The 2015 heartrending incident which saw the loss of three-year-old Alan Kurdi’s life triggered shockwaves internationally, symbolising the plight of Syrian children dying in their attempt to flee from the wreckage that befell their country due to war. Adesina, now gearing up to open his new exhibition in Edinburgh, shared with the Sunday National how deeply Alan Kurdi’s story stirred him. This particular collection of artworks draws together the concepts of immigration, contemporary global politics, and environmental issues. Adesina spoke of his aim to provoke contemplation through his work, stating that something in the work might catch viewers’ attention and draw them in for a closer look.
Elements and images harking back to Adesina’s African roots also play a role in the exhibition, which runs until the 10th of November and is an integral part of this year’s Edinburgh Art Festival. Recognized as one of the most energetic and proficient original printmakers operating in the UK at present, Adesina was born in Nigeria in 1980, going on to hone his printmaking skills at Gray’s School of Art in Aberdeen. He carries the distinction of being a Royal Scottish Academician as well as a member of the Royal Glasgow Institute of the Arts. As an adept painter, printmaker, and sculptor, Adesina has garnered acclaim from the French Académie des Beaux-Arts, earning the prestigious Mario Avati Engraving Prize. Prior to an important exhibition in Paris, his work will be on display in Edinburgh.
At his new exhibition hosted by the Edinburgh Printmakers, Adesina is exploring color on a grand scale for the first time, with pieces including linocuts, woodcuts, screenprints, and lithographs, as well as sculptural installations. Among the exhibits is a piece paying homage to his hometown, Aberdeen, titled ‘Under The Grey Sky’. The Edinburgh Printmakers’ CEO, Janet Archer, expressed that amid a world in chaos, Adesina’s work is critical, relatable, and fascinating, demonstrating the potential and adaptability of printmaking.
Archer further said: ‘Ade’s unusual, distinct printmaking style has been mesmerizing those fortunate to experience his work since his graduation in 2012. As an internationally renowned artist, we are ecstatic that he has chosen this personal exhibition to push his artistry further, experimenting with color and diverse printmaking methods.’
She displayed considerable enthusiasm about not only being able to feature Ade’s work in Gallery One, but also having the opportunity to share the work of fellow British Nigerian artist Tayo Adekunle in Gallery Two. Although they diverge in focus areas and printmaking styles, both artists’ thought-provoking work is predicted to be one of the memorable aspects of this year’s Edinburgh Art Festival.
Reflecting yet another type of aesthetic expression, Adekunle brings photography into the exhibition. An alumnus of the Edinburgh College of Art, Adekunle uses her craft to explore and challenge prevalent narratives concerning race, gender, sexuality, and racial and colonial history. Her fresh exhibition titled ‘Stories Of The Unseen’ interrogates narratives linked with black culture, dissecting and challenging stories that have been woven throughout history.
Adekunle’s work goes deep into the examination of the fetishization of black women’s bodies, alongside contemplating the significance of maintaining heritage and tradition. The influence of Western colonization on Nigeria is brought into view as an example of this reflection. Points of African history find a spotlight within her work, such as the split of Africa during the Berlin Conference of 1884 and the vilification of the orisha Èsù, a divine spirit revered in the Yoruba religion of West Africa.