Creator:
Tosin Oyeniyi (1987, Nigerian)
Creation Year:
2022
Dimensions:
Height: 24 in (60.96 cm)Width: 24 in (60.96 cm)Depth: 1 in (2.54 cm)
Medium:
Canvas,Linen,Ink,Linocut
Movement & Style:
Contemporary
Period:
21st Century
Condition:
New

This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Is it not time we stop the stigma and learn the truth about who we used to be, our belief practices, and what worked for us as a way of contributing to humanity and evolving in truth? what are there to improve on, what are there to reshape to set the path for ourselves as a people? Question our present way of life, project this path we are on, and what the future holds for us if we continue on this path. Differentiate between religion and spirituality, so we don’t continue to expect different results without changing our approach. About Artist Orioye Bukola, born in 1993 in Osogbo, Orioye is a native of Ekiti State. A graduate of Chemistry from the University of Ibadan, Nigeria. Trained by Mr. Tope Fatumbi of Topfat Art Gallery; Adamasingba, Ibadan 2019. He is inspired by societal issues and life demands, beauty, culture, and African Spirituality – with a focus more on the female gender as a conduit to all else. His philosophy is about simplicity and determination without harm none. Orioye's mind quest has progressed to infused questionings and suppositions in his canvases beyond mere rhetorical aesthetics; (as the trendy atmosphere now seems mostly to suggest). His works speak in metaphors that flow between the past, the present, and the postulation of the future. He probes on relics to unearth anchored reasoning which shares semblances with contemporary happenings. His stylistic sense is inventive of punkish style piles of hair reminiscent of the 80s and discotheques, parted with sharp oblique angles which are reflections of the hard chiseled surfaces of the Yoruba effigies he introduces into his works, seasoned with a strong sense of fashion. Orioye is concerned with African spirituality and how they interface with the identity, memories, worship, and total well-being of the people. This adaptation of the past to interface with the present and postulate a futuristic nuance is evident in his warm leathered-clad supersonic subjects whose demeanor echoes the Star Trek, UFO, and intergalactic Adour of postmodern Hollywood cinematic periods. This pendulum of interactions between the past, the present, and the futuristic postulations, defines Orioye’s works and lent them a certain direction. The combinations create inquisitiveness for explorations that permeate the borrowed eras, espousing bygone traits of exhumed investigative nuances, memories, identities, and spirituality of bygone cultural epochs. It will be exhilarating to calmly observe the growth of Orioye Bukola’s sojourn in the interpretations of his curious and investigative narratively placed overtures.

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