Documentation of Arts Works & Process
Gallery of Resolved Work

Title: Who Am I
Size: 3.4m x 1.8metres
Medium: Acrylic, Pastel & Charcoal on Canvas
Gallery of Unit 3 Support Work
After the conclusion of Unit 2, it became apparent that I was looking in the direction of breaking down the formal barriers between the audience and the artist. Having various crits with my tutors and technicians I was trying to figure out ways to create new viewing experiences for the public who will be interacting with my work. Looking at flags, and banners and showcase my work outside of the existing standards of a frame. This led me to search for ways to expand my viewpoint and find a more approachable method to facilitate interaction between my work and my audience. A lot of times we as artists the audience experience that leads up to the interaction of the work and how you stage your work is as important as the work itself. It is our responsibility to break down the constraint of how things are shown. I went to the graduate MA show of the RA in July and the works from a few of the artists influenced how I feel I wanted to create a wholly immersive experience of the work. This also sealed it for me as not wanting to showcase my final degree work on a frame.




As I stated earlier, I learn by making and I believe that this has been very instrumental in my work, the process of reflection, digging deep, and revisiting existing failed works, I started the new piece for my final degree show. At the same time, I repainted one of the existing works, trying to repurpose my work with something stronger. Also, the idea of working on two pieces of work at the same time is a very healthy practice that allows one to breathe between each work, and spot differences and areas to reflect on or improve on.



During reflection after unit 3 it became very clear to me that I will have consistent themes in the body of my work which are part of my signature and process.




Masks (Ife Bronze head)
Going into unit 3 I took the advice from my tutors to spend time at the British Museum, to understand the origins, importance and commonalities between the masks showcased at the museum. At the conclusion of Unit 2 I specifical focused on Ife Head as they represent my maternal heritage and are a national momunment from Ile-ife (MacGregor, 2010)





Even thou the function of the head when discovered was unknown it was said to be the associated with royalty and a past Ooni the term used to refer to a ruler in Ife. (2010 P. a., 2010). On a visit to the Royal Palace, you will see a representation of the mask on the right hand of the current Ooni of Ife Oba Adeyeye Enitan Ogunwusi. (Thomas, 2015)
My aim using this was to immortalise the works of the artist that created this monument as the role and function of the mask is known but the artist who started this is unknown. This also set the stage to represent my figures as deities or royalty (BBC Radio 4, 30 Jun 2010) as they give life to characters that fit the context of my work.


The image on the left shows the current Ooni of Ife with a replica of the Ife bronze head on his right hand side. Source; Tiwa October 2021

This also allowed me to recreate a memory from my experience of the museum, which was a surreal moment of deep awakening, I reworked one of the failed projects that I had created in Unit 2. I am currently still working on the piece but I already know the title of the work"what if they knew" as a reminder of the feeling I felt at the museum, I was working on this piece as I was also working on my degree showcase piece.
Drawing
Drawing is at the foundation of my work and the root at which I create the scenes or set the stage for dialogue. I continued to attend the drawing class at the royal Drawing academy to, free myself from my limitations as discussed in Unit 2 and unlearn the urge to replicate reality. By giving into fluid strong strokes or marks that define the substance of the figure I was challenging my bias of what makes a drawing complete Treating drawing as not just a process but aa a finished artefact in harmony with my paintings. (Fortnum, 2020). I also worked with images from friends to create an interesting interaction between present and past characters in the piece.





I started experimenting with poems in my sketch and working on how I want this to interact with the piece.
The Poem
The pain I Feel
Only I know
The pain I feel
I can't show
the pain I feel
I feel it grow
..................
I might die
If don't let the pain I feel go








I also worked with images from friends to create an interesting interaction between present and past characters in the piece.




Popular Culture References
In my work, I always like to acknowledge items, individuals, or causes that have impacted popular culture as we know it and within that same context draw similarities to the topic of discussion narrated, A few things I intended to touch on were the toxic relationship between pop artist and traditional fine art. The uneasy conversation of commercialism at the expense of appreciation of traditional fine art using Brian Donelly “kaws” as the case of the conversation. Quoting from an Article by Mutual art “With the traditional art elites KAWS was never popular though, even shunned. They do not see him as the natural heir to the pop-art giants of the late 20th century,” (MutualArt, 2022)
As I researched, I began looking for items that not only fit into the narrative but gave new InSite when placing both items next to each other. For example, juxtaposing the JBL speaker which has largely affected become not just a piece of technology and a fundamental music output but a value item in popular culture, I intended to draw similarities between an object with value, impact and aesthetic and another individual in Africa who lived an iconic legacy and still influence culture today. According to Lisa Phillips, the Director of the New Museum Fela was ''The most important cultural figure in Africa in the past 100 years “
And is “virtually unknown in America outside of the African-American community,'' (Ogunnaike, 2003)

This piece took the longest time to create, as it had changed over the course of 4 months. Starting it at the beginning of unit 3 before the exhibition at Wilson Road, it has been interesting to see the work morph into the final outlook.

As I ruminate on the topic treating my canvas like a sketch pad, visiting exhibitions, and attending crits with tutors and colleague this combination of events challenged me to be bolder, and appropriately create and references conversation that united the work as a whole. One thing that significantly changed my view about the presentation was the exhibition of Vangogh and how a piece of art became an immersive experience as such I decided that in every showcase, I have to find ways in which my work can draw an audience in.
Poems as a Visual Language for Engagement
This is something that came much later, I often write poems but never bold enough to share or admit out loud that it was worth anyone paying attention to. In the spirit of really giving myself to the process and experimenting I thought, I could add it as another layer of interaction to my work. I attend exhibitions and a lot of times try to figure out the mind of the artist, although I enjoy the freedom of having to figure out the mind of the artist I sometimes feel lost and puzzled with a guidance on how to connect with the work on a deeper level. During the Summer I had decided to be bold enough to introduce this an element to my work and tried it on a neutral audience while participating in the Haven exhibition organised by steingold contemporary.
Another thing that reenforced my decision to make this a consistent feature was a stand booth at the just concluded frieze week at Regent Park London. I came across a poem that was exhibited as a work on its own.





This particular booth was very inspiring to me as an artist in the drawing. Seeing it executed on such a scale and the response to the work was encouraging. It created interactions where people could approach the drawings and move in and out of the work. The material used was not traditional canvas as you could see through the frame as light interacted with the piece.
Even though that’s not my intention I could see how poems could strengthen the context and create an intimate moment between my work and the audience. A British Artist I am very inspired by is George Mpanga known as George the Poet who uses poems and spoken words to talk about social and political issues. His subtle voice as he creates scenarios and captivates the audience on a journey and still conveys his message settled it for me as I could curate a new experience to my work.
Recently during a crit, I was introduced to Cathryn Charnell White and was inspired by how her book which had a selection of several Welsh writers who had experienced the French revolution reveal words showcasing different experiences to one shared collective experience (White, 2012).
I asked a friend of mine to voice the poem because I didn’t want the narration to have a male-dominated tone. Even though I barely made it in time for the exhibition, I am very happy that I chose to add this as a consistent feature in my work. Nevertheless, I realize how much work I need to do both technically and literarily as I evolve as an artist.

“Paintings are but research and experiment. I never do a painting as a work of art. All of them are research. I search constantly and there is a logical sequence in all this research.”
Documentation of the July Exhibition

Title of Exhibition: Brick Walls + Glass Ceilings
Date and time: 4- 9 July 2022
Location: Wilson Road Camberwell College of Arts (1 Wilson Road, London SE5 8LU)
Brief about the exhibition
This was a very stressful point in my MA experience as a lot of things were happening personally that I cannot divulge. I intended to showcase new work because I had shown all my works in previous exhibitions up until this point. I then set out to start an ambitious piece. Looking back now there was no way I could start and finish in time. But at the time I was so hell-bent on putting my best foot forward with new work, and you can imagine how bad I felt when I had some days to go and I was nowhere close to ready. With the help and advice of my tutors, kate and Sarah who have been an immense help in my journey I was shown two of my unit's earlier works, Who I am and the traveler’s head. I decided to be creative with the showcase and utilized the space of the Wilson to create a mini stage that people can interact with. It was so beautiful





Documentation of the November Exhibition
The Proposal
Listed below is the piece of work I would like to be considered for the exhibition. It is important to note that all the work I intend to showcase, will be exhibited in such a manner that the audience can be involved. I will use a set of props with the paintings in the background. The Props I intend to use are two chairs, a stool, a mat, and a lamp stand. The background wall on which the work will be hung will can be painted white or a variant gray color scheme. The lighting is also key in adding to the mood and context of the whole piece. My piece with be described with a poem which will be printed on leaflets and left on the tabletop for the audience to interact.
Title: Legacy (At the time)
Dimension size is 3.4m x 1.8m
Material: Acrylic on Canvas.
Work Status: 80% done
The work will have eyelets around the piece work which will allow for easy hanging and transportation. This set of work is large and will take time to set up. It should be just below 25kg
Below is a mock-up of what my work can look like in both galleries.
Specific requests
I will like a long wall or darkened area; I intend to use extra sources of light to create a setting around my work. My work can co-exist with others, I will prefer to not have any work directly in front of my work (sculptural pieces, Hangings of any sort)
Health and safety considerations
The risk assessment is required for my work as it is a large long piece of work, which will need technical assistance to install. The installation can be free hanging and flowing.
I will like my piece to be installed at eye level (2ft from the floor). I envision a few risks because the nature of my second piece is large and long work, which will require installing with ladders and suspended work at eye level. My work is 2d. I am personally fine with any tools suggested giving the most efficient hanging mechanism. I will need one power outlet for the lamp that will be beside my work. It could be on either side.





Title of Exhibition: Church / Factory
Date and time: 4 – 9 November
Location: Copeland Gallery
Brief about the exhibition
It was a very interesting, intense, and exciting time leading up to the final MA degree show, from the proposal curation, the interaction with curators, and the negotiation that had to go on in order for us to collectively put on a good show. Understanding the dichotomy happening with moving large pieces, adapting to changes that were made in order to accommodate the entire MA pathway, and going through the necessary training on health, safety and packaging with Craig that had to be taken into practice during this exhibition. All this and more were just some of the field experiences learned in the process.


Set-Up
Understanding that the proposal is still subject to change by the curators it was important letting go and trust the vision of the curators to bring the work to light. The hanging mechanism changed from eyelets as proposed to a wood beam, as it was difficult to acquire aluminum beams that were long enough for the size that was required. As opposed to working with a corner with a wall at the back, the piece was given a more pronounced location that created attention and interaction with the piece. This allowed for conscious interaction with my work and gave the piece a new allure. The lamp was taken out because we needed to accommodate the shared space, nonetheless, the piece still created the impact desired





The Exhibition
It was very rewarding, to observe the audience and how they interacted with the work. Some take the poems as memorabilia, while others experience all three parts from the painting to the poem and then the audio. It was interesting to see what connected with people and what didn't, How immersed others were, and what stood out to the rest. One thing was certain I was able to witness people not just hang around the work but stop, stare, read, listen, seat, and reflect and it was a key experiment I needed to witness as I progress as an artist in London. I easily blended with the crowd and didn't have people know that I was an artist until much later. That is something I am grateful for and my colleagues connect to the work on a personal level.


