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" "You can tell a lot from a person’s eyes. The eyes offer a mutual vulnerability.
Ayobola Kekere-Ekun (born 1993) is a Nigerian contemporary visual artist. Kekere-Ekun finished a degree in Graphic Design at the University of Lagos (UNILAG), Akoka in 2009 and also received her Master's Degree in the same field in 2016. She is the Assistant Lecturer in the Department of Creative Arts at the University of Lagos. As of 2022, Kekere-Ekun was finishing her Ph.D., which started in 2018, in Art and Design at the University of Johannesburg, South Africa.
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I started actually taking pictures on my work because I was frustrated with how other people took pictures of my work. I used to hire photographers to document my work, but they weren't seeing it the way I saw it. It was the most frustrating thing and I said, you know what, to hell with this, and I bought a camera. I read the manual. I learned how to use it. And then I started taking my own pictures. But even then, it's frustrating. It's impossible to like fully translated what the work is really like in person to images, but I try. I really try. It's just trying to like just to convey a sense of that three dimensionality and how there's just so much more going on. Everything changes when you adjust your perspective just a little.
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!
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The last thing I do for every piece is that little glint in the eye. And it always changes everything. Like clockwork. I always do it last, because that’s the moment the piece becomes. They move from existence as a thing to a new plane where they are beings. It feels cruel to complete the animation process any earlier than I have to. It's like it's always magical for me and I still don't know what it is about that little glint that changes everything. And quite frankly, I think at this point I've made my peace with not knowing. Besides, so much of my work is so structured, you know, and process driven. It makes the intuitive bits very special. It's fine. I don't have to know everything.