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WHERE I COME FROM: A solo exhibition of selected works, by Adjani Okpu-Egbe, presented by Eduardo Secci Contemporary in London, as 1—54 Contemporary African Art Fair marks its 10th Anniversary:
13th — 16th October, Somerset House, Strand.
Drawing inspiration from his identity, upbringing, education, travels, relationships, activism, heritage and other circumstances that have contributed in the shaping of Adjani’s thoughts and practice, the show features works made between 2013 and 2022. Of noteworthy, is Fabricated Anthropology, which has undergone a slight “deconstruction” since its initial public appearances in UK and Germany between 2019 and 2021. The recurrent double-headed and double-legged mythical fish, vine bearing lemons and the incorporation of bubble wrap are indicative of Adjani’s use of symbolisms, folklore narratives, autobiographical content and exploration of materiality with meanings that are unique to his practice and informed by personal life experiences. Using non traditional support system like door panels, table tops, assorted strings, various fixtures, bookshelves and personalised-found-materials, Adjani’s metaphorical use of objects and material experimentation echoes convincing metaphors. The artist’s keen attention to details, use of text — including titles of his work, social commentary, and activism suggests that his work is perhaps “not aimed at being an end in itself”. As has been stated several times by the artist; “I want my work to be the beginning of someone else’s hypothesis”. Thus, this oeuvre passes for a synoptic and at the same time an exploration of irreducible complexities hidden behind heavily textured mixed media paintings, installations, colours, texts, objects and symbols. With an obvious nexus between abstraction and realism, some of the works reveal intentionality in presenting canons regarding the often overshadowed, but important contribution of Black women in shaping the past, the present and the future of Black lives and the world at large. This comes through quite strongly in Fabricated Anthropology. Flanked by white trolls, an imposing central Black female figure clutches a bouquet of flowers with hints of support from a Black male figure extending a muscly left arm from behind her, (Just like Frederick Douglass’ support for the rights of Black Women during the Civil Rights Movement in US). The couple profoundly engaged in what seems to be a matrimonial event command respect, integrity and stability despite all the challenges around them. It strikes a connection with the efforts of Fannie Lou Hamer, Coretta Scott King, Gloria Richardson, Septima Clarke, Merle Evers, Ella Baker, Claudette Covi and Diane Nash during the Civil Rights Movement in the US. Winnie Mandela, Miriam Makeba, Ida Fiyo Mntwana, Annie Silinga, Stella Thomas, Amy Ashwood Garvey, Kathe Locke, Altheia Jones-LeCointe, Olive Morris, and Beverly Bryan during the fight against Apartheid in South Africa and Racism in Britain respectively. In the installation piece, White Wars, Black Battles No1, again we see a determined central female figure leading her family in what seems like under “difficult circumstances”. The concise use of books by leading contemporary Black women authors like, Chimamanda Adichie Zadie Smith, and Emma Dabiri are further indicative of Adjani’s intentionality to spotlight the role Black women continue to play for a fairer society. Similar themes of Black feminist lead run through the timely sculptural installation piece titled; Chichidodo: Forced Marriage, Divorce Petition and Rumours of Joint Custody. Amongst complex topical subjects, the artist suggests that Black women should be part of restitution “councils” for looted African art and at the same time highlights Black men who pioneered the struggle as documented especially by Bènèdite Savoy in her book that makes up part of the installation. The beautiful little Black baby doll spotting afro and looking up to them is a powerful message on representation. In What White Women Can Do Next, the artist centralises Emma Dabiri’s new book, What White People Can Do Next. It’s a humorous and mildly erotic piece, but an emphatic nudge to the roles White women can play more, whilst we navigate the human condition together as humans, not racialised beings. We are further reminded about the effectiveness of coalition over performative allyship, in demanding equity for marginalised people given that socialist policies, not capitalism, was/is vital in fighting Covid 19 Pandemic and Climate Change and the gauging energy bills.
WHERE I COME FROM: A solo exhibition of selected works, by Adjani Okpu-Egbe, presented by Eduardo Secci Contemporary in London, as 1—54 Contemporary African Art Fair marks its 10th Anniversary:
13th — 16th October, Somerset House, Strand.
Drawing inspiration from his identity, upbringing, education, travels, relationships, activism, heritage and other circumstances that have contributed in the shaping of Adjani’s thoughts and practice, the show features works made between 2013 and 2022. Of noteworthy, is Fabricated Anthropology, which has undergone a slight “deconstruction” since its initial public appearances in UK and Germany between 2019 and 2021. The recurrent double-headed and double-legged mythical fish, vine bearing lemons and the incorporation of bubble wrap are indicative of Adjani’s use of symbolisms, folklore narratives, autobiographical content and exploration of materiality with meanings that are unique to his practice and informed by personal life experiences. Using non traditional support system like door panels, table tops, assorted strings, various fixtures, bookshelves and personalised-found-materials, Adjani’s metaphorical use of objects and material experimentation echoes convincing metaphors. The artist’s keen attention to details, use of text — including titles of his work, social commentary, and activism suggests that his work is perhaps “not aimed at being an end in itself”. As has been stated several times by the artist; “I want my work to be the beginning of someone else’s hypothesis”. Thus, this oeuvre passes for a synoptic and at the same time an exploration of irreducible complexities hidden behind heavily textured mixed media paintings, installations, colours, texts, objects and symbols. With an obvious nexus between abstraction and realism, some of the works reveal intentionality in presenting canons regarding the often overshadowed, but important contribution of Black women in shaping the past, the present and the future of Black lives and the world at large. This comes through quite strongly in Fabricated Anthropology. Flanked by white trolls, an imposing central Black female figure clutches a bouquet of flowers with hints of support from a Black male figure extending a muscly left arm from behind her, (Just like Frederick Douglass’ support for the rights of Black Women during the Civil Rights Movement in US). The couple profoundly engaged in what seems to be a matrimonial event command respect, integrity and stability despite all the challenges around them. It strikes a connection with the efforts of Fannie Lou Hamer, Coretta Scott King, Gloria Richardson, Septima Clarke, Merle Evers, Ella Baker, Claudette Covi and Diane Nash during the Civil Rights Movement in the US. Winnie Mandela, Miriam Makeba, Ida Fiyo Mntwana, Annie Silinga, Stella Thomas, Amy Ashwood Garvey, Kathe Locke, Altheia Jones-LeCointe, Olive Morris, and Beverly Bryan during the fight against Apartheid in South Africa and Racism in Britain respectively. In the installation piece, White Wars, Black Battles No1, again we see a determined central female figure leading her family in what seems like under “difficult circumstances”. The concise use of books by leading contemporary Black women authors like, Chimamanda Adichie Zadie Smith, and Emma Dabiri are further indicative of Adjani’s intentionality to spotlight the role Black women continue to play for a fairer society. Similar themes of Black feminist lead run through the timely sculptural installation piece titled; Chichidodo: Forced Marriage, Divorce Petition and Rumours of Joint Custody. Amongst complex topical subjects, the artist suggests that Black women should be part of restitution “councils” for looted African art and at the same time highlights Black men who pioneered the struggle as documented especially by Bènèdite Savoy in her book that makes up part of the installation. The beautiful little Black baby doll spotting afro and looking up to them is a powerful message on representation. In What White Women Can Do Next, the artist centralises Emma Dabiri’s new book, What White People Can Do Next. It’s a humorous and mildly erotic piece, but an emphatic nudge to the roles White women can play more, whilst we navigate the human condition together as humans, not racialised beings. We are further reminded about the effectiveness of coalition over performative allyship, in demanding equity for marginalised people given that socialist policies, not capitalism, was/is vital in fighting Covid 19 Pandemic and Climate Change and the gauging energy bills.
Discover the work of Adjani Okpu-Egbe
Adjani Okpu-EgbeCleansing Rituals, The Morning After Ngarbuh, 2020Mixed media on canvas
91 x 120 cm
35 7/8 x 47 1/4 in
Discover the work of Adjani Okpu-EgbeAdjani Okpu-EgbeSelf Portrait: Born into Patriarchy raised by Women , 2015Mixed media on found board
160 x 160 cm
63 x 63 in
Discover the work of Adjani Okpu-EgbeAdjani Okpu-EgbeFabricated Anthropology (Quadriptych), 2019Mixed media on wooden door panels
305 x 200 x 28 cm
120 1/8 x 78 3/4 x 11 in
Adjani Okpu-Egbe, 1-54Installation Views, Adjani Okpu-Egbe, 1-54 London,2022, Courtesy the Artist and Eduardo Secci Florence - Milan- Adjani Okpu-Egbe, Cleansing Rituals, The Morning After Ngarbuh, 2020Mixed media on canvas
91 x 120 cm
35 7/8 x 47 1/4 in - Adjani Okpu-Egbe, Self Portrait: Born into Patriarchy raised by Women , 2015Mixed media on found board
160 x 160 cm
63 x 63 in - Adjani Okpu-Egbe, Fabricated Anthropology (Quadriptych), 2019Mixed media on wooden door panels
305 x 200 x 28 cm
120 1/8 x 78 3/4 x 11 in
Adjani Okpu-Egbe (Born 1979 in Kumba, Southern Cameroon), now lives and works in London, United Kingdom. Using a crude expressive painterly language that incorporates autobiographical content, Adjani Okpu-Egbe unfolds a wide range of complex themes relating to Archaeology, Feminism, Patriarchy, African History, Pan Africanism, Afrocentricity, the African diaspora and political activism reflective of and transcending the Southern Cameroons Ambazonian movement to highlight specificities within the realm of the global social justice movement. These are sometimes spiced with direct and indirect sense of humour that gives away an interest as a keen observer of people and a social commentator. The mathematical formulae that was recurrent in many of his earlier paintings are an automatic scribble that became his distinguishing mark. These math exercises he was forced to do as a child were a repetitive sign of his relationship with his father who wanted him to abandon his dream of pursuing a career in professional football to instead become an economist or a businessman and consequently with any imposing or repressive authority have suddenly disappeared following the “passing” of the former and Adjani’s impulse and or emotional intelligence in allowing his practice to evolve naturally. The symbols that represented science and logic and became a subconscious automatic scrawl, and – perhaps the worst affront in the context of West and non-West relationships – a decorative element, has now given way to an emphatic use of unique materials suggestive of an artistic philosophical manifesto, perhaps in the near future. Often painting on found materials such as reclaimed doors and bubble wraps, Adjani’s boundless imagination and experimental curiosity allow him to take these salvaged materials to heart and use them as convincing metaphors. This is a brief review of his personal exhibitions: Surpassing the Eternally Mysterious Afro-Surreal, Sulger-Buel Gallery, London, UK (2019); Community Man IV (Benefit exhibition), Green & Stone of Chelsea, London, UK (2019); DNA, The Fourth Wall Gallery, Oakland, California, USA (2016); Poppable, Knight Webb Gallery, London, UK (2013); Letting Go, Mok Space Gallery, Bloomsbury, UK (2012).
Adjani Okpu-Egbe (Born 1979 in Kumba, Southern Cameroon), now lives and works in London, United Kingdom. Using a crude expressive painterly language that incorporates autobiographical content, Adjani Okpu-Egbe unfolds a wide range of complex themes relating to Archaeology, Feminism, Patriarchy, African History, Pan Africanism, Afrocentricity, the African diaspora and political activism reflective of and transcending the Southern Cameroons Ambazonian movement to highlight specificities within the realm of the global social justice movement. These are sometimes spiced with direct and indirect sense of humour that gives away an interest as a keen observer of people and a social commentator. The mathematical formulae that was recurrent in many of his earlier paintings are an automatic scribble that became his distinguishing mark. These math exercises he was forced to do as a child were a repetitive sign of his relationship with his father who wanted him to abandon his dream of pursuing a career in professional football to instead become an economist or a businessman and consequently with any imposing or repressive authority have suddenly disappeared following the “passing” of the former and Adjani’s impulse and or emotional intelligence in allowing his practice to evolve naturally. The symbols that represented science and logic and became a subconscious automatic scrawl, and – perhaps the worst affront in the context of West and non-West relationships – a decorative element, has now given way to an emphatic use of unique materials suggestive of an artistic philosophical manifesto, perhaps in the near future. Often painting on found materials such as reclaimed doors and bubble wraps, Adjani’s boundless imagination and experimental curiosity allow him to take these salvaged materials to heart and use them as convincing metaphors. This is a brief review of his personal exhibitions: Surpassing the Eternally Mysterious Afro-Surreal, Sulger-Buel Gallery, London, UK (2019); Community Man IV (Benefit exhibition), Green & Stone of Chelsea, London, UK (2019); DNA, The Fourth Wall Gallery, Oakland, California, USA (2016); Poppable, Knight Webb Gallery, London, UK (2013); Letting Go, Mok Space Gallery, Bloomsbury, UK (2012).
- Chico da Silva,
- Jordy Kerwick
- Daria Dmytrenko
- Caroline Achaintre
