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Lola Ayisha Ogbara

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Projects
  1. A Bellow of My Laughter Pt. I
  2. A Bellow of My Laughter Pt. II
  3. Secret Language of the Fast Tailed
  4. Hues of Black and Blue
  5. A Hard Ori Makes A Soft Memory
  6. The Perfect Servant
  7. Forget-Me-Knot
  8. I Am a Clay Artist
  9. Mama, Mama

Curatorial

  1. The Promised Land

  2. where the light corrupts your face...
  3. Black Light Cinema Project
  4. of the land...


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©LAO 2024
Lola Ayisha Ogbara
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of the land...
acts of refusal & ratification

July 16 – September 24, 2022
Location: South Side Community Art Center



Ajmal Millar. By Hook or by Crook. 2021. Found steel. 20 H in x 9.5 W in x 8 D in. Lola Ayisha Ogbara. The Perfect Servant #1, 2021. Still Image of Performance. Inkjet print on Archival Paper. 24" x 30". Documented by Michael Sullivan. R. Treshawn Williamson. Untitled. 2018. Screen printed charcoal on canvas. 48” x 36”. Ajmal Millar. Emotional Boner. 2021. Found steel. 19 H in x 7 W in x 9.5 D in. Lola Ayisha Ogbara. Untitled (Gaze). 2018. Hahnemuhle photo rag. 21” x 30”. R. Treshawn Williamson. Smooth hands for unstable voyages. 2021. Screen printed charcoal on canvas. 72” x 48”.


…of the land: acts of refusal & ratification is a three-person exhibition exploring sculpture, self-imaging, homelands and history. Through post-colonial lenses, collective & individual recollection

and peculiar uses of material, the artists engage in an invigorating discourse surrounding traditional art-making. The use of storytelling holds significance for spatiality and locality to become common ground through this fielding of land, labor and industry. Ajmal ‘Mas Man’ Millar expands the sculptural form welding metal, Trinidadian carnival culture and identity politics along the African diaspora. Lola Ayisha Ogbara merges West African and African American interior and exterior design aesthetics with bodily sculptural ceramic forms, alongside performative photography, that refuse a Western gaze. Reggie Treyshawn Williamson creates historical context for his own familial roots in the mining of charcoal material for large scale screen-printed tapestries in a careful consideration of laborious processes as praxis. Millar, Ogbara and Williamson engage in practices that consider topographic timelines and performance as an essential tool making for an interesting dialogue about homeplace.


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