Adelakun Pays Homage to Culture, Ancestral Roots with Debut Solo

Yinka Olatunbosun

At Mydrim Gallery, Ikoyi Lagos, the exquisite pieces of charcoal drawings and mixed media works by Prince Saheed Adelakun are striking for a reason. The artist, in his attempt to stand out, pioneered the use of ropes in his paintings during his final year project at the Yaba College of Technology where he studied Fine Arts. In 2009, he graduated as the overall best student in painting 

Interestingly, this technique pays homage to his ancestral roots in Ayetoro and his surname ‘Adelakun’ which loosely translates as ‘one who untangles ropes.’ Though he ventured into full time studio practice shortly after his graduation, it took nine years to put together a solo exhibition that celebrates identity and culture while condemning harmful cultural traditions.

At a recent preview of the show which opens on October 1, the Assistant Curator, Mydrim Gallery, David Oluwatoyin revealed that the gallery has enjoyed a long standing relationship with the artists for the past one decade.

While explaining his journey into material experimentation, Adelakun told the journalists that patience and wisdom are required to complete every piece of art using ropes. 

“The idea of using rope as a medium came very late to the deadline for my final year project presentation. I started with the rope used for spreading clothes in my house. I made a miniature mixed media painting and presented it to an applauding group of lecturers,’’ he recounted. 

Confident in the longevity and integrity of the works, Adelakun is presenting 20 mixed media paintings and 12 drawings in this debut show titled ‘Stride.’ For him, Africa’s rich tradition constitutes raw materials for artistic expression.

“All the works were made between 2011 and 2022. It takes so long to finish one piece. What I hope to express in this show is that there’s more need than ever to learn from the past and to forge familiar cultural visions for the future of our society. My idea of working on patterned rope work enforces the rope as a grounding symbol of strength in unity,’’ he said.

Describing his patterned rope technique as Olokun meaning ‘The Rope Bearer,’ Adelakun embraces the progressive aspects of African culture. However, in “Mirror Evolution,” he makes a powerful commentary on the practice of scarification and how culture has evolved over the years.

“My father had tribal marks,’’ he explained. “When I was born, I was given some as well. But I did not give the marks to my daughter. That is the story behind the work titled “Mirror Evolution.”

Largely inspired by the scholarly works of Prof. Sophie Oluwole, the artist draws upon Yoruba proverbs and cultural ethos in the embedded messages of his works. For instance, “Positive Sacrifice’’ refers to delayed gratification as propagated in the proverb ‘’Alaaru to n’je buredi.’’ Also the piece titled ‘’Igba Oju’’ alludes to the Yoruba culture of communal child grooming while the 2020 mixed media piece titled “Winner in a Bit’’ is a reference to that moment where a winner is at the verge of being honoured or celebrated.

The rope patterns give abstract forms on the background of the painted images on the foreground of each piece. Indeed, Adelakun took the meaning of his name personally and is ready to show his well-kept pieces till October 11.