WORK SAMPLE

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WORK SAMPLE

• Folaranmi, Stephen Adeyemi.
• Department of fine Arts
• Obáfémi Awólówò University
• Ilé-Ifè, Nigeria
• folasteve_at_yahoo.com
• Lecturer II Department of fine Arts,
• Faculty of Environmental Design and Management
• Obáfémi Awólówò University, Ilé-Ifè, Nigeria
• October 1, 2004 to date

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OBAS COURT1999.Tempera on CanvasStephen
Folaranmi
The Òyó palace mural on the entrance wall into
the palace courtyard is one of the most
spectacular murals done on the walls of shrines
and palaces in Yorùbáland. In fact not many
palaces can boast of having murals on their walls
not to talk of the generous display of zoomorphic
and anthropomorphic images and symbols in the Oyo
mural. Executed in tempera on canvas, this
painting is an attempt to record on canvas a
fraction of these images fro posterity. The
inspiration for this painting came from my
in-depth study of the Òyó Palace Mural. The
painting chronicles the activities of the Oba
within the palace grounds.
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OJU AWO2003. Soil on Board.24x24 Stephen
Folaranmi
Oju Awo lawo fi gbobe is a Yorùbá proverb
which literary means that the plate or dish only
holds the soup in its inner surface. The deep
meaning however goes beyond the plate and the
soup. It expresses the fact that what must be
done by an individual cannot be done by another.
It is an obligation in which representation can
not suffice This proverb is also supported by
many other Yorùbá proverbs such as Akii fa ori
olori lehin re- The hair can not be shaven in the
absence of the head. Two plates set in the middle
of a chequered floor, one containing pounded yam,
the other soup with a piece of fish is therefore
an attempt to give a face to these proverbs.
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OMO ONILE ( GECKO)2003. Soil on
Board.18x36Stephen Folaranmi
When I moved into a new apartment late 2002,
little did I know the landlord were already
waiting for me there, I chased and killed to no
avail, they would simply not leave. The wall
gecko in this part of the world were only living
to their nature. It has been found to be a motif
used by women troubled by abiku, (born to die
children) hence the child who has the motif on
his dress will not die prematurely. Because a
wall gecko will never leave the house Omo
onile kii kuro ni ile re, the child will live to
old age. Omo onile can therefore be said to
symbolize long life the painting in soil
illustrate one of these nocturnal animals
crawling on the wall seeking for pray. The
skyline with roof tops signifies the habitation
of omo onile.
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OUR FATHERS DOOR I2003. Oil Metals on Canvas.
26 x 32Stephen Folaranmi
Our fathers door is a painting inspired by
Yoruba panel doors, and a similar expression done
by Nils Burwitz. The Yorùbá of South West Nigeria
are well known for their intricately carved
doors, pillar posts and other sculptures in wood.
Many of these doors and panels have been
destroyed by termites and other environmental
factors, in some cases because of neglect and
location. The painting therefore seeks to adapt
these panels into a two dimensional expression in
art thereby documenting such panels for
posterity. Apart from the little physical
security the door provides for the house, it was
Our Fathers belief that the symbols and carved
motifs on the door panels also provide spiritual
security and that explains why emphasis were not
laid on the physical strength and sizes of these
doors. In addition the symbols, images and motifs
also evoke the well being and identity of the
owner of the house. The metal latches and hinges
attached is a symbol of change the Yorùbá have
witnessed over the centuries. The carved pillar
on which the door hangs is an adaptation of
Lamidi Fakeyes pillar post.
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OUR FATHERS DOOR III 2004. Acrylic, Oil and
Metal on Canvas26 x 32Stephen Folaranmi
Doors and windows are openings into a house or a
structure, they serve as entrances or opening for
ventilation in the building. I derive great
inspirations from these because aside from the
physical and literary meaning and functions of
doors, they have also been used in poetry, poems
an tales to mean opportunity, entrance for
success and other good things. Ilekun ola yin ko
ni ti Your door of wealth will not be shut is a
popular saying among the Yorùbá. The door here
has been used metaphorically. Rendered in
acrylic and oil, the painting showcases in
realistic style a Yorùbá carved door an
adaptation of a 19th Yorùbá carved panel from
Ijebu-Ode. Many of the images on this panels
allude to two Yorùbá gods, Eshu and Ogun. As gods
who cross boundaries between the physical and
spiritual realm, they are appropriate subjects
for doors. Other images also refers to the doors
function. The warrior imageries, the equestrians
figures and the reference to Ogun patron or
guardian of warriors suggests that the panels
were made for a Yorùbá military elder or warrior.
the attached padlock signifies the modern changes
in the locks and doors as against the traditional
style.
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THEY WERE ONCE HERE 2004. Mixed Media on
Jute.60x26 Stephen Folaranmi
This painting is an adaptation of memorial
effigies erected in honour of deceased elders,
who are members of the Gohu, an all mail secret
society among the Mijikenda people of Kenya. The
class, rank or importance of the personality is
indicated by the scale or size of the sculpture
as well as the cloth attachment and other such
adornment. The nine decorated images in this
painting therefore represents deceased elders
within the Nigerian community, the death of which
has remained a mystery within the political
circles in Nigeria between 1998 and 2003. It is
sometimes believed that the killings were
motivated people in the corridors of power. Take
a closer look, use the inner eye, the emblems,
signs and motifs, you may be able to identify who
is who and how they died. The silhouetted black
figures represents numerous unidentified others
who have been murdered over the years.
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UNITY IN IDENTITY2003. Soil on
Board.28x20Stephen Folaranmi
Clothing in Nigeria symbolizes religious
affiliation, wealth, ethnic group and social
standing. Northern Muslim men wear long,
loose-fitting garments such as the caftan,
together with colorful embroidered hats or
turbans. Most Yoruba men also wear elaborate
gowns and hats, somewhat different in style.
While the Igbo are known for their long or short
red caps. In the Niger Delta region, the
Itsekiri, Ijaw, and many others in that region
commonly adorn a European styled hat. This
colourful painting is a representation of the
beautiful caps from four different regions of
Nigeria. The bright colour connotes the joy,
optimism and warm attitude generally exhibited by
Nigerians to visitors or foreigners.
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UNITY IN DIVERSITY2004.soil on board on
Canvas.36x30Stephen Folaranmi
The broad, mostly level valleys of the Niger and
Benue rivers form Nigerias largest physical
region. These two rivers together are important
landmarks in Nigeria, they also create a form of
Identity. I have used these landmarks to execute
this piece in soil. These two rivers meets at
Lokoja and flows down to the Niger Delta region,
along their paths, they cut across all the
geo-political zones. Also utilized is one of the
most elegant of Nigerias dresses, agbada. A big
flowing gown that is worn by men throughout the
country. This forms the background of the entire
painting. The symbols and motifs used are those
synonymous with relationship and unity. Despite
the diversity in language and cultural
background, the people and especially artists
have succeeded in bringing together forms that
are related. It is not very strange to find
within a single painting, sculpture, or prints
divers forms, motifs, symbols and traditional
themes which are derived from the different ethic
communities. The earth colours also symbolises
the land and people of the great country Nigeria.
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IDENTITY CARD II2003.Dye Oil on
Canvas.40x36Stephen Folaranmi
Nigeria, the most popular black Nation is blessed
with about 250 ethnic communities, each speaking
divers languages and dialects, in many instances,
one only need travel a few kilometers before
coming across a totally different language from
the next village or town. Yorùbá, Hausa-Fulani
and Igbo are the three largest ethnic group
making up about 71 of the population. Each of
these groups can easily be identified by their
dress, facial marks, hats or caps, beads and many
other forms of body adornment. The painting
predominantly rendered cool indigo hue associated
with Yorùbá adire is an attempt to portray a
selected few of these groups in Nigeria.Each of
is represented adorned in their traditional
attire which is the most visible form of
identity. The angular forms portrays the
characteristics of Yorùbá wood carving. The
entire composition is encased on the outer plane
in batik, images and symbols commonly found on
mural paintings, adire, and Yorùbá panel and doors
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TOLERANCE2002. Oil on CanvasStephen Folaranmi
Tolerance, is the capacity for recognizing and
accepting religious or social characteristics
that differ from one's own beliefs. It guarantees
freedom of religion, right of a person to form
personal religious beliefs according to his or
her own conscience and to give public expression
to these beliefs in worship and teaching,
restricted only by the requirements of public
order. Christianity, Islam and traditional are
central to how Nigerians identify themselves. In
many cases some even practice more than one
religion at a time. Among the Yorùbá, there are
hundreds of Òrìsà of which Ifa is very central.In
recent years there have been a handful of
religious clashes especially in the Muslim
dominated north. In many of my paintings and
drawings like this one I have preached unity and
tolerance . A symbolic painting has a dominant
deep red hue meaning salvation as believed by the
Christianson one hand and also symbolises the
frequent bloody clashes in the country. The
painting draws attention to the white cross
(Christianity) the star and crescent (Islam) and
opon Ifa -Ifa divination tray (traditional
religion) all cutting across each other. It
evokes unity and tolerance, a message to the
religious leaders identified by their robes to
eschew violence, embrace one another and live as
brothers and fellow citizens of the world.
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WE ALL GATHERED2003. Soil on Board.48x48Stephen
Folaranmi
My first experience at the 5th Harmattan Workshop
in Agbarha-Otor, Delta State in Nigeria was a
very memorable one. It was a time of meeting, of
reunion, learning and sharing of tricks and
techniques of our creative profession. Old and
young, experienced and upcoming artists from all
over Nigeria, the West African coast and the USA
gathered at the quiet and serene atmosphere in
which the facility was situated. Facility was
adequate and encouraged the production of
beautiful and thought provoking art pieces. It
was an opportunity work in the studio with other
artist, the first time since I completed my
undergraduate studies. I dedicated this painting
to all who gathered Agbarha-Otor. Using the
embroidered part of the agbada as the background
motif, the painting has on the left side of the
canvas figures representing all the artists,
while the white path cutting across the painting
symbolises knowledge, it is also the road that
leads to the facility now christened Niger Delta
Cultural Centre
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ENI BI ENI.2004. Oil on Canvas.14x14Stephen
Folaranmi
In 2004 two great Nigerians and the Nobel
laureate Prof. Wole Soyinka, Prof. Yussuf Grillo
and one of the pioneers of art education in
Nigeria turned 70. The art circle in Nigeria
celebrated all year round. It was therefore not
so strange when Dr. Bruce Onobrakpeya dedicated
the 6th Harmattan Workshop was dedicated to these
two great Nigerians and citizen of the world.
This small piece is one of the paintings
dedicated to Wole Soyinka, a playwright, poet,
novelist, and lecturer, whose writings draw on
African tradition and mythology but employing
Western literary forms. In 1986 Soyinka became
the first African writer and the first black
writer to win the Nobel Prize for literature.
The symbolic portrait portrays Soyinka wisdom,
dexterity and knowledge in his field of
endeavour.
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PUT NO ASUNDER.2003. Soil on Board 36 x
30Stephen Folaranmi
Put no asunder is a painting depicting the bond
and unity between the man and his wife. It speaks
of a relationship, dating back to thousands of
years between man and woman. The title itself
derives from a Bible passage, which states that
what God has joined together let no man Put
Asunder. But looking beyond the man and the
woman as husband and wife is the other aspect of
a balanced human relationship. Despite
disagreements, rancours and all the toils of
life, man is expected to live together without
all the barriers we have today. More importantly
is the known fact that we all come from the same
father and mother,or the same gene, in addition
to being formed from the dust of the earth. The
medium of execution (soil) also emphasizes the
relationship between man and the earth from the
earth were you formed from the earth thou shalt
return The motifs and symbols derived from
traditional shrine paintings are embedded as
designs and decoration. They speak of the role of
men and women in the community, as well as the
continuity in their relationship with each other.
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WOMEN POTS.1998. Oil Tempera on
Board.26x22Stephen Folaranmi
In Africa and many parts of the world, the making
and usage of pots are the exclusive preserve of
women. Pots of various shapes and sizes are made
of different materials, most especially earthen
vessels. Pots have been used for utilitarian,
decorative and religions purposes. In whatever
form it is used, women have a graceful way around
this important material aspect of our lives. Pots
have been known to be one of the earliest form of
archeological remnants, findings testify to the
existence of man in specific places. This
painting portrays women gracefully balancing pots
on their heads, either going or returning from
the well, stream or farm where the pot is also
used as storage for grains. The complimentary
colour of blue connotes the beauty, grace and
peace exude by women and the colour of the Yoruba
indigo dye fabric-Adire, while the browns/orange
represents the colour of the earth, which most
pots in Africa are made of. It also represents
the warmth and the hospitality displayed by the
African women.
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TEWE TEGBO1998.Oil on Canvas.28x23Stephen
Folaranmi
Tewe Tegbo, is a painting which symbolically
portrays the efficacy of of African traditional
medicine in visual form. It is a known
development in Nigeria that more and more
researches are being carried out on the leaves
and roots that abound in our natural environment.
In some cases, traditional healing method is
known to go beyond leaves and roots it also
includes divination and rituals to appease the
different Òrìsà who may have been angered or
neglected. One only hopes that all the results of
researches will be harnessed to provide a more
virile health system in our developing society.