This series is informed by post-colonial narratives as I examine the tension and relationship between racial identity, diversity, and inclusivity in Western environments.

I utilize paintings and installations as visual language to engage in the contemporary discourse concerning identity politics, cultural heritage and globalisation. My interest is in the beauty of blackness, fragility and diversity, unity after chaos, that are consumed into the Adire (tie-dye) fabric. I appropriated the African traditional specifically Adire (Tie/Dyed) fabric and contemporary material such as footballer jerseys and army camouflage to serve as an alternative to conventional canvas. 

I employ the fabrics as a metaphor to accentuate my cultural identity and a symbol of Pan-Africanism. Adire (tie-dye) fabric is an indigenous and popular indigo-tie-dyed fabric decorated with a resist-dying technique to create striking patterns. I mainly use Adire made in my hometown Egbaland, Abeokuta as it is a capital of Adire making in Nigeria.

I conceptualize my work to achieve the problematic equilibrium forms of being both painting and installation.