Artmiabo International Art Festival
Profile of Artist Adeola Balogun, PHD
Artist’s Statement
Discarded or found objects though generally considered to have seemingly lost their primary usefulness are laced with robust history of previous usefulness pulsating with immense possibilities.
These possibilities are of immense intrigue for exploration to me. Aside from environmental consciousness and responsibility involved in attending to materials lying in wake, I consider it important to collaborate with the environment by reviving the encountered materials in a process of ‘rebirth’ that imbues them with new meaning in relation to my subject of concern.
They become new life in the environment that housed their old lives. The Subject Matter in my work is typically steeped in interrogating existential questions and challenges that make up our social navigation. This is usually spurred by personal experiences and memories which here culminate in the concept themed: “Labyrinthine Morphology”.
electronic panel, antelope skin,
53” (H)x32”(L)x34”(B), 2020.
My creative trajectory straddles diverse media, processes and concepts in sifting and espousing the essence of the morphing of my subject. In this regard, discarded objects, such as metal scraps, rubber tires, horseshoes and sundry discarded materials are explored to engage subjects as diverse as socio-political, culture, nature, humanity and survival in a multi-layered dimension.
Recently recurring in my creative explorations is the up-cycling of e-wastes (electronic panels). These are engaged through their characteristic of being integral components in technology and are applied as a universal metaphor that highlights the profound impact of contemporary material waste.
This disposal by the modern man could be deployed lethally or benevolently. Technology actually defines the quantum advancement and sophistication of the modern man in various aspects of life.
Selifie III, steel, electronic,
H70” x W29” x B28”, 2021
The waste produced and the use of it implies the influence and impact of the materials in the life of modern man. This body of work is centered on metaphorical associations that also reference the living conditions these materials come along with and gaping contradictions in the society through technological influence as informed by the concept of “Artificial Intelligence Invasion” (AII).
My technique of exploring each material is usually informed by its nature and morphology; could be additive, subtractive or combined. I also follow trajectories that my explorations open for me.
I follow the concern about what is next in manipulating and exploring what I am working with. Each work is usually a gateway into a new narrative. In reference to content,a wide spectrum of influence matters contribute to my self-imposed exploratory tasks which include people, places, books, music, myth, folklore and encountered material itself.
My mixed media drawing and painting draw profoundly from elements on both sides of a typical electronic panel. They are created through the appropriation of selected photographed sections of my sculptures infused with electronic panels and digitally printed on paper or canvas.
The tracks or circuit traces on the reverse side of electronic panels are adapted as motifs in the dark backgrounds of each piece. The motifs, depending on the ground, can be engraved, embossed or lacerated with a drilling machine, acrylic or plasma cutter, respectively.
The Images In my mixed media paintings are deployed to reference the notion of the profoundness and overwhelming impact of technology on the activities of the modern man.
Adeola Balogun, Phd
Adeola Balogun combines a fully engaged studio practice with an academic career at Nigeria's Premier tertiary institution, The Yaba College of Technology.
He graduated from Yaba College Of Technology, with specialization in sculpture (1993/94) and Masters in Fine Art (MFA, Sculpture) at the University of Benin (2001/4), Benin City, Edo State, Nigeria. He also acquired a PhD(studio) in Sculpture (2019) from the Delta State University, Abraka, Delta State.
A Body in Motion I,
(Simone Biles series),
36inc x 23inc, 2021
Exhibitions/Events
Adeola Balogun has staged thirteen (13) solo exhibitions which include:
-Current Rhythm, CAMAA (2019), Institute of African studies, University of Ibadan,
-Tribute to Fela (2019), Galleri Astley, Uttersberg, Sweden
-Bubbles of Emotion(2017), Omenka Gallery, Ikoyi, Lagos
-Connections I & II (2015), Galleri Astley and Galleri Pumphause, Uttesberg and Trollhattan,
respectively, Sweden
-Up-Cycled I, ArtHub, AbuDhabi, UAE
-Mirage II (2014), QuintessenceGallery, Lekki, Lagos
-Matter Redirected I & II,Galleri Astley, Uttesberg and Gallery Pumphause, Trollhattan, Sweden (2013)
-Soundspiration, Omenka Gallery, Ikoyi, Lagos
-Ants and Giants(2011), Quintessence Gallery, Ikoyi, Lagos,
-Infinite Patterns (2009), Nike Art Gallery, Lekki, Lagos.
-The Seed Phenomenon (2006), and Symphony of Metals, Chevron Restaurant, Lekki, Lagos, 1997.
He has also participated in several group shows such as
-Ajorin Dance Metaphor(2020),
-October Rain and others.
He has executed a number of commissioned projects within Nigeria and beyond. He was artist-in residency in 2013 and 2015 in Ashley Gallery, Uttesberg, Sweden, artist-in residency, ArtHub (2014), AbuDhabi, UAE amongst others.
Some of his selected public commissioned works include the late Michael Ibru statue (bronze, 2017), at Michael & Cecilia Bru University, Delta State.
(Simone Biles series),
36inc x 23inc, 2021
The late Ayangburen of Ikorodu statue(2015), Ikorodu, Lagos, Obafemi Awolowo (19ft) statue, at Allen round-about, Ikeja, Funso Williams bronze statue (18ft), at Western Avenue round-about, now named after Funso Williams, and Sir John Glover and Madam Tinubu’s bronze busts, at the foyer of Union Bank building in Marina, Lagos, Nigeria.
Also are the Towards Achieving Distinction, (welded metal sculpture, 25 ft) and Symbol of Justice and Culture statue (bronze sculpture, 26 ft),commissioned by Omooba (Egnr.) Yemisi Shyllon, for the University of Ibadan campus, OyoState (2009) and University of Lagos (2015), Nigeria, respectively.
His artworks History, (2015) a welded steel sculpture (11 ft) and
Outflow, an installation, are both at Galleri Ashley collection, Uteshberg, Sweden.
Balogun has participated in several seminars and conferences both within and beyond the shores of Nigeria.
He also has contributed to journal publications. He has facilitated and/or participated in several creative workshops such as Quintessence Nigeria Limited/ Galleri Astley Residency (2013, 2015, 2019), Sweden and First Upcycling (2014), Art Hub, Abu Dahbi, UAE, Harmattan Workshop, Nigeria, and others.
Adeola Balogun
A Body in Motion II,
(Simone Biles series), 36” x 23”, 2021
A large body of Balogun’s life-size bronze sculpture and tyre works can be found in OYASAF collection, a private art foundation, established by Omooba(Engr) Yemisi Shyllon. Other notable art collectors and institutions in possession of his works in Nigeria and in the diaspora are: Galleri Astley, Galleri Trollhattan, and Kulturhuset Koren in Sweden, ArtHub, AbuDhabi, UAE, Ford Foundation, Pan African University, Nigerian Breweries, American International School amongst several others.
He has worn several awards which include: Plaque of Appreciation and Award of Recognition, 2018 and 2019 respectively by Cornelius Adepegba Museum of African Studies, University of Ibadan, Distinguished Master Artist (2015) by Society of Nigerian Artists (SNA), faculty awards Visual Experimentalist of the Decade (2011), faculty awards as Best Student in life-drawing and sculpture in 1993/94 set, amongst others.
Adeola Balogun (PhD)
Incumbent HoD, Fine Art Department, School of Art, Design & Printing Yaba College of Technology, Yaba, Lagos, Nigeria.
adeolabalogun.66@gmail.com
www.adeolabalogun.com
adeola.balogun.66
@adeolabalogun66
For more Info on the
Artmiabo Festival
Check out
Artmiabo Events 2020
ARTMIABO INTERNATIONAL ART FESTIVAL, LAGOS NIGERIA, 2022
29TH APRIL - 1ST MAY 2022.
