paper. I view paper as a conceptual Trojan horse. By making paper the visual centerpiece of my art, I encourage my audience to reconsider the material’s value and potential. This re-examination also underscores a running theme in my practice, which is that things are rarely what they appear to be. The use of fabrics in Yorùbá, Nigerian society, is my third pillar. Across my practice, I use fabrics as a reference to the practice of Aṣọ ẹbi in Nigerian society. Aṣọ ẹbi, which translates to “family cloth”, refers to the selection of a fabric that serves as a “uniform” worn by families and friends alike during communal ceremonies such as weddings, birthdays and funerals. It is intended to be a show of love, support and camaraderie. The practice has, however, been corrupted in contemporary times. My use of fabrics references how the positive can quickly mutate to take on negative connotations. It is also a visual representation of societal pressure and expectations. I enjoy exploring themes related to gender, memory, mythology and identity. The visual complexity of my art is a visual metaphor for the difficulty of the themes I tackle. My art is often visually playful and engaging, characterised by intricacy and bright colours. I think of the visual accessibility of my work as a “trap” of sorts. It lures an audience into engaging before revealing the darker subject matter the work deals with, a constant reminder of the fallacy of face value.