A Master of Fine and Applied Arts Solo Exhibition YUSUF DURODOLA
Department Of Fine And Applied Arts, Obafemi Awolowo University, Ile-Ife, Nigeria. a es A Master of Fine and Applied Art Solo Exhibition DURODOLA, Yusuf Olanrewaju NCE (Painting/Graphics) FCE(T.) AKOKA, BA (Painting) UNILAG MFA (Painting) OAU AUGUST 7-11, 2023
“The secret of es originality lies in the ability to traces2023 3 be sincere in your creativity.” -Yusuf Durodola 2 traces2023
cteras traces2023 5 Copyright 2023 Durodola, Yusuf Olanrewaju Department of Fine and Applied Arts, Obafemi Awolowo University, Ile-Ife, Osun State, Nigeria. ISBN: 978-978-780-714-9 Layout, Design and Photography (Artwork): Yusuf Durodola Photography (Performance): Benjamin Oladapo Printed by: Phephe Planet Productions Published by: Integral Visuals Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means (electronic, mechanical, recording or otherwise) without prior written permission of both the copyright holders and the publishers of this exhibition catalogue. Cover image: BABA PUPA, (Old Age Series), Acrylic, ink, and pastel on canvas, 112cm x 95cm. 2021.. 4 traces2023
TRACES A Solo Exhibition By TABLE OF CONTENTS 01 Durodola, Yusuf Olanrewaju In The 04 Department Of Fine And Applied Arts, Title Page 06 Faculty Of Arts In Partial Fulfilment Of Copyright Page 07 The Requirement For The Award Of The Degree Of Credit Page 12 Master of Fine Arts (Studio-Painting) Table of Contents 18 Of The Obafemi Awolowo University, Foreword Ile-Ife, Osun State, Nigeria. Introduction 22 Researcher's Curatorial 26 Vice-Chancellor: Statement 50 Professor Adebayo S. Bamire Literary Contributions 158 The Works 162 Provost, Postgraduate College: About the Researcher Professor Victor Folorunso Olaleye Acknowledgments HOD, Fine & Applied Arts/Supervisors: traces2023 7 Dr. Olusegun Ajiboye Contributors: Prof. dele jegede Prof. Kunle Filani Dr. Babaseinde Ademuleya Dr. Olusegun Ajiboye Dr. Michael Fajuyigbe Tosin Jekami Adetiloye Researcher's Contact: 08183003375 [email protected] Opposite image: Architectural Bond, Pen on coloured card, 51cm x 61cm, 2021 6 traces2023
Professor Adebayo Simeon Bamire Professor Victor Folorunso Olaleye Vice-Chancellor, Provost, Postgraduate College, Obáfémi Awólówò University, Ile-Ife. Obáfémi Awólówò University, Ile-Ife 8 traces2023 traces2023 9
Dr. Olusegun Ajiboye traces2023 11 Head, Department of Fine and Applied Arts, Environmental Design and Management, Obáfémi Awólówò University, Ile-Ife 10 traces2023
Education is a two-way channelFOREWORD occasions to feel the sting of disappointment arising from failed or featuring teachers and learners in a botched efforts. creative duet. At the tertiary level in particular, the construction of knowledge is From what I've seen of Durodola's prospectus, the MFA program at deemed effective where it promotes a the Obafemi Awolowo University, Ile-Ife (OAU), appears to have robust approach that favors dialogue—a Socratic schema sidestepped many of the major pitfalls that could constitute that incentivizes students to be active participants in the avoidable encumbrances on the learning and creative process. It is way that they learn, originate, and express innate this maieutic approach that has spurred Durodola's sparkle. And sensibilities. Nowhere is this methodology most profitably the explosiveness of this creative effervescence is remarkable. I engaged than in the performative arts where the distinction have skimmed through his synopsis, and it seems to accord with between craftsmanship and intellection is brought into a the notion of the MFA degree in the creative domain as a truly sharp relief. While there are orthodox ways of teaching the terminal pursuit. The diploma awarded at the end of the mastery of techniques, we cannot afford to lose site of the degree—any degree—is just a token. What it portends, however, is certitude that the subtleties of aesthetics, and of at once deep and seminal. The MFA degree testifies that the idiosyncratic characteristics (think style, flourish, panache, awardee is quotable, where quotability is indexical of the and similar attributes that distinguish the work of one awardee's capacity to ideate and execute complex and often creative from another even where they are dealing with the fleeting concepts. This certification transcends any physical same topic) cannot be easily taught or programmed. certificate. The doctrinal bent that ascribes absolute pedagogical In a 21st century labor market, one that is witnessing the raging control to institutions or, in extreme cases, individual power of the 4th Industrial Revolution, the greatest agency that instructors, has considerable disadvantages not the least of art and design departments can give their (post)graduate students which is the imposition of fixed viewpoints that potentially is allowing them to see the world as a blank canvas. This is a world anesthetize students. At the (post)graduate level, with which Durodola appears to be conversant, what with his epistemological constructs are successful where they creative engagements that rupture existing boundaries between catalyze in learners the fervor to chart their own creative 2-D and 3-D compartments. One important aspect of the artist's paths; to test the limits of creative possibilities; and even on project, Traces, pertains to the exploration of pictography as a 12 traces2023 traces2023 13
viable correlate of Yoruba proverbs. Inherent in the project is the assumption that the artist is fully immersed in the transcription and orthography of the Yoruba language, which is indubitable given the numerous performance skits that he has undertaken, in which the centrality of orality and indigenous customs is affirmed. Durodola's creative research is a glowing testament to the soundness of the pedagogical bent at OAU. Based on the conceptual and theoretical postulation that undergirds the program, and the body of work that the artist has produced, there is so much that essays favorably for its sturdiness. Encomiums, if any, should belong to the institution and the student. dele jẹgẹdẹ, Ph.D REALITY OF EXISTENCE Professor Emeritus Miami University Graphite on acid-free card Oxford. OH. 50cm x 60cm June 17, 2023 2021 14 traces2023 traces2023 15
“Landscape drawing is a documentation of a moment, traces2023 17 an evidence of a time past for future reference.” -Yusuf Durodola Evergreen, Gravite on acid-free card, 51cm x 61cm, 2021 16 traces2023
INTRODUCTION AESTHETIC TRANSMUTATIONS adherence to the principles of the programme and the successful OF CARTOGRAPHY creative actualization of its ideals. This is what has occasioned this exhibition of creative and artistic expressions. The joy of a lecturer is to see in the student, the actualization of the In a final exhibition of any MFA graduate-to-be, the dominant ideals for which the educational attainment that is highly desired is the clear evidence of a style, programme has been set up. Certain key points are germane concept or thematic focus. The achievement of this by any student to the foundation of the MFA degree programme of the is considered an attainment of excellence. Such an example is Department of Fine & Applied Arts, Obafemi Awolowo Yusuf Durodola, a colourful, philosophical, and creative artist with University, Ile-Ife. The first point is the opening and widening a very high sense of social responsibility. Clearly written all over of the creative intellect; the second is the acquisition of the works of Yusuf Durodola is the love for colours which he expressive skill; and the third is the ability to develop and brought into the programme. In addition to this is his natural love concretise a creative concept or an idea into sustainable for spontaneous and unexpected aesthetic devices. Enhancing aesthetic outputs. this nature is his ability to subject his aesthetic rational self to the caprices of the elements of art to conjure creative expressions of The MFA programme is filled with courses and assignments aesthetically pleasing and amusing canvases through his that are written with the aim of raising the level of critical combinations of expressionism, abstraction, and action painting. thinking and analysis alongside the discovery, and Even with all these, the form of nature is never destroyed nor accumulation of skills to explore and express concepts and made disgusting but rather enhanced with colour, textures and themes generated without or within. The programme is lines, subject to the authority of aesthetics. officially concluded with an officially ratified solo exhibition by the candidate. Such an exhibition of creative outputs is an Highly commendable is his achievement of the most important open house for the official jury and public assessment of principle of the MFA programme which is the concretisation of a what has been achieved by the exhibiting candidate within creative concept. This he has exemplified by his transmutation of the duration of the course. The MFA final exhibition is the cartographers' product (maps) into a stylistic concept for actually an exam to determine the success of the student in traces2023 19 18 traces2023
aesthetic expressions. Maps have seen explored in different release Yusuf Durodola to the art world to continue in his manners for style, function, and thematic expressions by Yusuf exploration of the lines and textures of the cartographer's Durodola. The lines and textures of the map have been productions. This is also an opportunity to let the whole art world transformed not only into an expressive form but have become a know that the Department of Fine and Applied Art is very proud to thematic source in itself as could be seen in some of Yusuf's release this graduating set of creative Masters of Fine Art. paintings in which the roads become the story and characters of the town as expressed in the lines, colours, and street names. This Olusegun Ajiboye (M.F.A., Ph.D) is in addition to the employment of the map in the exploration of Head of Department, Yoruba thoughts, designs, culture and religion to produce colourful Department of Fine and Applied Arts, and bright canvases which not only brightens our vision, but also Environmental Design and Management, illuminates our cultural intellect, prompting us to delve deeper into Obáfémi Awólówò University, Yoruba world view. Ile-Ife, Osun, State, Nigeria. 2023 Yusuf's concept in this MFA programme is not just rich in creative expression but potentially latent with yet-to-be-discovered traces2023 21 creative possibilities. Yusuf Durodola has a choice of taking an interesting journey of creative exploration into the abysmal realm of the aesthetic universe with his cartographic concept. It is a thing of joy to be the Head of the Department at this time in history and to be the supervisor of this highly rated talented painter. With open arms, the Department of Fine and Applied Art welcomes all comers (lecturers, students, critics, art lovers and collectors) to this exhibition. The painting section of the Department of Fine and Applied Art, Obafemi Awolowo University is therefore proud to 20 traces2023
RESEARCHER’S CURATORIAL STATEMENTARTISTIC ENGAGEMENT: PANORAMA OF Dr. Segun Ajiboye's mediation during the creative processes re- CREATIVE MYSTERIES AND REALITIES channeled my energy towards the systematic approach to colour “I have no special talent. I am only passionately curious.” application and the intricate use of lines and patterns that are later connected to the study of the art of cartography. The thesis was - Albert Einstein initially designed to cover the use of soft plastic as an alternative painting technique, but after his intervention, it was reconstructed to My curiosity to touch the bedrock of indigenous exploration of the cartographer’s map as a visual expression of background propelled my creative journey to the Yoruba proverbs. Obafemi Awolowo University, which some years back my brother had told me they called \"Oba Awon The journey began and took me to the land of unfolding mysteries Unifasiti\" (King of all Universities). behind my painting techniques - something that I had maintained for years! The new exercise reveals the symbiotic connection between This is affirmed through the intense creative engagements I map reading, which connotes a geographical study of space and experienced and the school's firm belief in cultural and faces of people who occupy the space. indigenous affinities in the training of her products. Traces focus on the artistic voyage with an intense engagement and Art is an embodiment of layers of undiscovered creative productivity throughout the MFA programme. The body of works mysteries. We often, by chance, find ourselves in its dim documents the reflection of map-painting techniques in different art light, but fail to pursue its gloomy dark side. The secret to forms: figurative composition, mixed media, portraiture, landscape, unlocking hidden treasures lies in the habit of embracing abstract, etc. external influences that are positive to our inventive productivity. To this end, it is pertinent to embrace constructive criticism, especially from discerning minds, thus resonating the affirmation of A Yoruba proverb says, \"Bi omode ba l'aso bii agba, ko le another of Yoruba idioms: \"Omode gbon agba gbon, lafi da Ile Ife.\" l'akisa bii agba.\" (A young lad may possess as many fabric (The ancient cradle of Ile-Ife was built based on the wisdom of both materials as the elders, he cannot possess as many rags in the young and the old). their possession). traces2023 23 22 traces2023
From the start to the completion of the MFA programme, there was no cause for regret even though the journey has been fierce and engaging, but it has also been absolutely rewarding. Happy viewing! Yusuf Durodola MFA Research Student, Department of Fine and Applied Art, Obáfémi Awólówò University, Ile-Ife, Osun, State, Nigeria. 2023 TERRACE OF OODUA Graphite on acid-free card 50cm x 60cm 2021 24 traces2023 traces2023 25
LITERARY CONTRIBUTION YUSUF DURODOLA'S CREATIVE The MFA Exhibition is a precondition to bagging the Studio; yet an CARTOGRAPHY IN PAINTING academic degree. Candidates are required to display artworks that are reflective of the materials, methods, techniques, and Yusuf Durodola is a multitasking and stylistic tendencies that they adopted and developed while multidimensional artist. He is one of undergoing training. Oftentimes, each candidate begins to chart a the few talented personalities that pathway to the ingrained values of formal presentations. Such collapsed the thin lines between Fine Arts, Applied Arts, and associated value additions include the content analysis of the Performance Arts. His diminutive physical frame belies the artwork and its concurrent ambiance. flaming creative energy inherent in him. He is very observant and has the rare capacity to capture Aptly titled TRACES, Durodola's exhibition is a testament to his objects, images, and scenes in quick sketches. The hallmark cartographic exploration; where mobile lines are engaged in of his creative perception resides in his remarkable ability to mapping the canvas surface. This procedure according to him is to make quick artistic decisions aided by his excellent generate fluid movement that may induce motifs, signs, and draughtsmanship. symbols that aggregate into new design formats. It is therefore not a surprise to see the dynamic strength of Durodola, therefore, appropriates all fundamental principles Durodola's explorative efforts in Visual Arts in the attempt to associated with maps as a symbolic representation of places, bag a Master of Fine Arts degree in Painting. locations, spaces, moments, memories, and indeed cultural aesthetics. His inquiry into Maps as a form of design delineation enlivens He inquired into Yoruba proverbial allusions and visually canvas surface treatment. His anecdotal interrogation of translated them into colourful paintings. The philosophies, cultural narratives also breathes freshness into visual metaphors, myths, and innuendoes that enrich Yoruba verbal aesthetics. worldview were creatively refreshed in the paintings. 26 traces2023 traces2023 27
As an artist with decades of creative activism, Yusuf Durodola traces2023 29 proved himself worthy of the degree by bringing to the table fresh visual aesthetics that ventilate both form and content as a veritable pathway to art appreciation. I strongly believe that greater creative testimonies await Yusuf Durodola after earning the MFA degree. The Department of Fine Arts must be proud of him for his exemplary talent and dedication to artistic excellence. Kunle Filani MFA, Ph.D Professor of Visual Arts and Aesthetics June 2023 28 traces2023
LITERARY CONTRIBUTION FROM TÍTA-RÍRO TO TRACES: OAU community have a taste of his kind of art rejigged his brain and A COMPENDIUM OF DURODOLA'S resulted in recreating the story and making the performance as part CREATIVE EXPLORATION AT OAU of the 60x60x60 and Tita-Ríro was birthed. How he was able to marshal the students who had already gone home to participate in “Títa ríro là nko'là the work as part of his created form would perhaps be left to him to tó bá ji'ná tán á di oge (ewà)” share some other day. Coming to OAU Ife for his Master's programme Títa ríro là nko'là, afforded me another opportunity of having another tó bá ji'ná tán á di ewà” stretch of engagement with this multi-talented á di oge, á di à pè wá wò, Yusuf, a restless spirit wrapped in a deceptive calm body, after a long period of almost three decades of our first engagement á di ohun àpèjúwe at Federal College of Education (Tech.) Akoka, Lagos. His coming for his MFA programme coincided with the celebration Títa-Ríro, is a masterly craft art piece, which seeks to engage and of OAU at 60 and the Department in collaboration with some spur the spectators to the consciousness of what it takes to attain alumni led by another “Creatively restless Mad artist”, Dotun success. The Yoruba would say “ìsàlè orò l'égbin”. Títa-Ríro reveals Popoola, was to put up an exhibition of sixty works of sixty series of the unpleasant experiences; the ègbin, the ìwòsí, the alumni artists for OAU at sixty tagged 60x60x60. wàhálà, ìsòro and ìdojúko, the University as a community and that of the students as individuals must have passed through to attaining Prior to this, I have had series of discussions with Yusuf on the the success being celebrated at 60. As the adage goes 'There is no possibility of having performance as part of his Master's success without sweat', in Durodola's Títa-Ríro, his human body is project. It was to be a package in which performance would likened to the log of wood being axed and chiselled into shape to precede his exhibition. This was to enable our students and creating a carved object of beauty. Every drop of the hot wax from local art enthusiasts experience this genre of art in its the burning candles on his naked body depict the labour, the hardship contemporary form. Unfortunately, the strike struck, the and agony the university as a community and the individual students students we wanted to witness the performance and be experienced all through its sixty years of existence, the drops and his stirred into possibly exploring this kind of art were asked to go groaning draw attention to the rough and tough road that produced home. No one ever thought the strike would last that long. The the ewà which has continued to earn the university its envious restlessness in Durodola which would not let him rest until the position on the list of Universities in Nigeria. Títa-Ríro also expresses the turmoil Durodola must go through to 30 traces2023 traces2023 31
successfully complete his sojourn in OAU. Within a short period of traces2023 33 studious studio research experiments, he has come up with series of creative concepts that he may perhaps not exhaust in the next two decades. From his exploration of materials and techniques to interrogating issues of environmental pollution, echo system, socio- political imbalance, and culture, Durodola has proved himself to be many things to the art. His works on display at this exhibition tagged TRACES, are nothing but a tip of the icebag. It can be likened to the hunter warrior who tells of his exploit at the war front, how he killed the enemies in their 50s and 100s while the listeners were struggling with doubts at his amassing story, his first stride to the left, he matched to death twenty chickens, another stride forward, about twenty-five chickens suffered casualties, if the people have not seen his war front prowess, the little they have seen should be enough to confirm his adroitness. For many who were not privileged to experience Títa-Ríro, Traces is enough evidence of Durodola's mastery of his art as a calligraphist, a graphic designer, a painter and a performance artist, all rolled into one. He has invented and explored different types of media, to produce beautiful works that if care is not taken, one may be so carried away with the surface beauty of the works and miss out on his subtle and wittingly wrapped socio-political messages that are expressly inscribed in proverbs which actually reveals Durodola's leaning as an 'activist' artist that he is. Babásèhìndé Adémúlèyá Ph.D. Department of Fine and Applied Arts, Obáfémi Awólówò University, Ile-Ife, Osun, State, Nigeria. 2023 32 traces2023
LITERARY CONTRIBUTION PROJECTION OF YORUBA CULTURAL contemporary Nigerian artist. Over the years, he has developed a personal MATRIX IN YUSUF DURODOLA'S creative identity through conscious adaptations of Yorùbá language, CREATIVE EXPRESSIONS philosophy and value system. His works are consistently shaped by Yorùbá cosmology, including the spiritual, intellectual, emotional and material Introduction traditions, attributes of the people. This essay is focused on Yusuf Durodola, a multimedia and multitalented artist and his projection of the Yorùbá universe All art is local; therefore, artistic creativity is culture-induced. and values. Creativity often responds to forces prevalent in a cultural environment, the localized platform for articulating the Art in Yorùbá Universe traditions and identity of a people, and the display of their creative and The Yorùbá universe comprises of two distinct and yet interactive realms: ayé cultural expressions. The quest for creative vibrancy and relevance has (earth) and ọr̀ un (heaven), which are known as the world of the living and the driven a number of contemporary Nigerian artists to seek new ways of world of the spirits, respectively. Ayé is the visible, tangible realm and abode of creating and contextualising art. Advancement in technology, the living; and ọr̀ un is the realm of the gods, spirits and ancestors (Drewal, accessibility to new media and methods, among others play significant Pemberton and Abiodun (1989). The Yorùbá people often express their role in shaping artistic creativity, but one cannot rule out the influence thoughts and feelings in visual, verbal and performing arts. These include: of culture in the creative process. As observed by Drewal (1988:72), dancing, poetry and orature, singing, masks and masquerades, et cetera. Wood “people shape culture and are shaped by it; and no matter how carvings, masks, metal works, and basketry, textiles, beadwork, embroidery, individualistic artists may appear to be, they never create in a cultural and pottery, hairstyles, costume design, mural decoration, and shrine painting, void.” In affirmation, Glaveanu and Tanggard (2014) state that identity among others. is formed, experienced and maintained through constant social Art in Yorùbá nation is organically structured to reflect the diversity of the interactions, and that vibrant creative identity depends on social people's culture and environment. As stated by Kunle Filani (cited in Fajuyigbe, interaction with others. Therefore, the art of creativity, including its 2018): “Yorùbá art, like an amoeba, has no fixed form and cannot be processes and products, is enshrined in culture and inseparably pigeonholed, its supporting structures are rooted in the philosophy and values connected to identity construction, both at the individual and group of the Yorùbá people.” Abiodun's (2017) explains the interdependence of levels. Yorùbá art and language when he declares, “the Yorùbá culture has adaptive mechanism engrained within its structure, and always adapt to current Artists' works, ideology, personality and experiences are shaped, circumstances”. This flexibility consequently allows for varied adaptations of largely and expressly, by aesthetic and cultural imperatives, which the forms, symbols, imagery, colour scheme, subject matter/ themes, consequently enriched their aesthetic sensibility. Yusuf Durodola is a functions and contents that are available in the classical and indigenous multimedia, multidimensional, multistylistic and multitalented Yorùbá art. 34 traces2023 traces2023 35
The nature and varieties of art in Yorùbá universe provide the impetus for Yusuf Durodola has consistently explored different media in producing works contemporary Yorùbá artists like Yusuf Durodola who consistently adapt the that cut across painting, photography, graphic design, and multimedia, wide-ranging repertoire of art forms and design resources in Yorùbá culture. performance, installation, recycling, and video art. The works generally focus Indeed, his arts express the totality of Yorùbá universe. Yorùbá visual culture, on environmental pollution, echo system, socio-political structure, festivities, like masquerades (egúngún) is designed to bring order, ètò into the community. and culture, social awareness, global occurrence, social criticism and This, according to Lawal (1996: vii) is referred to as “ìfọgbọ́ntáyéṣe”, literally, reconstruction, among others. His performances can be likened to gẹ̀lẹd̀ ẹ́ “using wisdom to improve the world”. Yorùbá masking traditions can be said to spectacle, a cultural invention of the Ketu-Yorùbá sub-group in West Africa. have provided a strong basis for Durodola's performative and installation arts. Gẹ̀lẹ̀dẹ́ is designed to teach, correct, warn, regulate, commend and entertain. The Yorùbá often says that “ẹni tí ó wo ìran gẹl̀ ẹ̀dẹ́, ó ti rí òpin ìran,” (he who Yusuf Durodola: Painter and Performative Artist observes Gẹl̀ ẹ̀dẹ́ spectacle has witnessed the best of performance). This Yusuf Durodola was inducted into the creative world in 2006 when he adage describes the aesthetic responses and emotional release that often graduated from the Federal College of Education (Technical), Akoka. His dream emanate from the public during gẹ̀lẹd̀ ẹ́ performances. The same can be said of of becoming a well-grounded creative intellectual led him to the University of Durodola's performative art, which might be described as a “fourth- Lagos and Obafemi Awolowo University where he received his bachelor and dimensional art” and an intersection between Yorùbá visual, verbal and masters degrees in 2014 and 2023, respectively. From 2006 till date, he has performing arts. been very active as a visual/performative artist and curator, engaging in art consultancy and administration. Though a devout Muslim, he is an ardent The artist has consistently examined art as image and idea within the defender of Yorùbá visual culture and values. He has consistently fulfilled this ambience of African culture. He has projected these imagery and ideas through mission through his performative arts. At times, he comes across as a devotee regular creative experimentations, performances and exhibitions. His of Ifá or any of the Yoruba indigenous faiths. His fertile Yorùbá consciousness is performances are socially-engaging expressive satires, which remind viewers not only rich in culture, but capable of adapting cultural indices for of Yorùbá traditions and rituals, and the significance of spirituality, contemporary relevance in a world inundated with the principles of consultation, confrontation and appeasement in Yorùbá universe. Durodola's multiculturalism. This political ideology avers that the society is enriched by works reflect a philosophical mindset to resolving various human challenges encouraging cultural diversity; meaning, different cultures can coexist for and provide a vista into social relations and daily activities within and outside mutual benefits. However, there is tendency that specific cultural values of a the Yorùbá universe. As a culture connoisseur, he explores varieties of media culture may be weakened or overshadowed by values from other cultures. The and methods to extend meanings of art beyond mere image and materiality of average African mind often embraces western values at the expense of their form. As a social analyst, he adapts Yorùbá proverbs, innuendoes, allegories rich creative and heritage. and sometimes Ifá divination verses to rejuvenate and reconstruct Yorùbá creative and cultural identities and values. 36 traces2023 traces2023 37
The following are selected performances of Yusuf Durodola: títa ríro (aching), Proverbs are drawn from people's practices and observations overtime, to sogúndogójì (money doubler, scammers, 419); ibùsọ̀ ọgọ́ta (60 milestones) in sweeten and make sense of verbal (or written) communication, and to express celebration Obafemi Awolowo University's 60th anniversary; àtùpà (lamp); and codify the ideals, aspirations, expectations, fears, and worldviews of a ọweẹwẹ wẹẹ̀ ́ (divine cleanser), ikúdáyiísí; (series on covid-19); ẹḿ í: not just a people. Proverbs are designed to re-align thought pattern in daily conversation, soul; abiyamọ (motherhood); kini ohun etutu (supplication); agbẹǵ ilére (wood transmit moral codes and ensure harmonious relationship among people in the carver); ọ̀gẹ̀dẹ̀ n bàjẹ́ (moral decadence); ìpá (draws attention to prostate society. A good understanding of proverbs can stimulate artistic creativity; health); bójú báyẹjú (value for moral integrity); bojú bojú (celebration of especially, if they are critically examined by artists who grew up around elders childhood); óyíbíríbírí (turn-by-turn); and ọ̀dádá (the culprit), et cetera. It is and are conversant with the language (or succinct expressions) and oral interesting to know that Durodola also produce the visual parallel of these traditions of their people. Yorùbá proverbs, as observed by Delano (1966), are performances, over 25 in number, between 2006 and 2023. The performances hinged on five core human values: ìmọ̀ràn (advice), àlàyé (comment), íbáwí draw attention to the artist's resilience, proficiency, focus and productivity are (reproach), ìkìlọ̀ (warning) and ìwúrí (encouragement). this categorisation highly motivating to young upcoming artists. His creative outputs in diverse provides the intellectual direction for their adaptations in visual art. media and style provides visual delight to art audience and fresh insights for art critics. Contemporary Yorùbá artists have always borrowed from their socio-cultural environment and explored proverbs to suit their creative purposes and Proverbs and Artistic Creativity sometimes to lessen the influx of foreign cultures and ideologies that have African value system has been endangered since the entrenchment of impacted negatively on the African society. Like his mentors: Kunle Filani, western cultures, which started with the arrival of the Portuguese explorers at 'Sehinde Ademuleya, Peju Olayiwola, and Olusegun Ajiboye, among others, the west coast of Africa along the Gold Coast (now Ghana) in 1420. The cultural Yusuf Durodola has continued to reinvent and project African values and belief invention affected not only the religious and traditional African life, but also system through his works; thus, providing a ray of hope for the survival of impacted on the material and visual cultures of the peoples of Africa African art, language and values. In this regard, the conscious reference to (Fajuyigbe, 2018). Subsequently, it ushered into the continent a wave of foreign Yorùbá cultural matrix, viz-a-viz Yorùbá language, philosophy, and proverbs in values that are anesthetic to African belief system. African core values such as the MFA project of Yusuf Durodola are examined, accordingly. integrity, honesty, hard work, modesty, social responsibility, and other moral qualities make little sense in the imagination and daily experiences of the Àkọmọǹ à: Analysis of the Proverbs modern African. While some of these values have been misplaced in Àkọmọǹ à is a Yorùbá term, which in literal sense means: watchword, mission contemporary social African life, many of the values are preserved in African statement, or guiding principles. It is philosophically coined to encourage focus, languages, poetry, folktales, proverbs, songs, orature and art. commitment, determination, and adherence to timeless principles of successful living. Àkọmọǹ à, like a nursery rhyme, is meant to be memorized 38 traces2023 traces2023 39
and chanted repeatedly for emphasis and easy recollection. In Christianity, Ilà is a symbol of identity, communication and beautification among the àkọmọǹ à is akin to inspired scriptures which are memorised, daily, for Yorùbá; however, the process is painful. The proverb is a metaphor for guidance and encouragement in times of difficulties and when faced with determination, resilience, endurance, sacrifice and focus in the pursuit of uncertainties. It is believed that the values embedded in Àkọmọ̀nà will be very vision, despite the attendant problems. The painting projects the human's handy, as a sure guide, while navigating the stormy terrains of life. capacity to endure pain and difficulties in order to achieve life's goals. Inscribing marks on human face is like subjecting raw gold to the refiner's fire. Plate 1: Yusuf Durodola, Àkọmọ̀nà Hence, the desire for progress or decision to add value to one's life through Painting, 2023, Acrylic, ink and pastel on canvas, conscious personal development is often accompanied with temporary discomforts, either physically, emotionally, mentally or financially. With 274.5cm x 152.5cm, collection of the artist. perseverance, patience and hope, that decision would produce the desired result(s), eventually. The path to good and lasting success is paved with thorns. Àkọmọǹ à, an MFA project consisting of five separate paintings, explores the One must never be discouraged; rather, one must press towards the goal, simple, direct and sometimes metaphorical implications and moralising bravely, until the trophy is won. Only the champion deserves a standing essence of Yorùbá proverbs. The five proverbs, which are youth-centred, are ovation; no one salutes the quitter for abandoning their dreams, halfway. The gracefully captured in a fashion that project, simultaneously, the aesthetic moral: “endure the pain and focus on the goals.” sensibility and values of the Yorùbá people. Core values such as patience, perseverance and sacrifice, discipline, obedience, honesty, and respect for Plate 2: Yusuf Durodola, Àkọmọ̀nà: Plate 3: Yusuf Durodola, Àkọmọ̀nà: elders and constituted authorities; uncertainties of life, and the transient Títa ríro là a ko'là À n gba òròmọdìe lọ́wọ́ ikú nature of human relations and interactions are reflected in the proverbs, which are analysed, accordingly: Painting, 2023, Acrylic, ink and pastel on canvas, Painting, 2023, Acrylic, ink and pastel on canvas, 76cm x 61cm, collection of the artist. 76cm x 61cm, collection of the artist. 1. Títa ríro là a ko'là The proverb: Títa ríro là a ko'là, tó bá jínná tán ní í d'oge (facial marking involves traces2023 41 agonizing pain, afterwards it becomes a fashion) forms the central focus of the project: Akomona. It depicts a seated female figure with elaborate sùkú hairstyle, a hand is seen making incision “ilà” on her cheek, with blood dripping. 40 traces2023
2. À n gba òròmọdìe lọẃ ọ́ ikú... the disregard for elders and unruly behaviours among the youths. The advent À n gba òròmọdìe lọ́wọ́ ikú, ó ní wọn ò jẹḱ í òun re àkìtàn lo jẹ̀ (a chicken is being of social media has worsened the situation. Values are misplaced and protected from death, complains of not being allowed to scavenge in the refuse trivialised, while respect, decency and moderation that ought to guide our dump). This proverb illustrates love and concern for the ignorant and collective existence and human relations have taken a flight. When a young vulnerable in society, especially, from a higher authority. It pontificates the man says the mouth of an elder stinks; then, the social order is doomed to ideals of caution, safety and obedience and imminent danger of wilful collapse. To achieve a well-ordered and prosperous society; then, we must disobedience. In the painting, the cage symbolises containment, protection and embrace the Yorùbá Ọmọlúàbí virtues aptly described as “ìwà rere” (good guidance; the fire connotes danger or fatal attraction; the chicken represents character). In Yorùbá universe and philosophy, an Ọmọlúàbí is the age of innocence, ignorance and youthful exuberance; while the hand holding quintessential being who exudes good character and eschew unethical the cage captures the idea of loving care. It is a subtle reminder of the mischief, behaviours. The àkọmọ̀nà: “without respect and courtesy, human relationship audacity, and rebellious spirit of the youths, who often complain of not being is a sham,” given the freedom to behave and live as they want. Freedom without caution, without moral restraint is dangerous and can easily truncate a seemingly Plate 4: Yusuf Durodola, Plate 5: Yusuf Durodola, bright future. Many youths, today, are nonchalant, careless and unguarded in Àkọmọǹ à: Àìfi àgbà fún àgbà Àkọmọ̀nà: Ogún Ọmọdé their adventures; hence, this proverb. The artist hereby admonishes the youth Painting, 2023, Acrylic, ink and pastel on canvas, Painting, 2023, Acrylic, ink and pastel on canvas, to reciprocate the loving care of their parents by shunning juvenile delinquency 76cm x 61cm, collection of the artist. 76cm x 61cm, collection of the artist. and pay attention to simple rules and ethical behaviours that could secure their future. The lesson: “never trivialise parental love and care; be obedient.” traces2023 43 3. Àìfi àgbà fún àgbà Àìfi àgbà fún àgbà ni kò jẹ́ k' áyé r'ojú (disregard for elders, makes the world unpleasant) illustrates the agelong clash of values between the elders and the youths. Two figures backing each, a house upside down and the globe (with maps) are depicted in the painting. In African universe, the elders are regarded as the repository of knowledge, the living library/ archives of values/ truths and the enigmatic wisdom of the ancients. However, the elders are not so respected due to ọl̀ àjú (urbanisation) and the changing values in contemporary African society. The artist adapted the proverb to draw attention to the increasing rate of social defiance in contemporary African society; particularly, 42 traces2023
4. Ogún Ọmọdé Plate 6: Yusuf Durodola, Àkọmọ̀nà: Ilé ni àpótí n jòkó de ìdí Childhood is fun, at least for many people who grew up in a socially-vibrant Painting, 2023, Acrylic, ink and pastel on canvas, neighbourhood with less-toxic verbiage and dramas. The Yorùbá proverb: 76cm x 61cm, collection of the artis “ogún ọmọdé kò lè ṣeré fún ogún ọdún” (twenty children cannot play together for twenty years), is adapted here. As children become teenagers and grow up generation of leaders are moulded. The proverb underscores importance of into adulthood, the social cord that bind them together become thin, weak and parental discipline and inevitability of punishment for every form of defiance. break, eventually. Shared values and childhood fantasies among playmates Some children, by nature, are disobedient and inventive; hence, they often gradually give way to a more concrete and personalised dreams. Physical, circumvent the rules put in place by their parents to regulate their excesses. emotional and intellectual development, family relocation, and personal Nevertheless, discipline must be ensured. Child discipline and nurturing must pursuits may usher in inevitable changes and pull the playmates in different not be handled with levity or sacrificed at the altar of parental love; else, such direction; thereby, straining the social relations among them. There would be oversight could lead to moral failure on the part of the child and their parents. new opportunities, aspirations and association (friends); but only a handful of Hence, proper and adequate grooming of a child, respect for constituted the original playmates would be lucky to have the rare opportunity to meet authority, and good character are serious matters in indigenous Yorùbá society. again. The painting reveals a cluster of figures in the foreground while some Here is the watchword: “don't spare the rod and spoil the child”. figures are strategically arranged in the background, to depict gradual but steady dispersal and separation. This implies that human associations and traces2023 45 interactions are time-bound and socially exclusive. Therefore, it is essential to cultivate good personal relation and make it counts, because life journey is for a while. The lesson: “No matter how sweet a relationship may appear to be, it will come to an end.” 5. Ilé ni àpótí The proverb: “Ilé ni àpótí n jòkó de ìdí” (the stool awaits the return of buttocks in the house), is borne out of a parent's determination to be strict and refusal to condone misdeeds of their children; especially, when such disobedience is deliberate. The painting depicts a stool “àpótí” a house and a standing figure with bare buttocks facing the house. The stool is strategically placed inside the house close to the door entrance. In his adaptation, the artist identifies the home as the abode of love and discipline where character and destiny of future 44 traces2023
Stylistic Analysis of overlapping and interlacing amoebic and organic forms. The main figures Yusuf Durodola's graduate exhibition, titled: Traces, validates the idea of art as and images in the painting are embellished with variety of patterns, lines and a kind of cumulative momentum of a past that permeates the present to create shapes. a continuity of ideas and interrogate issues, which are current across time and space. In other words, Traces is a culmination of the experiences and Conclusion influences that have shaped the life and art of Yusuf Durodola. The exhibition is There is no gainsaying the fact that culture and the social environment play significant for three reasons: First, it is a culmination and celebration of significant roles in the creative development of contemporary African artists. seventeen (17) years of the artist's creative engagements and social activism; Despite the changing realities of the contemporary world, Yusuf Durodola has second, it is a validation of his technical mastery of media, methods, form and remained faithful to the projection of Yorùbá value system. His Africanity, stylistic diversity in visual and performative arts; and third, it demonstrates his Yorùbá consciousness and expressions, in different media and art types, are deep cultural knowledge and understanding of the Yorùbá universe. not shaped by fantasy and aesthetic considerations. Rather, they are intellectual responses and tangible products motivated by issues that His style is a fusion of naturalism, realism, and abstract expressionism; and he surround human existence. His performances and paintings always bring a explores each with clinical finish. Execution of the project, Àkọmọǹ à, and other renewed hope, that despite the corrosive effect of multiculturalism, Yorùbá works in this exhibition reflect Durodola's visual communication skills. The cultural values will always survive the threat of extinction. arrangement of the visual elements, like colours, lines and form, underscores his capacity for space management, mathematical precision and projection of In view of his creative vibrancy, it is not an overstatement to describe Yusuf form and idea. Durodola demonstrates a good mastery of the visual elements. Durodola as an aficionado (a master). The award of the Degree of Master of His colours are sourced from the Yorùbá colour scheme, namely: dúdú, funfun Fine Art (MFA) from the prestigeous Obafemi Awolowo University and the and pupa. Dúdú represents the cool colours; pupa indicates warm colours culturally and intellectually articulate Ife Art School, is therefore a well- while funfun represents neutral colours. His colour usage vividly captures the deserving laurel and an additional feather to his numerrous artistic psychology and sociology of the Yorùbá people. The cool colours are achievements. predominantly explored while the warm colours are used to animate the forms and for directional emphasis of the subject matter. Enjoy the show, and be inspired…! Generally, the formal configuration of the project (Akomona) and other works Works Cited in Traces, reveals a flat, animated background couched in different hues of Abiodun, R. (2017). Yorùbá Art and Language: Seeking the African in African warm and cool colours. Lines of various thickness, size, shape and intensity, Art. Cambridge: Cambridge University Press. mostly in indigo and black hues are artistically explored to create a landscape traces2023 47 46 traces2023
Delano, I. O. 1966. Òwe L'esin Òrò Yorùbá: Proverbs, their Meaning and Usage. Ibadan: University Press Limited. Drewal, H. J. (1988). “Object and Intellect: Interpretations of Meaning in African Art”. Art Journal, Vol. 47, No 2, (Summer, 1988) pp. 70-74. Drewal, H. J., Pemberton, J. and Abiodun, R. (1989). Yorùbá: Nine Centuries of African Art and Thought. (ed) Allen Waldwell. New York: The Centre for African Art. Fajuyigbe, M. O. (2018). Ife Art School in the History of Modern Nigerian Art. Ph.D. Thesis (Unpublished). Ile-Ife: Department of Fine and Applied Arts, Obafemi Awolowo University. Lawal, B. (1996), The Gelede Spectacle: Art, Gender and Social Harmony in African Culture, Seattle and London, The University of Washington Press. Michael Olusegun FAJUYIGBE (Ph.D.) Department of Fine and Applied Arts, Obáfémi Awólówò University, Ile-Ife, Osun, State, Nigeria. 2023 48 traces2023
“Learning has no PORTRAITURE boundaries. If you can’t & FIGURE COMPOSITION bow for it, you can’t bag it.” traces2023 51 -Yusuf Durodola 50 traces2023
BABA DUDU (Elder’s Diet series) BABA PUPA (Elder’s Diet series) Acrylic and pastel on canvas 112cm x 95cm Acrylic, ink and pastel on canvas 2021 112cm x 95cm 2021 52 traces2023 traces2023 53
ELEGANCE WHERE ARE YOU AT ROAD 7 (Faces and Places series) Acrylic and pastel on canvas 112cm x 95cm Acrylic and pastel on canvas 2021 107cm x 107cm 2022 54 traces2023 traces2023 55
OJOGBON I OJOGBON II Acrylic and pastel on canvas 81cm x 61cm Acrylic and pastel on canvas 2022 81cm x 61cm 2022 56 traces2023 traces2023 57
EMMANUEL DREAM SEEKER I Acrylic and pastel on canvas 96cm x 96cm Acrylic and pastel on canvas 2021 58cm x 51cm 2023 58 traces2023 traces2023 59
OJOGBON III (Face and Place series) ZIKORAL (Face and Place series) Acrylic and pastel on canvas 112cm x 95cm Acrylic and pastel on canvas 2021 112cm x 95cm 2021 60 traces2023 traces2023 61
LISTENING MOOD traces2023 63 Acrylic and pastel on canvas 146cm x 122cm 2022 62 traces2023
64 traces2023 traces2023 65
EMMANUEL II KING’S MIND Acrylic and pastel on canvas 96cm x 71cm Acrylic and pastel on canvas 2021 112cm x 95cm 2021 66 traces2023 traces2023 67
IT IS HERE NOT HERE (Game Changer series) traces2023 69 Acrylic and pastel on canvas 112cm x 95cm 2021 68 traces2023
AJORO (Faces and Places series) traces2023 71 Acrylic and pastel on canvas 112cm x 95cm 2021 70 traces2023
“Your vision becomes STILL LIFE your actions when you version your vision into traces2023 73 your actions.” -Yusuf Durodola 72 traces2023
ALACRITY I (Added-values series) Acrylic and pastel on canvas 112cm x 94cm 2022 74 traces2023 traces2023 75
PRIVILEGE (Added-values series) Acrylic and pastel on canvas 112cm x 95cm 2021 76 traces2023 traces2023 77
IWA EDA (Man’s Attitude) Acrylic and pastel on canvas 153cm x 122cm 2022 78 traces2023 traces2023 79
80 traces2023 traces2023 81
LITERARY CONTRIBUTION YUSUF DURODOLA: Restless in his pursuit of fresh artistic perspectives, Yusuf THE TRAILBLAZING INVENTOR presents this new art form with the confidence that it was meant OF THE MAP-STYLE APPROACH to be shared with the world. Yusuf Durodola's 2022 artist bio The mark of a truly contemporary art virtuoso lies in leaving a immediately reveals his remarkably movement that endures within the industry after their lifetime. For humble yet influential personality. Yusuf, this has been an intellectual pursuit, resulting in an art form Known for his roles as a change-provoking recycled artist, that complements his personality traits as a planner, pathfinder, thoughtful conversational painter, disruptive performance Yoruba historical archivist, and moral explorer. His new map-style artist, distinguished curator, and impeccable creative approach represents the culmination of diligent exploration director. Durodola has emerged as one of the most through history, philosophy, sociology, education, and science, prominent and influential multimedia visual artists in the enriched by his multifaceted character as a multimedia artist. Nigerian Art Industry. Notably, the map-style approach expands the knowledge viewers As a visionary visual artist, Yusuf has shared his magic with and collectors can extract from his masterpieces. It allows him to some of today's world-class visual artists. He has invented navigate various focuses effortlessly while providing deeper artistic techniques for some and provided the creative insights into his heritage and the identity of Nigerians/Nigeria. template for reputable galleries to follow. With his guiding hand, he has helped numerous fast-rising creatives, While Yusuf 's exceptional drive for perfection may be considered including myself, discover their divine path to purposeful a flaw, it also serves as a strength. His dedication to nurturing fulfillment and global relevance. future generations and striving for uniqueness in everything he does reflects his true passion for life and art, transcending the Unsurprisingly, in this solo exhibition as a result of his pursuit of fame and fortune. advanced formal artistic expedition during his Master of Fine and Applied Arts programme, Yusuf introduces his new As Yusuf Durodola presents his solo exhibition titled \"TRACES,\" artistic technique, the map-style approach, which further one cannot help but be inspired by his authenticity and sincerity in cements his reputation as an inventor and innovator. traces2023 83 82 traces2023
the face of rivalry, jealousy, doubt, challenges, and discrimination. His marvelous weakness for excellence, which he embraces with courage, adds to the richness of his artistic legacy wrapped in the map-style approach. Completing his Master of Fine and Applied Arts from the University of Ife has further propelled Yusuf Durodola to push the boundaries of visual art and design. With the launch of his new art form, the map-style approach, he reignites his career, shaping himself into a fact-finding artist, prepared to leave an indelible mark on the art world for decades to come. We eagerly anticipate the next chapter in Yusuf Durodola's remarkable journey as he continues to redefine and elevate the realm of artistic expression. Jekami Oluwatosin Project Manager and Creative Digital Auditor 2023 HIDDEN AGENDA Acrylic and ink on canvas 76cm x 61cm 2021 84 traces2023 traces2023 85
“You cannot force the society to LANDSCAPE love and acquire your creative piece unless you are an authority. traces2023 87 Being an authority means you have mastered your craft and book a place in people’s mind.” -Yusuf Durodola 86 traces2023
ALONG ROAD FIVE I, Acrylic and pastel on canvas, 61cm x 92cm, 2021 traces2023 89 88 traces2023
ALONG ROAD FIVE II, Acrylic and pastel on canvas, 92cm x 112cm, 2022 traces2023 91 90 traces2023
LINK TO THE ONI’S PALACE Acrylic and pastel on canvas 92cm x 112cm 2021 92 traces2023 traces2023 93
SAWMILL (ROAD 7) DOWN THE ROAD 7 Acrylic and pastel on canvas 92cm x 112cm Acrylic and pastel on canvas 2021 92cm x 112cm 2021 94 traces2023 traces2023 95
ASUNLE DUMP SITE Acrylic and pastel on canvas 92cm x 112cm 2021 96 traces2023 traces2023 97
Search
