Ayobola Kekere-Ekun Quotes

It’s a weird one. It's work, but it's not. I really had to separate parts of myself to deal with different parts of my practice. Because while my work is quite literally my life, and whether or not that is healthy, that's a different conversation entirely. I suppose, if a lawyer told me their work was their life, I feel sorry for them. So whether or not that's healthy is a different conversation. But my work is my life. Every decision I have made in my personal life, since 2014, has been in service of the practice. I've had to learn to separate a side of myself that understands it's not just an expression of my being, it is quite literally my career. It's my job.

Creating an artwork this way can take her anywhere from two weeks to seven months, depending on the size and scope of the piece. The process usually starts with a sketch, before eventually becoming a “skeleton” of its future incarnation.

My day starts with me my calendar, my to do list, and my emails, always. They’re so essential to me because I forget things. It's the only way to keep track of my life as a whole. So the calendar helps me figure out if I have any specific appointments or commitments that I need to get on. If I have any deadlines coming up, that I need to keep an eye on, meetings… Stuff like that. To Do List, it's like the more nitty gritty stuff like… oh I'm out of a blue in particular or there's a sale at my favourite shop I need to check out today. You know stuff like that. And then my emails. I have a love hate relationship with my emails!

Do they have to be artists? I’d have a very random selection of people so I could watch the sparks fly. I'm here for it. A bit of chaos never hurt anyone!

The key is being intentional about actively recognising what you are getting back otherwise you're gonna learn to turn bitter and not allow yourself to be vulnerable. You will compromise something and I think one of my biggest fears is breaking what makes my practice my practice, because I still don't know what it is. And as much as I don't mind, the occasional gamble, the soul of my practice isn’t something I'm willing to fuck with.

And so I started experimenting. I didn't know what I was doing with that first piece, I just knew it was gonna go really well or really badly. And so I started it in school, then we went on holiday and got kicked out of student housing. I had to go home and take the piece home because I wasn't done with it. And my parents were just obsessed! I would like walk into my little makeshift studio in some corner of the living room, and my dad would be there or my mum would be there just looking at it. You know? And the question was always the same. How? How did you start? How did you know?

I think I was drowning because I’ve spent my entire life internalizing everything that has ever happened to me.

There used to be this very stereotypical perception of what Nigerian arts could look like. If it was more abstract, they would be some masks. If it was more figurative, there would be a market scene, or a lady fetching water. Now, there’s a lot more nuance.

Maybe they're a combination of all the women I've known and all the women I wish I knew. Except for newest body of work where I'm drawing on my family's history. Those pieces feel far more personal.

The work can be difficult to define – is it a craft or an art? It’s something a suburban mum in Arkansas would use to make cards.

I have no loyalty in music a bop is a bop. So my general shuffle play is quite varied. Sometimes I'd rather like listen to a series or movie I've already seen so I just watch it in my head. From time to time, I’ll listen to stand-up comedy.

In the evenings, I tend to read. I enjoy doing random research, like really random research. The last thing I searched last night was if you could take your multivitamins at night! I take walks. I walk every evening. And my new life's mission is to befriend all my neighbours’ cat. It's going pretty well. I have four favourites so far and I’ve named them all, Louise, Toothless, Void and Chonky. I also watch movies, series, you know, normal deactivate your brain type stuff.

When lockdown hit I just moved everything into my old flat because I didn't know how long lockdown was going to be, so it just made sense to have everything close by. I loved it. I loved having my work where I live and just being able to work anytime I wanted. There's an intimacy to living with your work. It’s one of the first and last things you see every single day and I love that. It also like reminded me of the early days of my practice when I literally just worked out of my bedroom. I think for now I'm gonna keep working out of my flat. I will probably go back to a more traditional studio situation at some point but for now, I think I'm gonna stick with this.

Before that my work was purely design. It was purely, you know, marketing and advertising 100%. Being a studio artist was never something that had been on my radar. My plan had been to finish school, start working in an ad agency, take over the world. But everything completely shifted when I finished the first piece.

My sister has this theory that I'm making a self-portrait over and over again. But I've told her she's not a critic or historian, so I don’t have to listen to her to her. If she gets her theory publishes, then I'll take her seriously.