Alluding to Illumination, An Artist Spotlights Social Reality in New Solo Show

Yinka Olatunbosun

Nigerian artist, Damola Adepoju was walking through the streets of Isale Eko one evening when a power outage plunged the entire landscape into sheer darkness. What could have been a moment of despair turned out to be one of realisation- a pivotal experience to ignite his creative energy. Out of the blues, light beamed from a torch held by someone in the neighborhood to illuminate the street in the absence of power supply. This surreal experience fueled Adepoju’s three-dimensional perspective on light which is the fulcrum of his latest exhibition titled “Light: A Beacon from Isale Eko.”

“Light” is a transformative body of work born from the artist’s experience on Isale Eko’s streets. As city lights faded, a single individual’s decision to shine a light became a beacon of hope. Hence, this new collection of paintings showing at Mydrim Gallery explores individual responsibility’s power to dispel darkness and illuminate the world.

The exhibition showcases resilience and hope amidst Lagos’s urban challenges. Through mixed-media collages of clipped newsprint, Adepoju constructs iconic Lagos high-rise buildings, highlighting the city’s foundation on shared narratives. The metaphysical leaning in the works sparks conversation about Lagos’s rich fabric.

“This collection reflects my artistic journey since 2015, celebrating 50 years of life,” the artist revealed during a preview of his works. “Thirty curated paintings showcase my progression, inviting viewers to reflect on the human experience. Light symbolizes a brighter tomorrow, and my work aims to evoke emotions, honouring Lagos’s indomitable spirit.”

Featuring 30 pieces of works, this collection is predominantly monochromatic and mixed-media, with some balanced by vibrant impasto paintings of markets. Adepoju uses an elevated perspective to capture architectural structures and the city’s structural grid, distilling them into a visual rhythm of cultural memory.

By incorporating newspaper clippings and collage into the textures in works like “Helping Hand” and “Self-Motivation,” Adepoju shows ingenuity in preserving history just as newspapers do.

“This technique is a deliberate strategy to embed civic discourse, fleeting events, and public memory directly into the artwork,” he continued. “It allows me to weave personal identity and public discourse together, both materially and symbolically. This same approach is used to depict women as vessels of history and resilience in works such as “Commercial Center,” “The Thousand Lanterns,” and “Stock Keeper,” highlighting their unwavering commitment to supporting their families.”

Other works explore the spiritual side of light. Paintings like “Master Key” (2024), “Seek and You Shall Find” (2020), and “Unspoken” (2020) evoke a connection to God and the idea that an enlightened understanding can fill one’s entire being with light. This embodies the profound dialogue between the body and spirit. Interestingly, philosophers such as Plato and Augustine have embodied the concept of light in their worldviews which have influenced- directly or indirectly – many artists across several generations.

Adepoju’s body of work examines light across three key themes: knowledge, spirituality, and landscape. For him, light is a powerful symbol of hope, direction, and revitalization. It represents the light at the end of the tunnel.

His “Eko series,” which includes works such as “Light,” “Golden Hour,” “Waves of Lights,” “Action Spot,” “Christmas Eve,” and “Evening Light,” “Isale Eko”, captures the vital mood and atmosphere of the streets of Lagos.

Another piece, “Waiting,” addresses issues within our educational sector, exploring questions of government accountability and commitment to education.

“This work captures the visual honesty of the streets and serves as a conversation starter about how art can reflect and reshape the world,” he explained. “The exaggerated light in the paintings is not a denial of shadows but a command of light that creates a visual metaphor for a national consciousness aware of its shadows yet still capable of illumination.”

Collectively, the paintings serve as a visual testament to the belief that the hope of a brighter future is not a passive waiting but an active, conscious effort.

“My work seeks to inspire viewers to become “light bearers” in their own right, believing that if we all embrace this responsibility, we can collectively light up the world and find a way forward, even in the darkest of times.”