Ayobola Kekere-Ekun Quotes

I think the worst thing I learned how to do is how to snooze my emails because I do it way too often. But whenever I haven't gotten an email in like two hours, I'll send an email to myself to make sure it works!

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!

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!

I don't know what would have happened if I had never gotten that flyer. I don't know what would have happened if I had folded instead of rolling it. You know, it was a really, really really random discovery!

Oh I know! If it’s gonna be like an admin day then I'm updating my mailing list, updating my archive, working on proposals, searching for new opportunities, updating my artist statement, figuring out if I'm ready to tweak my website again, doing my books… all the things that come up basically running a business really.

What unifies them? I think it's subverting expectation, you know, it's that bait and switch, The physicality, the visual nature or visual identity of my work. It's like a bit of a trick. Because you see the work in one way; they are pretty bright, colourful, it's just a pretty picture. It's just something fun to look at. And the more you engage with it. That is when you start to realise I'm not necessarily saying anything happy, or pleasant, or fun, you know.

They’re alive! Yeah, I mean, I know when the work is complete. Before I even start, I know the end. I think if I if my process was more open ended, I'd still be making my first piece. I'd never finished. I'm not gonna set myself up like that. I know who I am.

It's a box frame, like glass or perspex. It’s really important to keep people's fingers away from the pieces. That’s a downside to the what am I looking at reaction. The instinctive reaction is to touch what you’re trying to understand.

Like, it’s not an easy career. I could have been an accountant. It would have sucked and I’d be bored and miserable! It would probably be easier. But here I am.

I find myself gravitating towards what I call ‘bubble-gum books’. Nothing heavy, nothing super intellectual. Nothing that won a prize, or was, you know, shortlisted for some prestigious award. I want like the smarmy historical romances.

The highest praise my Mum’s ever giving anything is “this is nice”. But she was just so taken by this new work! And I think I think that was what signalled to me that maybe this really was something special. I knew I had found something very interesting that I enjoyed and I was curious about but I think the reaction my parents had made it externally real, you know, as opposed to just internally.

I'm perfectly fine with never figuring out what it is. Because, it’s a matter of what ifs. What if understanding those intangible qualities or variables that make my work what it is gives the power to actively shape my practice? But what if knowing the tangibility of the intangible compromises the spirit of the work? It's a bit a bit of a Pandora's box type thing. Like, it could be hella cool. But it could also not.

I get very attached to my tools. They've come with me every time I've moved. So whatever tools I start project with, I will usually stick with them. Throughout. I also get superstitious about cleaning parts of my studio when I work. I will usually avoid cleaning in the middle of stage. It just messes with the energy otherwise. I don't know how else to explain it. When I'm really struggling to work, I take la few days off. And I reread two favourite books. It can’t be a new book has to be something I've read before and loved. I read two books. And then I watch Beyoncé’s “I Am” world tour. It works every time.

So I went right back out, and I bought a bunch of paper. Then I cut them up and I just kept rolling them and gluing them to a board just to see what happened. It became a really intense, passionate affair that just morphed into something loving and stable.

A bit. This new body of work is very personal and therapeutic. It's like the next stage for me after two years of therapy so far. It's like a positive pain. Llike exercising your body. It hurts, but you know, it's also making things better. I think that's how I’d describe it.