Damilola Opedun

Damilola Opedun, born in 1983 in Akure, Nigeria, lives and works in Lagos. In his series “2744 Miles to Venice,” he confronts us with the simultaneity of contrasting realities: the magnificent scenery and ambience of Venice—the flair of romance and happiness, the image of European high culture and wealth. A magnet for mass tourism and a wealthy international art audience—and Makoko, a slum in Lagos that goes unnoticed there, built from dilapidated stilt houses on the western edge of the lagoon of Africa’s booming metropolis. Symbols of the contrast between the so-called “Global North” and “Global South.”

With his series of masterful portraits he appeals that black people should no longer see themselves as mere victims of colonialism and allow themselves to be seen as such by others. Instead, they should recognize their potential to shape their lives with self-confidence – to see themselves as equal and equally capable people and to be understood as such by others. This can lead to an acceptable understanding of diversity.

In his pictures, Damilola Opedun creates a new relationship between the present and the past. The people portrayed are real people of the present. They are depicted in the clothes worn by white rulers in colonial times. His compositions are an encouragement to become aware of one’s own potential, to develop it, to see oneself not as an oppressed subject but as a strong, self-confident, assertive actor.

Opedun thus gives reflection on history an ironic twist: the burdens of colonialism and oppression can be shaken off. Oppression does not have to continue. One’s own history and relationships in the world can be resha- ped. And this then becomes a general, fundamental message: the oppressed, disregarded, downtrodden and marginalized can become free people who are proud of their individuality.