Osun 2017

Editor: Here we have Laolu Senbanjo’s "Osun," created in 2017, employing acrylic paint. The figure, rendered in striking black and white against a golden background, immediately captures my attention. What strikes you most about this piece? Curator: What I see is an engagement with Yoruba traditions through a contemporary lens. Senbanjo uses traditional Yoruba markings, seen in scarification and body painting, to explore identity. How do you think the choice of rendering the figure in black and white impacts its message, particularly considering the work is titled after a Yoruba deity? Editor: It feels like the black and white palette amplifies the design, and the use of lines could be a modern interpretation of those traditional markings, offering a fresh take on ancient customs. Is that a fair interpretation? Curator: Yes, I think that is spot on. Consider how he is recontextualizing these cultural symbols. Do you think the upward gaze is significant? What does that evoke for you? Editor: It makes me think of aspiration, perhaps even spiritual transcendence, connecting the figure to the divine realm of Osun. The artwork also resonates with current conversations around cultural reclamation and the power of representing one's own identity. Curator: Exactly! This work encourages a critical engagement with the complex interplay between heritage, representation, and contemporary artistic expression. It bridges the ancestral and the present, inviting us to reconsider conventional narratives. Editor: This has helped me look beyond just the surface aesthetic and think about the deeper cultural and historical context embedded within the art. Curator: Precisely. It's a great example of how art can spark dialogue and question dominant narratives around identity and representation.