A Ballpoint Artist’s Musings on a Parisian Odyssey 

A recurring motif, highlighting cultural appropriation, resounds through the works featured in Jacqueline Suowari’s first exhibition in Paris like a theme song playing in the background, Okechukwu Uwaezuoke writes 

Really, should anyone have any reason to doubt that Jacqueline Suowari’s solo exhibition, Adorn, was a huge hit among the gaggle of art enthusiasts who converged at the art space along Rue de Verneuil—one of those Parisian narrow thoroughfares within shouting distance from the Seine River—that Thursday, May 30 evening, when it officially opened?

About that exhibition, which was her first in the French capital city and indeed in continental Europe, Suowari enthuses about the fact that collectors flew in from both the UK and US to view her new body of work. “Many people took the time to familiarise themselves with my previous work, and the feedback was that this body of work was more impressive,” she adds. 

Interestingly, her ever-evolving experimental trademark style—a style that sees her blending ballpoint pen, paint, fabric, and ornamentation to produce visually spectacular collages—appears to have elicited enough interest to garner the attention of some international gallery owners. Put it down to her apparent exploration of cross-cultural connections, which should resonate with her growing worldwide following. “By joining together various materials, patterns, and cultural influences, the works become a collage of various fashion trends and cross-cultural heritage, by extension speaking to the diversity, nuance, and richness of the African diaspora, specifically the beauty and cultural heritage in modern-day Nigeria,” the exhibition’s curator, Andrea Toulouse, corroborates in her statement published in the exhibition catalogue. 

No surprise, then, that since her art was displayed at a New York-based gallery in 2018, her evocative figurative visual offerings have made her solo presentations in London, Lagos, Abuja, and Miami, as well as contributions to other group shows in the United States and Nigeria, must-sees.

Take the eight large-scale figurative paintings rendered in her artist’s distinctive signature style, which featured in the recent Paris show, for instance. They adorned the walls of a newly opened art space, bearing the obvious hallmarks of these cultural influences and seething with latent emotions. “There were also those who found the themes intriguing,” the artist further discloses.

Then there are the female figures’ hairstyles in the paintings, which, as expected, piqued the interest of visitors, to whom the versatility of black African hair was something to be fascinated about. Many of the viewers also wanted to learn more about the subjects’ traditional dress and its cultural importance in the artist’s native country. Overall, each artwork struck a unique chord with spectators, making it difficult for them to choose a favourite.

Indeed, it shouldn’t take long for even the most casual viewer to discern a recurring motif—a theme that appeared to be present in every single piece. And this theme is cultural appropriation, which is evident yet subtle—like a theme song playing in the background. Besides, just a hint of imported or domesticated fashion culture is enough to pique viewers’ interest. The dignified posture and sphinx-like composure of the female figures in “Memoirs from Kelechi’s Ball” I and II, for example, barely conceal references to French haute couture and European fashion styles, which are juxtaposed with traditional Nigerian themes, patterns, and hairstyles.

This in-your-face theme of cross-cultural and sartorial symbiosis between Nigeria and France is further highlighted in “Only the Brave.” With blurred-out facial features, the male figure, despite wearing a shirt adorned with Eiffel Tower rondelles, seems to cede the limelight to the female figure. Her velveteen mini dress, laden with texture and ornamentation, and high braided ponytail coiffure proclaim her Western-influenced trendiness.

Again, beyond the façade of modernity, in works like “If You Forget Me, Never Forget Paris,” “The Wind, It Whispers My Name,” and “The Vanity Room,” lie myriads of hidden inner worlds. A kaleidoscope of mindscapes beckons, lending themselves to the musings of those willing to venture beyond the surface. These works, like the others in the exhibition, scour the depths to unravel hidden narratives, awakening dormant stories that lie within.

Suowari says she received outstanding feedback from attendees at the Paris exhibition and extols the curator’s thoughtful placement of the pieces, which, she says, orchestrated a cohesive and engaging experience that resonated with the viewers. There is, of course, also the fact that the viewers’ appreciation of the works was further enhanced by the accompanying poems by the artist. Consequently, the consensus among the audience was overwhelmingly positive, with many expressing their delight and admiration for the exhibition. 

This exhibition, which concluded on June 5, was a year in the making. The curator, Andrea Toulouse, who was launching her art agency, chose this exhibition as its inaugural event. Suowari and Toulouse first met in 2018, when Toulouse was working for a prominent online gallery in Europe. Despite not working together at the time, they maintained a strong connection, regularly updating each other on life’s significant milestones. Suowari fondly describes their relationship as “like sisters” and praises Toulouse’s warmth, kindness, and honesty. When planning the exhibition began last year, Toulouse wasn’t pregnant, but when she did become pregnant, she was open and supportive, ensuring a smooth collaboration. She delivered on all agreements, making it easy for Suowari to fulfil her own commitments. Upon hearing about Toulouse’s new agency, Suowari was thrilled to offer her support and celebrate this new chapter in Andrea’s career.

Suowari has meanwhile returned to her Abuja base as of June 13, only to discover that new opportunities awaited her attention while she was away. As a result, her studio has witnessed a flurry of activities in recent weeks as the planning and strategizing for the second half of the year revved up. One of these opportunities is a particularly exciting upcoming exhibition with the London Lighthouse Gallery in October, which promises to be a highlight of the year.