In Conversation: Adebayo Bolagi
In conversation: Adébayo bolaji
An extended interview between Future Fair and Beers London artist Adébayo Bolaji
Adébayo Bolaji, Black is Beautiful, 2020, Acrylic and Crayon on Coarse Grain Jute, 74 4/5 × 55 1/10 in, 190 × 140 cm, Courtesy of Beers London and the artist.
ADÉBAYO BOLAJI
Adébayo Bolaji, is a multi-disciplinary artist living and working in London, England. At the centre of his practice is the dialogue of change and the focus of the individual within a connecting society whether that be anthropological, religious, historical or popular culture. The use of the vibrant and metaphorical language, is a crucial element in his work, helping to narrate a different story within each painting allowing for the viewer to take an active role in the works. Bolaji has exhibited internationally in London and Zurich, with artist residencies in New York and Margate, including an Artist Residency with Yinka Shonibare MBE Guest Projects.
Adébayo Bolaji, Transmissions (2019), Mixed Media on Coarse Grain Jute Canvas, 205x165cm, Courtesy of Beers London and the artist.
Are you able to find forms of play within your art making practice?
Play, suggests to me, being in the moment and not being so investigative or overly analytical... so yes, in fact I always start with play. My background is acting, which arguably is the highest form of play.
If an actor receives a line from another actor and begins to think about how they should say it and starts to ‘watch themselves’ this interrupts the truth of the scene or whatever action is meant to be taking place. Actor’s have a phrase, it’s called ‘acting on the line’ (rather than over thinking it).
I’m using this example because, although two actors are playing - they are playing within a given space so every game has rules... there is a balance. If you do not play within those rules, it is no longer play... it is destruction. So, back to painting... when I am playing, I am freely and truthfully responding to the materials and space and although I am freely doing this there is an aim to it and that aim is to conceive an image or at least get me to a place to be able to be at peace to conceive something... so it has a purpose. It is not self indulgence.
Even if I go into the studio or I am at home and grab a pen and start doodling on something, I am playing, I am not worrying about if it is good or bad, I am simply responding with no specific aim. That said, the bigger aim is, by doing this, my work, my hand, my mind inevitably becomes free and sharp, at least I have found so. Play also helps for research, it allows for surprise, really creative things can come out of it.
Adébayo Bolaji, Discovery (2019), Mixed Media and Collage on Coarse Jute Canvas, 195x140cm, Courtesy of Beers London and the artist.
Do you consider your work political, personal or both?
I think every action is political because there is a reaction. But I know what you mean. So I’d say, sometimes, but I do not go and say “I am going to make political or social-political work” I actually try to steer away from that, because for me it seems somewhat contrived. I continuously say, if you cannot deal with yourself, how can you deal with society? We make up society. So ultimately my work is personal- I don’t think it’s personal like 1950s Abstract Expressionist personal so, being consciously emotive... I just mean I make what I want, something is disturbing me, and I respond truthfully to that.
Adébayo Bolaji, The Crossover, 2020, Acrylic, Cardboard, Glitter, Graphite, Crayon, Fabric, Oil Paste and Lotta Natural Paper on Coarse Grain Jute, 80 7/10 × 65 in, 205 × 165 cm, Courtesy of Beers London and the artist.
Is there any person (living, dead, or fictional) who you would like to have dinner with?
I like this question and it changes all the time. I have two. One is Judy Garland - as random as that might seem- I just think she is such a wonderful, enigmatic character and with all the stories coming out about her, I’d love to sit with her and for her to tell me what’s really going on. She’s also an interesting figure as an artist being influenced by and influencing her industry. The other would be James Baldwin, he’s so eloquent, wise but in a simple way that allows for anyone regardless of their education, to latch onto what he is saying. I’d like to question him on some things I doubted him on too.
Adébayo Bolaji, The Traveller, 2020, Acrylic, Crayon and Oil Pastel on Cotton, 60 3/5 × 47 3/5 in, 154 × 121 cm, Courtesy of Beers London and the artist.
How do you participate in and change the art world at the same time?
I think, to participate in something one is kind of saying “Hey, I understand the rules and I want to play” so in this sense well, I am doing this interview right now. I show work with galleries, art fairs and residencies. Fine. But like I said before about political work... it may sound cliche but, if genuine change is going to happen, that will start with my work. And not just the work, but how that work is communicated and received... I am not a one man band, community is important so I’m still figuring that one out.
I also think it’s quite arrogant for me to say “this is how I am changing something” I don’t think anyone is in control of that, ideas are to some degree but, even still. If you study history, every essential or critical change had to also do with its climate and so many other factors.. I have some ideas but we’ll see... If you’re also asking is it possible to participate and change something at the same time? I’d say yes, yes because there is accidental change and conscious change . With the latter, it’s also wise to understand something first before trying to implement or bring about any change. So, it’s good to be part of something so one can understand what that thing actually needs, before one tries to change it.
There is a lot of bravado in the art world/market which, results in no one actually saying what they want for fear of not being accepted...it’s so sad. So, ultimately, this reflects on the kind of art that is being shown and again, how that is communicated. On the flip side, you also get consciously - or overly consciously driven work or spaces, masquerading as being outspoken whereas, this too is part of the game i.e wanting to be accepted, so what do we have? A catch twenty- two… it’s all ironic. What has been changing the game is the internet, or more specifically, Instagram. Here, is a medium where the distribution of power has been challenged. The artist can speak to the audience directly and can regain or produce a kind of language, atmosphere, world... where new rules can be formed.
However, this too is still subject to some of the same rules of acceptance and algorithms start to dictate conscious behaviour. For me, I can only stay consciously aware, be devoted to my craft and be open for change, whether I am the instrument for that or to respond to it.
Adébayo Bolaji, Esther, 2020, Acrylic, Fabric and Crayon on Cotton, 63 × 51 1/5 in, 160 × 130 cm, Courtesy of Beers London and the artist.
Name someone you are currently very inspired by.
Cornel West... at least , for now. I mean, I like how his mind works. His command of language is inspiring... I like words. I like words when they are used in the right way. Words are so powerful. You can believe something for years, and a few words spoken for less than ten minutes have the power to change that belief system or at least, start to change it.
What are you consciously welcoming in and what are you releasing attachment from?
I get a lot of art students wanting to talk to me about their work or to mentor them. I was very suspicious of this, and the typical opportunistic meetings. However, what I am finding is that there is a real hunger in very young and older artists too, to talk and share new ideas.. they are surprisingly sincere. A lot of them are tired of markets or have lost faith in anything to do with structures, they a looking for new modes of communication. Somehow, I adapt to this task well... the task of communicating, and so I am embracing this, following this ‘line’. Let’s see.
After a while, you get tired of opinions, and so now I have released this need of any kind of opinion whatsoever. I think there is something we are all put here to do, so I’m just getting on with mine now.
Adébayo Bolaji, In Her Shoes (2018), Mixed Media and Collage on Coarse Jute, 160x130cm, Courtesy of Beers London and the artist.