Transformation of Adire Eleko Motifs into Painting (Part 2)

Concluding part of the pictorial synopsis of: https://ajayi-oluseyi.blogspot.com.ng/2017/08/transformation-of-adire-eleko-motifs.html

The exploratory stage involved fusion and juxtaposition of groups of motifs to create expressive paintings through series of artistic exploration of balance and rhythm.

‘Dye Pots’, 'Seyi AJAYI.

Acrylic on Canvas., 95 x 125cm. 2016.

  ‘Dye Pots’ composition was based on method of cloth dyeing in the 1930s. Three motifs (agboorun, alagada, ibo) and two human figures dyeing cloths in dye-pots were combined and presented in inverted-S line formation relating to Hogarth line of beauty’s rhythmic line.

‘Adire Artist II’, 'Seyi AJAYI

Mixed Media. 47 x 67cm, 2016.

‘Adire Artist II’ is a stylized image of the adire eleko artist painting designs on a piece of cloth. Different sizes of Tolo-tolo motif were creatively fused to support the subject.

‘Iya-ilu’, 'Seyi AJAYI

Oil on Canvas. 75 x 90cm. 2016

 ‘Iya-ilu’ was adapted from two motifs of Pepeye. The painting’s title was generated from the similitude of what the composition assumes: Iya-ilu (Mother of drums), a Yoruba traditional talking-drum used in conjunction with other drums like omele and bata during ceremonies.

‘Giant Stride’, 'Seyi AJAYI

Oil on Canvas. 82 x 104cm. 2016.

 ‘Giant Stride’ was created from two aye-kooto (parrot) motifs: one full motif takes almost half of the composition while a duplicate, half from the head, is positioned at the upper right third. Form of an implied human torso with stretched out limbs emerged from the fused motifs.

The stylistic stage dwelt on the bird, chameleon and snake motifs, emblems of the motifs as signs in the context of related proverbs were considered and transformed into contemporary paintings.

‘Ina Njo’, 'Seyi AJAYI. Oil on Canvas

75.5 x 120.5cm. 2016.

‘Ina Njo’ translated ‘Burning Flame’ is an abstract painting adapted from the Yoruba proverb, “Adaba ko naani a nkun’gbe, ina njo, eye nlo ni” (Wild-fire does not distress the dove, as the flames begin to spread, the bird flies away). The picture plane is bathed in parabola rhythmic lines rendered with mild brushstrokes revealing an abstracted parrot motif and also denotes wind-breaks in the supposed billowing smoke from the wild-fire.

‘Aaro Meta’, 'Seyi AJAYI.

Oil on Canvas. 70 x 90cm. 2016.

Bird’s motif in Yoruba worldview represents authority which is portrayed in ‘Aaro Meta’, an abstract painting composition adapted from the proverb, “Aaro meta, ki i d’obe nu” (Tripod fire-place does not overturn the stew). It is a social commentary on polygamous family life. With the co-operation of the wives, there is little they cannot make the husband do if they so wish.

‘Anjorin’, 'Seyi AJAYI. Oil on Canvas. 80 x 100cm. 2016.

 ‘Anjorin’ is an abstract expressive painting adapted from the snake motif. The composition revolves around the Yoruba proverb, “Ai ko’wo po ejo ni n je omo ejo ni’ya” (The refusal of snakes to move together is what makes them to suffer). Unpredictable swift movement of snakes could be very lethal when it comes to dealing with threats. But unfortunately they are rarely seen moving together and therefore become prone to easy death. The painting explores spiral line of rhythm.

‘United’, 'Seyi AJAYI. Acrylic on Canvas.

71 x 76cm, 2016.

’United’ is an abstract expressionistic painting based on implied positive aspect of the proverb: Ai ko’wo po ejo ni n je omo ejo ni’ya (The refusal of snakes to move together is what makes them to suffer). Where snakes are united in their forest forages it could be very dangerous for predators.

‘Blossom’, 'Seyi AJAYI. Acrylic on Canvas.

60 x 120cm. 2016.

 ‘Blossom’ illustrates the symbolic meaning of the alagemo motif (colour and transformation personified). Filling almost half of the picture plane on the right is an implied motif of Opon-iro resembling the outburst of a dandelion or swan flower that relies on wind for the dispersal of its seed.

‘Like Begets Like’, 'Seyi AJAYI.

Acrylic on Canvas. 100 x 120cm. 2016.

‘Like Begets Like’ was inspired by the symbolic meaning of Alagemo (chameleon) in Yoruba word-view supported by the proverb, “Alagemo ti bi omo re tan, aimo’jo ku si owo omo alagemo”, which literarily means, “The chameleon is done giving birth the baby’s inability to dance is left to it”. The painting is a visual stylization of the subject matter, alagemo motif, using polygons of varied sizes adapted from regular pattern formation of Ibadan dun and supported by rhythmic Hogarth line of beauty.

Thank you for viewing this summary of a wonderful academic encounter.