Concluding on August 5th, 2023, the ‘Fluidity’ exhibition curated by the Art Bridge Project in a collaboration with AMG projects was a sight to behold. The exhibition featured 5 artists including Stanley Ugonnabo, Kehinde Awofeso, Seyi Akinwumi, Nneka Chima and Akanimoh Umoh who had eleven works on display. The works, though varying in style, medium […]
1 year ago
Concluding on August 5th, 2023, the ‘Fluidity’ exhibition curated by the Art Bridge Project in a collaboration with AMG projects was a sight to behold. The exhibition featured 5 artists including Stanley Ugonnabo, Kehinde Awofeso, Seyi Akinwumi, Nneka Chima and Akanimoh Umoh who had eleven works on display. The works, though varying in style, medium and direction, all contain, on some level, a deep understanding of the fluid nature of memories, of personhood, of situations, and most importantly, of existence.
Here, in retrospect, the artists discuss the theme of Fluidity, and what the art they make represents, both to them, and the people that view it.
The exhibition involves a diverse range of artistic mediums, from watercolor to. How did your chosen medium contribute to conveying the essence of fluidity in your work?
Akanimoh Umoh: I have always had a strong affinity for Watercolor due to its intrinsic properties which include its fluidity as a medium of expression, layered transparencies, and its penchant for unpredictability and chaos. Now, the challenge of trying to control that same chaotic unpredictability, whilst still playing with layers of washes is something that I have over the years come to take delight in pursuing; often with varying degrees of success amidst frustration and despair. Frequently exploring watercolor has been a therapeutic outlet of sorts in understanding my humanity, my relationships with my subject matter, and also, the value of patience in my interactions with life generally. So I personally see the essence of Fluidity in my exhibited works in this regard as the parallels between layers in watercolor, the layered interpretations in the themes of my work, and the layered personalities in my daily interactions with humanity in general.
Can you describe a specific piece from the exhibition that is not your work, that you feel strongly represents the idea of fluidity
Akanimoh Umoh
I personally feel that Stanley Ugonabo’s “A Quiet Place” ticks a lot of boxes for me, especially through his painting technique and understanding of how light, color, and the poise of the male gender, speak about the vulnerability and the frailness of the human existence, but yet still have a very stoic and resolute mien at the same time.
Your installations, “Sisi Clara” and “In Tune” focus on the theme of gender fluidity and non-conformity. Could you share the motivations behind these pieces and how they reflect your exploration of gender identity and expression?
Kehinde Awofeso: The pieces are motivated by a desire to present authenticity in response to systemic constraints, those defined by constructs of the gender binary; and also a willingness to embrace nature—its inherent strengths in contrast to conformity or uniformity that doesn’t serve our growth on an individual and communal level.
Sisi Clara invites the viewer to respond to a validation that projects outwards from motion of familiar forms. It is an attempt to portray the feeling of being in control and in charge of one’s feelings and emotions.
In Tune highlights a personal journey—it tells the story of old and new encounters, as well as reconciliations through a recognition of new forms by reviewing what happens now as vital for developing and sustaining motion and motivation.
As artists contributing to a larger cultural conversation, how do you hope your pieces will resonate with viewers and inspire them to engage with the themes of fluidity, change, and transformation?
Nneka Chima: The artworks exhibited at the show are primarily focused on childhood memories from the series “I hope we don’t forget who we once were.” These works portray the happy moments and cherished memories of our childhood, and how we carry them with us into adulthood. They remind us of the small things we used to love, like playing, forgiving easily, and laughing frequently. My pieces have elicited emotional responses from viewers, prompting them to reminisce about their own past experiences. I hope that these works will inspire people to view life as simpler and encourage them to pursue their passions from the past.
Can you each describe a specific piece from the exhibition that is not your work, that you feel strongly represents the idea of fluidity?
Nneka Chima: Akanimoh Umoh’s work depicts fluidity to me through the flow of colors which seem like they are interwoven and also the story behind each painting. “Dancing between dreams” and “miles to go before I sleep” both depict the flow between two worlds.
How does the theme of “Fluidity” resonate with your individual artistic styles and concepts? Could you share how this theme aligns with your creative journey?
Seyi Akinwumi: Generally, I incorporate a lot of lines, and experiment with mediums and materials. I make use of inks, charcoal, and vibrant colors in my work to illustrate healing, and mindfulness stemming from deep emotions and vulnerability. My creative process involves a lot of soul searching, from drawings and putting together fragments of my most intimate memories to laying them bare on paper. Every line is a language emanating from rhythms and movement of the heart, soul, and mind; which resonates deeply with the theme of fluidity.
Can you each describe a specific piece from the exhibition that is not your work, that you feel strongly represents the idea of fluidity?
Seyi Akinwumi: Each exhibiting artist strongly represented the idea of fluidity and each style is very unique. For example, Stanley has a very interesting body of work that illustrates vibrant blues and a balance of light and shade. His subjects illuminate a certain movement, form, intensity, and harmony. You can tell his technique is very well intuitive and there’s an element of freedom to it, which strongly represents fluidity.
Your work often portrays a balance between brooding and contemplation. How do you approach conveying these emotions while maintaining the theme of fluidity in your pieces?
Stanley Ugonabo: The easy answer is color. I employ the use of harmonious colors to convey certain emotions in my paintings. The application of these colors in gradations is my technical approach to the idea of fluidity. The variety of carefully selected colors creates conversations on the state of mind of the depicted figures. My paintings are my attempt at showing the aura and synergy we as humans possess as well as give off to our surroundings. So I knew the theme of Fluidity was an immediate match with my usual subject matter when I first heard about it.
Your portraits seem to invite viewers to explore deeper corridors of thought and memory. Could you elaborate on the emotional journey you aim to take your audience on when they encounter your artwork?
Stanley Ugonabo: My paintings, though complex, are always conceived from simple ideas and life experiences. My thought process for creating new works is using encounters of everyday life and representing them in a new absurd way. I saturate the moods of the figures by slightly exaggerating their poses to seem more compelling. Since my works usually portray these figures in the art of meditation, I expect each viewer to go on a mental journey imagining the figure is them and understanding the need for these moments of solitude. The healing properties they contain and how it can genuinely improve our everyday lives.
As part of an exhibition that delves into change, adaptation, and challenging norms, how do you see your art contributing to the conversation about embracing transformation and questioning societal constructs?
Stanley Ugonabo: Well, one of the ways my works question societal constructs is in the depiction of men in moments of vulnerability. Society has gotten very comfortable with associating some emotional responses with females alone. Emotional responses such as sadness, despondence, dejection, fear, and so on. My paintings subtly insist that men too can also be susceptible to these emotions and whether they choose to display it or not, they are always going through something and more often than not, alone.
Jojolola Dopamu is a Mass Communication graduate specialized in broadcasting, and an emerging art curator, filmmaker, and an astute lifestyle and culture journalist with a passion for preserving and documenting cultural narratives. Jojola excels in weaving the threads of art and creativity into captivating stories of relevance to the past, present and future.
