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Elevator (Abeokuta to Dakar)/Ceilings of Tomorrow's Heritage,drawing, assorted packaging, and digital print on wood, site-specific installation, 78 x 47 x 47 inches

Installed in open air, Elevator (Abeokuta to Dakar)/Ceilings of Tomorrow's Heritage (2014) is a site-specific work. It is positioned on a sidewalk against a backdrop of the sea and residential homes. The work begins by questioning the possibilities of exhibition spaces, and how they might intersect with seemingly sterile spaces that we inhabit daily. In addition, there is consideration of movement within spaces that showcase art and the proximity of the viewer to a work of art. The elevator form emerged from these points of reference. The conversation had within at once questions how a space informs the nature of our conversations and engagement with one another. The documentation of the experience of the piece offers a different set of challenges for those who have not yet viewed the space.

The drawings comprise a diary, further emphasizing experience in time and space. The drawings depict snacks I consumed en route from Lagos to Dakar and also consumed information, much of which had to do with the missing girls in Nigeria. I would wonder how many girls are missing? On which day did they go missing? What were their dreams? What are their dreams? What might they be eating? Who will protest and which languages will they use? And what is the role of the international community in all of this?

The custom wallpaper and wall decal material depict a pattern from a series that archives Adire, a Yoruba technique of tying and dying fabric. In each work in the series, I reconstructed old, historical adire patterns using various photographs taken of each pattern. A technique executed, marketed, and passed on by mostly women, it providing a fitting backdrop for current crisis concerning the missing girls in Nigeria.