Taiye Idahor Showcases Ancestry, Feminine Experience in Maiden Solo Exhibition

Tosin  Clegg

Stepping out with her first solo exhibition in Nigeria in a decade, Taiye Idahor’s ‘I See (Wo)men as Trees,’ presented by contemporary art gallery, O’DA, is a poetic visual meditation on ancestry, identity and the feminine experience. The exhibition titled, inspired by a biblical verse, echoes the words of a man whose healed vision, transformed, “I see men like trees, walking.” This verse affirms Taiye’s exploration of how women stand as enduring figures of strength and continuity, deeply rooted in their pasts while constantly growing towards the future.

The exhibition, which kicked off on October 26th and will run till November 30, 2024, at the gallery, consists of four distinct series: ‘Wade in the Water, I See (Wo)men as Trees,’ ‘Emancipated but Not Free and Hairhythm.’ Each series draws on Taiye’s personal reflections and broader cultural narratives, forming a cohesive yet complex narrative centred around the metaphors of trees, water and hair.

These natural elements symbolises resilience, growth and the ongoing tension between freedom and confinement. The harmonious blending of the women’s soft brown skin with the reddish ground and wooden beams, their earthy tones evoke stability and inner strength, while the translucent figures express the ongoing journey of emancipation. This exhibition reminds us that women’s stories, much like trees, are ancient, enduring and ever-evolving, testaments to the power of growth and the strength of shared history.

In ‘Wade in the Water,’ Taiye builds on themes from her earlier solo show ‘Hairvolution,’ where hair served as a central symbol of heritage and identity. Here, hair transforms into a vast sea that women must navigate, symbolising the often turbulent journey through lineage, history and self-discovery. 

The title references the spiritual hymn, “Wade in the Water,” signifying survival and the pursuit of freedom.

The titular series ‘I See (Wo)men as Trees,’ portrays women as embodiments of rootedness and strength. Their long, dark hair trailing across the ground like tree roots, serves as a powerful visual symbol connecting them to the earth, each other and their origins. Hair becomes a conduit, a tangible link that speaks to interconnectedness and shared histories.   

‘Emancipated but Not Free,’ delves into the complex realities of womanhood, particularly the notions of freedom, autonomy and restraint. It captures the tension between external liberation and internal entrapment, portraying the nuanced and often paradoxical journey of women navigating spaces of independence while still tethered by societal, cultural, or personal constraints. On Sunday, November 3, there would be an artist talk with Taiye Idahor and Lauren Tate Baeza at the gallery between 1 and 3pm.