Gleeful Harvest and Cultural Hegemony 

Yinka Olatunbosun

Ikore, a Yoruba word for “harvest,” is the operating word in the new solo exhibition by Aderinsola Aladegbongbe, an artist, art scholar, and former Head, Department of Fine Art, Yaba College of Technology, Lagos. With a visual feast prepared for art connoisseurs, the doors at the exhibition hall, National Museum, Onikan will be open to curious eyes in search of some authentic pieces that allude to cultural history, personal perspectives, as well as depth of research. 

Tapping largely from the concept of harvest and his four decades of art practice, the artist assembled this body of works in this show titled ‘Ikore’ not just as a homage to seasonal harvest but as a powerful symbol of the culmination of effort, patience, and perseverance. 

Aside from using the show to reflect his personal journey as an artist, Aladegbongbe, who hails from Ondo State, has observed the traditional rites during the new yam festival in Ekiti known as “Odun Ijesu,” held annually in Emure, Ekiti. The festival, rooted in Kinship culture, is motivated by social and political integration. The printmaking artist has also been curious about the paraphernalia used during the rites, which has defined that tradition for decades. He decidedly created works that document this cultural heritage. 

Using vibrant painting, intricate plaster painting, or a plastographic rendition, he meticulously tells a story of sowing and reaping, of dreams and hard work, of struggles and triumphs.

 “Ikore explores the themes of abundance, growth, and transformation through vibrant, textured works that evoke the cyclical nature of life,” he stated. “It aims to capture the essence of moments in time when hard work and dedication yield bountiful rewards.” 

Through the paintings, he makes the viewers contemplate the fruits of their own labour and the importance of gratitude in times of plenty. 

“Each piece is a testament to the idea that our efforts will yield a rich harvest if we only tend to the seeds we sow with care and intention,” he continued. 

Using earthy tones, golden light, and vibrant hues, he evoked the warmth and richness of the harvest season. “Ikore: The Harvest is an ode to the human experience—a celebration of our capacity to cultivate, create, and reap the rewards of our labour. I hope that these paintings will inspire viewers to reflect on their own relationship with abundance, growth, and transformation and to find meaning in the cycles of life,” the artist explained. 

Art scholar Kunle Adeyemi, in his review of the works, remarked that “his works take their roots from the seamless local stories, dialogues, and other range of compositional phrasings, as well as the razzmatazz of liquidised dripping colours under the tendering effects ennobling brushwork he christened plastopaint.” 

Some of the works include titles such as “Excitement and Anticipation Towards Ijesu Day I & II,” “Colourful Performance During Ijesu Celebration IV,” and “Dance of the High Command I&II.” 

The overall mood captured in the works for the Ikore exhibition is celebratory, offering a ray of hope in the current socio-political temperament of the nation that offers, at best, a lacklustre independence celebration every year. 

Throughout his enviable career, Aladegbongbe has contributed significantly to the academic and artistic communities. His artistic portfolio includes 13 solo exhibitions and numerous group shows, both locally and internationally. 

The curatorial director, Moses Ohiomokhare, described Aladegboungbe’s Ikore as “philosophical” and “spiritual.” “His background as a Christian readily comes to bear and makes him encourage his audience to sow the seed of truth and the seed of hope and love,” he said. “Ikore (Harvest) calls for perseverance, as there is dignity in the labour of love. Aladegbongbe is proficient with his medium, and there is precision and control as he demonstrates mastery of his work.”