The exhibition “Turning Points” marks a significant shift in perspectives and attitudes. The artists explore the personal pursuit of freedom, dignity, resistance against constraints, and self-assertion. They move away from suffering and take responsibility for their lives. In doing so, they reject all claims to dominance, particularly colonial and neo-imperialist ideologies, and advocate for equal rights for all people. Their works invite open, non-authoritarian dialogue.
In the exhibition “When We See Us,” Koyo Kouoh emphasized the importance of “Black Joy” as a fundamental element of African culture, essential for gaining strength in self-assertion. She insisted that Black culture should not be reduced to merely “a response to racist oppression.”
The artists in “Turning Points” follow this idea. Oluwole Omofemi, Gerald Chukwuma, Gbolahan Ayoola, and Damilola Moses Ofemin, all hailing from Nigeria, share an optimistic message: constraints can be overcome, oppression can be lifted, and change can be achieved. With confidence, pride, and trust in their own strengths, people can rediscover their history and culture and, as free agents, contribute to shaping a better world.
The narratives of the artists have many commonalities, complement each other, and offer a wide range of sensory experiences. They invite viewers to reflect on their own lives and the social as well as historical context. Each artist encourages self-reflection, the pursuit of authenticity and autonomy, and the discovery of one’s own potential. Their works promote cross-cultural encounters and conversations.
Join us and experience these powerful narratives in “Turning Points.”
Oluwole Omofemi, born in 1988 in Edo, Nigeria, lives and works in Ibadan. His art focuses on human figures, particularly proud and independent Black women. He often portrays them with Afros, braided hairstyles, or shaved “Sakora” cuts, all deeply rooted in African culture. Omofemi’s works highlight themes of pride, self-worth, and the significance of heritage. His art is a tribute to women, encouraging them to assert themselves and demand equality. As a Black man, he also calls on other men to support women in their journey of self-realization.
Omofemi references Alicia Keys’ song “A Woman’s Worth” and emphasizes that a real man must respect a woman’s value. He strives to capture the true essence of his subjects, making their transcendent beauty and personality visible. This approach aims to allow viewers to connect deeply with the individuals depicted. Omofemi uses his art to promote Afrocentric pride and improve the lives of the underprivileged. His works have been exhibited in Nigeria and internationally.
Gerald Chukwuma, born in 1973, lives and works in Lagos, Nigeria. He is one of Nigeria’s rapidly emerging contemporary artists, renowned for his intricate sculptures on wooden panels. Chukwuma uses everyday materials and combines techniques such as burning, chiseling, and painting to tell complex stories with personal and political meanings.
Chukwuma explores migration as a process of transformation and addresses the impact of globalization on his community. He transforms ordinary materials into new narratives that reflect Nigeria’s fast-changing socio-political landscape. His works, often handcrafted, carry a sense of personal intimacy while simultaneously referencing global contexts of trade and travel. His depictions symbolize urban societies shaped by the realities of globalization and conflict.
Chukwuma complements his work with figures from Nigerian cultural history, emphasizing the importance of reflecting on pre-colonial history. He views art as a means to foster optimism and explore empowering possibilities in the present.
His works are featured in major collections worldwide, including the Bunker Artspace Museum, USA; The World Bank Collection, Washington D.C.; and the Yemisi Shyllon Museum of Art, Nigeria.
Gbolahan Ayoola, born in 1977, lives and works in Lagos, Nigeria. He creates abstract expressionist and surrealist compositions using acrylic, pastel, pencil, and charcoal. His paintings provide insights into the personalities and identities driving social change. Each piece serves as a window into the unique journey of individuals, exploring the connection between personal narratives and collective historical consciousness. Ayoola emphasizes the importance of understanding the past to comprehend the complexities of the present and future.
Inspired by anthropology, Ayoola’s work explores the relationship between history, culture, and social change. He views the past as a catalyst for building a better future and invites his audience to connect with their potential for positive transformation.
Ayoola’s art calls for mutual respect between men and women and encourages psychological self-reflection. He describes life as a personal journey requiring a deep connection with oneself, guided by a vision that propels one forward.
His works are part of significant corporate and private collections worldwide, including the World Bank in Washington, the African Finance Corporation in Nigeria, and the Nigerian National Gallery of Arts.
Damilola Moses Opedun, born in 1983 in Akure, Nigeria, lives and works in Lagos. From 2006 to 2010, he studied at the School of Art and Design in Edo State, graduating at the top of his class. Initially fascinated by pastel painting, which brought him early international recognition, he has shifted his style in recent years towards oil painting on canvas. Opedun portrays people from his surroundings, painting faces in the style of the old masters, with precise attention to expression and facial features.
With subtle irony, Opedun relates the present to the past by depicting his subjects in colonial-era clothing. This attire, often painted with slight blurriness, symbolizes a bygone era. His works encourage an awareness of one’s own potential, urging viewers not to see themselves as oppressed subjects but as confident agents of their destiny. Opedun demonstrates that the burdens of colonialism and oppression can be cast off and that one’s own history can be reshaped.
Further information about the exhibition and the artists can be found in the attached document.
