Making of the Snow Man
Amsterdam, 2013. 100 cm x 150 cm
Amsterdam, 2013. 100cm x 150cm
Khartoum, Sudan. 100 cm x150 cm
Searching for the Lost Door
Ilesha, State of Osun - Nigeria 2012. 100 x 150 cm
Paris, 2013. 100cm x 150cm
Ordeal of a Wanderer | Indecisive Moments
James Town, Accra 2013. 100 cm x 150 cm
Bourdeilles, France 2013. 100 x 150 cm
Eyumojock, Cameroun (IB 2012) 100 x 150 cm
Gabon-Cameroun Border, Bitam Gabon (IB 2012). 100 x 150 cm
On Whose Terms Do We Decide?
Abuja, 2015. 170 cm x 200 cm
Over the years, my work have sort to engage the nature and mechanisms of borders as a phenomenon central to the negotiations of co-existence and social formations. 'In(-)decisive Moment' is a photographic project created while in constant displacement along the Africa/Europe axis between the period of 2012 and 2015. It seeks to ignite conversations around the idea of the body as an object of resistance and agitation within pockets socio-cultural confluences and border conditions. Its operative premise in an attempt to problematise the “single frame” approach in the transcription of events, memory and experiences into imageries. It is an attempt to emphasis on the evolutive attributes within the process of image formation rather than the finality of a “decisive moment”. It refers to mobility within the image, as if an image is made up of many parts in form of events, intentions, intuition, thought forms, all in constant motion, which coalesces into a frame.
This body of work is a performative rendition of subjective impulses induced by the fracturedness of the relationship between location, memory, identity and the subsequent displacement of body and presence in time – all of which are a function of the frictions inherent in the borderline condition. In that sense, they are visual propositions to the reading of time. Here, the time-space continuum by which relationships between peoples, events, and experiences in the Africa/ Europe axis is measured is disrupted, fractured, and rendered nonlinear by composites of moments which do not allow for a linear reading across the frame or which might invite the viewer to make his/her own associations, his/her own composites of time/space/action relationships.
Given that the creation of these images happen in different locations and are results of improvised and spontaneous inclinations that implicate body and presence as a central element in it's making, they are indicative of the process whereby the body becomes an instrument for the measure of the interminability of experiences — a crucial component of Time.