SELECTED WORKS

 

 

  • He just was

    Diptych
    Charcoal, pastel, marker and graphite on paper
    40 x 30 inches (each)
    (2014)

    Left panel
  • He just was

    Diptych
    Charcoal, pastel, marker and graphite on paper
    40 x 30 inches (each)
    (2014)

    Right panel
  • Evidence

    Charcoal, pastel and graphite on paper
    17 x 14 inches
    (2014)
  • What's in a mistake?

    Charcoal, pastel, marker and graphite on paper
    29 x 23 inches
    (2014)
  • The Last One

    Charcoal, pastel, marker, and graphite on paper.
    30 x 40 inches.
    (2014)
  • If Only

    Charcoal, pastel, marker, and graphite on paper.
    30 x 40 inches.
    (2014)
  • Wrapt II

    Charcoal, pastel, marker, and graphite on paper.
    30 x 40 inches.
    (2014)
  • Mom Sleeping

    Charcoal, pastel, and marker on paper
    
11 x 14 inches
    (2014)
  • You were all brothers once, but have since forgotten

    Charcoal, pastel and marker on paper

    69 x 41.5 inches
    (2013 - 2014)
  • A Quiet Place

    Charcoal, pastel, marker and graphite on paper.
    Approx. 41 x 42 inches.
    (2014)
  • To remember and to forget

    Triptych
    
Graphite on paper

    9 x 12 inches (each)
    (2014)
  • To remember and to forget

    Animated GIF
    (2014)
  • When The Witnesses Are Gone

    Charcoal, pastel, marker and graphite on paper 

    30 x 40 inches 

    (2013)

    Part of the "Trilogy," (2013) series.
  • Study of Maebel I

    Marker on paper
    
9 x 12 inches 

    (2013)

    Part of the "Studies of Maebel," (2014) series.
  • Study of Maebel II

    Graphite on newsprint 

    9 x 12 inches 

    (2014)

    Part of the "Studies of Maebel," (2014) series.
  • Study of Maebel X

    Animated GIF
    (2014)

    Part of the "Studies of Maebel," (2014) series.
  • Study of Maebel X

    Detail of Frameset No. 3 

    Graphite on paper 

    9 x 6 inches (each)
    
(2014)

    Part of the "Studies of Maebel," (2014) series.
  • Study of Maebel X

    Detail of Frameset No. 2 

    Graphite on paper
    
9 x 6 inches (each)
    
(2014)

    Part of the "Studies of Maebel," (2014) series.
  • Study of Maebel X

    Detail of Frameset No. 1 

    Graphite on paper
    
9 x 6 inches (each) 

    (2014)

    Part of the "Studies of Maebel," (2014) series.
  • And you emerged, curved and new

    Pen ink and marker on paper
    
9 x 12 inches
    (2013)

    A portrait of a transgendered male chest, post op.

    Part of "And you emerged, curved and new," (2013 - 2014), a series of intimate portraits, done primarily in pen ink and marker, which focus on transitioning and transitioned bodies. The series title is inspired by excerpted dialogue from Susan Minot and Bernardo Bertolucci's adapted screenplay for "Stealing Beauty" (1996).
  • And you emerged, curved and new III

    Pen ink and marker on paper
    
9 x 12 inches
    (2014)

    A portrait of a transitioning male chest undergoing hormone replacement therapy (HRT) with testosterone, which activates the development of secondary sex characteristics, such as hair growth.

    Part of "And you emerged, curved and new," (2013 - 2014), a series of intimate portraits, done primarily in pen ink and marker, which focus on transitioning and transitioned bodies. The series title is inspired by excerpted dialogue from Susan Minot and Bernardo Bertolucci's adapted screenplay for "Stealing Beauty" (1996).
  • You Are No Different

    Pen ink and marker on paper
    
9 x 12 inches 

    (2013) 

  • A Map of Yorùbáland

    Pen ink and marker on paper
    
12 x 9 inches
    
(2013) 



    Double portrait of the artist's father as a young man.
  • Into a thousand lights of sun

    Pen ink and marker on paper. 

    9 x 12 inches
    
(2013) 



    Title of work is an excerpt from the Langston Hughes poem, "As I Grew Older."
  • Joeonna (Study)

    Pen ink and marker on paper
    
9 x 12 inches
    
(2013)
  • Rather Than Look Back, She Chose To Look At You

    Pen ink and marker on paper 

    36 x 66 inches 

    (2011 - 2013)

    Part of the "Of Another Kind," (2013 - 2014) series.
  • AKATA

    Pen ink and marker on paper
    
9 x 12 inches 

    (2013)

    "Akata" is a Yoruba term meaning, literally, “wild animal” or “bush animal.” As my father said, jokingly, when I inquired on the term, “think of it as road kill.” But on a more serious side, “Akata” also has a double meaning that leans more towards slang. “Akata” is also viewed as a derogatory term migrant Africans may use to describe African Americans. My titling this piece “Akata” was not meant to confer this slang meaning at all, but to dissent it. I wanted to play with the idea of a “wild/bush animal” and the African American stereotype that still exists as a divide between recent African immigrants and Americans of African decent in this country. Myself, being a documented “Nigerian American”, often having to grapple and mitigate with these opposing views and separatism has left me weary and suspicious of terms like “Akata.” My “identity” is a combination of these two distinctive cultural stances. Thusly, to title a portrait variation of myself “Akata” is to undermine that distancing and highlight the problem of having Pan-African particularities and distinctions made inferior or derogatory. In-fighting and name-calling doesn’t help the conversation, it only seems to create more binaries. 

I can already see that this view will cause some people to disagree with my statement on this—on both sides—but the aim to make people understand that in order to properly look at other people with equal regard and respect, is to look at ourselves individually and understand ourselves individually—contradictions and all. I am a Nigerian American, these two labels are at odds with each other already and I have always felt ambivalent towards them (committed to their representation and equally compelled to disregard them). However, by titling an intentionally androgynous self portrait with a potentially offensive Yoruba term for African Americans towards myself creates a space that I hope others can see the self and community destructiveness in separatism. If we are to respect difference, it doesn’t mean we should all assimilate or blanket individuals and communities, it means we should understand the importance of why we are different and how much of that difference is self-imposed and socially imposed upon us all. 

Concerning the “gold teeth” — it was an aesthetic choice, primarily, but I think it supplements the aforementioned “Akata” argument. What may be considered gaudy or “low” are all connotations that are mostly imposed (even I was hesitant about the teeth/grill). Now I understand that by taking the risk of adding the teeth, it helped to better formulate my argument with an aesthetic that reflects the feelings I aimed to express.

    Part of the "Of Another Kind," (2013 - 2014) series.

  • New Growth (Maebel)

    Pen ink and marker (Bronze) on board 

    Approx. 14 x 13 inches 

    (2013)

    Part of the "Of Another Kind," (2013 - 2014) series.
  • The Philosopher

    Pen ink and marker on board 

    20 x 30 inches 

    (2013 - 2014)

    Part of the "Of Another Kind," (2013 - 2014) series.
  • What Was Left Behind (Redux)

    Pen ink, varnish and marker on paper 

    9 x 12 inches
    
(2013)

    Part of the "Of Another Kind," (2013 - 2014) series.
  • What Was Left Behind (No. 2)

    Pen ink on paper 

    9 x 12 inches
    
(2012)
  • The Hand

    Pen ink and marker on board
    
15 x 20 inches 

    (2013)

    Part of the "Of Another Kind," (2013 - 2014) series.
  • All these garlands prove nothing

    (Detail)
    
Pen ink and marker on paper 

    23 x 14.3 inches
    
(2012)
  • Benjamin

    Etching with aquatint
    
(Final State)
    
Image: 12 x 9 inches
    
Edition of 16
    
(2012 - 2013)

    Printed at 

Flying Horse Editions, FL
  • Untitled (Dotun. Enugu, Nigeria.)

    Pen ink on paper
    
14 x 11 inches 

    (2012)
  • Maebel

    Pen Ink on paper 

    12 x 9 inches 

    (2012)
  • After Jeremy Kost

    Pen ink on paper 

    12 x 9 inches
    
(2012)
  • Dotun at twelve years old

    Pen ink and marker on paper
    
9 x 12 inches 

    (2012)
  • Untitled

    Pen ink and marker on paper
    
14 x 11 inches 

    (2011)
  • Uncertain, yet Reserved. (Adeola. Abuja Airport, Nigeria.)

    Acrylic ink and pen ink on board 

    30 x 20 inches 

    (2012)
  • Untitled (Fade into Monochrome)

    Triptych
    Pen ink and marker on paper
    12 x 9 inches (each)
    (2011)

    Part of the "(I'm) All Yours", (2011) series.
  • Untitled (Fade into Monochrome)

    Animated GIF
    (2011)

    Part of the "(I'm) All Yours", (2011) series.
  • Untitled

    Diptych 

    Pen ink on paper 

    9 x 12 inches (each) 

    (2011)
  • Untitled

    Diptych 

    Pen Ink on paper
    
9 x 12 inches (each)
    
(2011)
  • Untitled

    Pen ink and varnish on board 

    32 x 40 inches
    
(2010)
  • Untitled (Masks 6 & 8)

    (Detail)
    
Pen ink and varnish on cut vellum
    
11 x 17 inches (each) 

    (2010) 



    From "Masks," (2010) series.
  • Scarification

    Pen ink and varnish on paper 

    Approx. 17 x 14 inches 

    (2009)
  • Emphasis

    Pen ink and varnish on paper
    
17 x 14 inches 

    (2009)