‘Shadow and Light’ is a photography series that explores the psychology of memory and repression and follows the journey of its impact on the relationship between one's conscious self and one's self that has become unconscious due to repression. In the photographs, we watch the two characters as they navigate their relationship with each other.

'The Great Shedding' is a film, documenting a six-day performance of the character, Shadow, interacting with the season of Autumn. It explores the idea of emotional release, through Autumn, observing the season as an embodiment of the essence of ‘release’ (shedding) by physically engaging with it in nature, where its effects are most evident.

‘Triptych’ is a screen-print reiteration of three abstract drawings made that were with natural handmade paints and found pigments.

Mom recently called me recently. She told me Aunty Chisom was coming back to Lagos. Aunty Chisom… Her name felt so familiar, yet it had been so long since I’d seen her. I started to remember… Her and Uncle Bamidele dancing to ‘Kiss the bride’ on Onyinyechi’s 10th birthday and even in that memory she still felt distant.

Then I remembered Aunty Chisom in the kitchen, making chin-chin. She was the only one that ever made it. In this memory, I remember making it with her. The counter was cleared and dusted in flour. The oil was prepped to the right temperature and her cutting through the thick bouncy dough.

This piece is part of an ongoing series of clay tile sculptures, cast in bronze, to serve as “autobiographical” documentation to immortalize my personal history, with the material of the bronze bearing a contextual like to my wider social history, in its correlation with the Benin Bronzes. In this series of works, I strived to compose storyboard-like scenes of these memories, including details unique to the memories, like the round bottle - a reference to the Amstel Malta bottle we used in making the chin-chins. An attempt to contextualize the sculptures within the scene of the actual memories as accurately as I could.

We ran around the parlor chasing each other. He was fast. I ran around the chair, in front of the TV, and out the parlor into the open space in the house making sure to close the glass door behind me so he wouldn’t catch me. Not noticing, he ran straight through and it all shattered.

This piece is part of an ongoing series of clay tile sculptures, cast in bronze, to serve as “autobiographical” documentation to immortalize my personal history, with the material of the bronze bearing a contextual like to my wider social history, in its correlation with the Benin Bronzes. In this series of works, I strived to compose storyboard-like scenes of these memories, including details unique to the memories, like the sliding glass door, which is a direct reference to the door I had in the parlor of my childhood home.