First Impressions!
The exhibition began with the artist inviting the audience into a portal, ile Oriaku. First of all, the use of the exhibition's physical space was dramatic and very intentional - think high ceilings and arched entryways, which added to the experience. I really loved the significance of that entrance, it made me sit up a little straighter (metaphorically) as I walked into the gallery.
It turns out the exhibition was designed to represent an imaginary Mbari house, a sacred Igbo space, and you could immediately feel that intention as you walked into the building. To make art, you have to get into a specific mental headspace as an artist, so curating an exhibition that goes beyond the artworks to recreate that sacred atmosphere, fosters a deeper connection between the artworks and those of us engaging with it.
The basics?
I couldn't help but notice the works are across multiple different mediums, but yet manage to create almost identical stylistic effects in each one, at least to the naked eye. (and the variety was pretty impressive, there pastel, ink, charcoal etc. applied on different backdrops such as linen, paper etc) So this is actually a question I would love to ask the artist: medium or technique? Compared to traditional oil on canvas, perhaps these materials are what allow for the vivid colors and those whimsical, dream-like effects? To be honest, I would guess it’s largely her technique, the consistency of style across the works is so remarkable and distinct to this artist.
The exhibition also had a good variety of sizes: some pieces were small like an A4 paper (which were actually super super detailed) and others were larger, more institutional style pieces, and of course, there were the centerpieces - a large triptych and a diptych in two separate rooms connected by smaller interconnected paintings.
What makes the art interesting?
1. Earlier I spoke about the artwork having a dreamy feel, but they are also detailed and very illustrative - a style I think most people, including myself are drawn to. So the visual effects are interesting, but also so is the subject matter. To me, the most dreamy works evoked an exploration of the consciousness, specifically the abstractness and vastness (including landmines) of that open space.
2. There are repeating elements in several pieces which create a really cohesive body of work. - It was almost like spotting easter eggs in the paintings - Mirrors on the floor, red gloved characters, beaded necklaces on ears, thin veils over ears, traditional draped clothing. The artist also lovessss a funky shoe in her paintings (the “bush woman” piece).
3. I really like the rounded frames for the artwork. Especially the dark frames with dark backgrounds, it feels almost like you’re looking at a TV which is fun.
4. The artist has an understanding of color symmetry that’s worth studying. So many different small shapes and colors but still an overall sense of harmony.
Pieces that made me think
“What to ask when you meet your future self“ (1) two pieces close to the start of the exhibition which depicted basically what the title said: a younger and an older version of the same person meeting each other. This piece is thoughtful and stuck in my mind. Walking through the exhibition though, you had to walk deeper into the gallery to see another piece titled “past meets future”(2) …compared to seeing “what to ask my future self” (1). They’ve gone past what questions to ask, and they are now trying to understand each other and you can see the frustration in both characters now. The younger one especially with his hand and face raised in question , while older him just smokes on with his red handed gloves and beaded neck.
“Congregation and Opin Ojo” (3)- The pieces drawing me in the most always have a bit of technical difficulty/dexterity to them. I would hang “congregation” in my house if there were prints.
There was this painting, where I could not tell what is going on in a painting and then I look at the name and it’s titled “events you will never know” (4) That cracked me up.
"The bushwoman" (5) - example of the use of shadows which was referenced at the beginning of the exhibit
Loved that you could see corrections on "the veil" (6) (specifically a spot where there was an erased ear and face) - probably unintentional but adds a whispy effect that promotes with the whole surrealism vibe. Also just fun to see a glimpse of the behind the scenes.
"Third person singular" (7) - what are the ancestors saying, seeing? Thinking? Are they rolling in their graves at my decision? Similar vibes with what would I ask my younger self? There’s like two different approaches to it. The long painting and the double panes diptych titled when past meets future will they speak the same language?
Connections I had to the artwork
1. The aba women piece gave me pause because I already thought it was so beautiful but when I saw the title I was like wow I understand the choices of having the bare-chested women and the woman falling on the floor, with the stylistic red glove Odutola has. I understand these things because I also have a painting about the aba women renaissance, and have similar representations of bare-chested women protesting.
2. "Engligbo" - another connection I had to the work was realizing the artist has igbo and yoruba roots, which is reflected even in the title of the exhibition.
Signature piece - the diptych: This piece felt like it was summoning an energy, clearly as the standalone work of such size, with two sides like an open portal and The characters lying in various states of exhaustion facing all directions. I was afraid to walk in front of this piece directly in case the portal opened up unexpectedly and sucked me in.
Final Thoughts
Overall, this was such a cohesive exhibition, from the intentionality of the entrance, to the placement of the artworks, to the similarities and repeating elements within each piece.
I would say this exhibition is the brainchild of someone who has a muse they are deeply drawn to or connected with. I want to clap for her.