ALEXIS PESKINE.

By Dami Ayo-Vaughn

“It’s really weird to be in a space where you get love and you have to be mad, you almost feel like a fraud.”

“The reception I received in London was beautiful,” says Alexis Peskine, “I got all this love.” The French-Brazilian artist is reflecting on his debut solo exhibition in London, Power Figures, which ran at the October Gallery between September and October. “Not that people in Paris don’t give me this warmth, but it felt like people in London were really listening, we're trying to understand my point of view and were respecting it and I felt that.”

We are sat in the café of the October Gallery; two hours have passed since the exhibitions final showing. Dressed in a tweed blazer, a brown shirt, bow tie and orange trousers, Peskine looks more like an academic than an artist. He sips on a glass of red wine and soaks up the silence in the room. “It was a very draining project,” he says, “physically and mentally.” 

I tell him that the reception makes it worthwhile. Grateful as he is for the reception, he worries about how it will affect his work: “It’s funny you have all this anger but after a while you get all this love and it’s like you try and stay connected to that anger and the people who are in the struggle {black experience},” he says, with his eyes fixed on mine. “It’s really weird to be in a space where you get love and you have to be mad, you almost feel like a fraud. But you have to wake up and feel connected because it’s still happening. You can’t forget the struggle. For me, it’s important to go back to what’s going on and the injustices.”

Power Figures

Born in France, to a Franco-Russian father, the son of a Jewish refugee, and an Afro-Brazilian mother from Bahia, Brazil, Peskine grew up in a multicultural family, of which he is deeply proud: “To grow up with so much culture to me was a richness. My father is French and Russian, but he loved Brazilian culture; that’s where he met my mother, he spoke Portuguese really well and was interested in the culture. They taught it to me and I harboured it. They represented it and I wasn’t ashamed of it.”

Peskine’s multicultural identity is something which has informed much of his work, with the concept of identity being a recurring fixture in his projects. His latest project, Power Figures, explores identity and the Black Experience of people in Congo.

Using nails as his central medium, Peskine produced large-scale portraits of Congolese people, alongside photographs of children. The use of metal forced into the wood refers to the Minkisi “power figures” of the Congo Basin, whose function it was to keep evil spirits away. The portraits are stunning. Peskine captures the beauty of the black skin in a truly remarkable way. ‘The Architects of New Djenné is perhaps the standout portrait amongst the set, with the gaze of the figure conveying a sense of both tranquillity and frustration.

Abdou Slide

This pride in his culture did not come so easily. The second of four children – all boys – Peskine grew up predominantly in France, but visited Brazil often. As fond, as he is of his childhood Peskine admits he faced “uneasy episodes”, having to deal with discrimination and racism in France. In Brazil, he faced a country where the standards of beauty were overwhelmingly white and Eurocentric, despite possessing the largest black population outside of Africa.

Did being a mixed-race person make it easier? “It’s easier, but it’s funny because people tend to misunderstand. A lot of white folks will say ‘you’re as white as you’re black’. Yes, on paper, but in the experience, it’s not as simple as that. I could go into the black community and black people could see me as black, I would be welcomed as a black person. Now, if I go running around saying I’m white everybody is going to look at me like I’m crazy. So, this is not really the truth.” He pauses momentarily. It is a touchy subject. “When I was a teenager, getting ID checked by the police violently, getting racist insults, I couldn’t be like ‘Oh hey I’m half-white take it easy’. Maybe you get discriminated less than if you are darker, but when you’re in a racist situation you can’t pull out the mixed card. I definitely have to acknowledge colourism. I’m really aware of it, it’s real. But, that doesn’t take away from the {black} experience.”

Peskine’s understanding of the Black Experience growing up was chiefly informed by his parents: “I was fortunate enough to have parents who despite not being the most educated people on the question of Blackness, knew certain things and educated me the best they could,” he says. “They took me to marches against racism, gave me the books on Afro-Brazilian culture, we watched Roots.” Despite being grateful for his parents’ efforts, Peskine admits it wasn’t enough. “They gave me what they had in their hands, which was good and better than a lot of people, but I knew some people who were fortunate enough to know about African history prior to colonialism. I didn’t have that.”

At the age of 17, he was spotted at the Nike camp and moved to America to play basketball. This helped get into Howard University, where having to choose a major he chose Painting and Photography: “I naturally went to that because I’ve always been interested in that field. My whole family is in the arts, so I kind of grew on that.” Being in Howard, Peskine’s understanding of the Black Experience changed immensely as it helped fill the gaps of what he knew growing up. “I was blessed to have gone to Howard University, it’s a school full of teachers that teach you black history. I learnt a lot of stuff.”

Aljana Moons Doudou

An important lesson Howard taught Peskine was how to treat the black skin in shoots: “In our photography class we would talk about the grey card, but would mention that it’s not for us {black people}. We used it like everybody else but being in an environment where (what) you’re going to shoot is black, you have to learn how to shoot them and I was aware of that as soon as I learnt photography because I was in that school.”

Aljana Moons Twins Sleeping

Having lived in America and spent time in the UK, where race issues are in spotlight, Peskine is frustrated that this is not so in France: “In London and a lot of American cities, even with the racism that occurs, people are much more open to talk about racial dynamics and acknowledge the discrepancies, compared to France,” he says.

“France is hypocrisy at its height. I think we might be the country with the biggest black population in the whole of Europe, and still, people don’t want to address these questions. They do not want to acknowledge race-based discrimination. They are fragile.”

He runs his hands through his hair. “A lot of people think they are open-minded, but they are not. You have a lot of people who think of themselves as liberal or intellectuals who will be advocates for white supremacy and will not confront that. People see it as either you’re the KKK or you’re open-minded, but it’s not like that. You could be open-minded, have gone to school, have friends of all colours and sexualities, but still say ignorant things or not acknowledge people’s pains. That is what is done a lot in France. They don’t understand those dynamics. It’s very much swept under the rug and it’s very frustrating.”

Peskine’s biggest frustration with France is its efforts to prevent minorities from building communities. “Whether it’s the UK or US, they have cultures based on communities and understand people need communities, whereas in France it’s seen as threatening the norm of whiteness. When you’re in an environment that is fully white and discriminating against other people, thus performing the biggest act of communitarianism, but they don’t call it that, even though the biggest act of communitarianism is whiteness.”

Peskine is worried about coming off as ‘an angry black man’. In this situation, however, there is no other way to feel. Conversations on racial issues in France have been slow, with the Constitution banning the collection of race statistics. This, in turn, has made it harder to shed a light on racial issues in France. It would be wrong to suggest that data could help remove racism in one swoop, but it can at least point the light in a direction, and be used to inform decisions, policies and fight denial.

The government is, he believes, only making things worse. Their spreading of misleading information is leaving him worried about the future. “France is still exploiting a number of countries in Africa, making themselves rich, yet complaining about migrants coming. The government acts a certain way and then the media who work for government defuse certain information to the masses and make them think a certain way and not to be honest,” he says. “People don’t have time to deconstruct the information they are being fed. They see TV and media as the gospel, the news is the truth, so if they are lying most people are living on a fake truth. These altered truths cause people to act a certain way, especially in times of crisis and find a scapegoat.”

Is it the role of the artists to counter this? Should we expect artists to point people to the truth? “I can’t say what other artists’ job is, but I decided that it is for me. So, I’m trying to do it. My job is to be honest as an artist. I’m not going to force people to talk about conscious things ‘cause that would be fake. It has to come from within,” he says. “I think as human beings it is our duty. We have a duty as a society, and a society is a bunch of individuals, so as individuals we should do that. It’s true as an artist I have a platform and can influence a lot of people, but we should all do it.

“I can’t judge someone who wants to escape from it {racial issues} and enjoy a moment without being beat over the head with race. But, it’s like being in a war zone and trying to walk over dead bodies like they are not there when they are.”

Carefully he sits up on his chair. “All humans try to better themselves. We can all mess up, we can all do or say the wrong thing. I have done and said things that are wrong. The thing is to fix yourself after you make a mistake. To reassess yourself. To not do it continuously. Try and understand what you did and why it’s wrong.”

Photos of Alexis Peskine taken by Dami Ayo-Vaughn.

RECLAIMING THE AFRICAN NARRATIVE AND REDEFINING 'AFRICAN'

An academic report by Bunmi Agusto. 

In the past, the recording and preservation of history had not been taken seriously enough in some African countries. A prime example is my home country Nigeria. When I was a child, History –as a subject- was scrapped from the country’s national curriculum so I was hardly taught Nigerian history let alone Nigerian art history. I had to go out of my way to find books and articles about the masks and sculptures that make up most of Nigeria’s rich art history. However, whilst conducting all this research, I discovered something: Western authors and researchers had and have been the ones recording and preserving our history for us.

“If Africans do not tell their own stories, Africa will soon disappear.”

 - Ousmane Sembene. 

The desire to finally extensively record Art History from an African’s perspective has come at a crucial time. Although we have seen African artists succeed internationally in the past, we are no longer in the age of postcolonial modernism. We are no longer just living in a post-colonialism, post-empire world; we are in the age of the diaspora and we are in the age of globalisation. There is no longer a single unified point of view of a culture or from a culture. This has led to shows like the 1:54 Contemporary African Art Fair which annually exhibits the work of African Artists in London, New York and now Marrakech. I was lucky enough to attend the fair in London in October where the works of two artists –Lina Iris Viktor and Kudzanai-Violet Hwami- grabbed my attention. As children of the diaspora, Viktor was raised in London by her Liberian parents whilst Hwami was raised in Zimbabwe but received a portion of her education in London. Therefore, I shall be analysing each of the solo exhibitions held in London by these two African artists who have been highly influenced by the London Art Scene and now represent a sector of it. As Stuart Elliot said during his lecture Making The Rounds, at every point in history, there is a dominant culture, residual culture and an emerging culture. Therefore, I see the work of Viktor, Hwami and myself as part of the emerging African culture.

Lina Viktor’s Exhibition at the Amar Gallery

Kudzanai-Violet Hwami’s Exhibition at the Tyburn Gallery

The title of an exhibition helps define the context in which the artist made a collection of artworks. Subsequently, both exhibitions have highly significant titles which hint at the idea of being a member of the diaspora. The title of Hwami’s exhibition is 'If You Keep Going South You’ll Meet Yourself' which suggests that one needs to travel and be moulded by different experiences and cultures to truly be able to know oneself.

“The beauty of being a child of the diaspora is that we are able to reinvent ourselves and what it means to be African.”

 -Kudzanai-Violet Hwami

As previously stated, there is no longer a single unified view of a culture and Hwami recognises that. Whilst studying in London, Hwami was able to adopt a different standpoint and view her home country from an outsider’s point of view. Although Zimbabwe has suffered from dictatorship and other hardships, Hwami is hopeful for the future of her nation and that is why she chooses to present “a futuristic vision of African life, a fictional utopia filled with creativity and without borders.” On the other hand, Viktor chose to give her exhibition the title 'Black Exodus' which alludes to the biblical story of the Israelites migrating out of Egypt in search for better lives and also draws parallels to the migration of Africans over the years. Although Hwami is hopeful for the future of Africans, Viktor is more troubled and curious about the future of Africans dispersed all over the world if society continues on its tangent of prejudice. Fundamentally, Viktor has a realist approach rather than Hwami’s optimistic one. I personally identify as more of a realist than an optimist but I appreciate Hwami’s view and the vision of Africans presented when she and Viktor’s work are put side-by-side.

A curious similarity between both exhibition spaces is that they are both underground, almost suggesting that post-modernism contemporary African art is a still a hidden treasure waiting to be unearthed and brought to the spotlight. In addition, both underground exhibitions lack windows and this excludes the outside environment for the viewers and makes them feel like they have truly travelled to a different space. This effect enhances the works of both artists as it complements the idea of the travelling aspect of the diasporic lifestyle.

On the other hand, there is a stark difference between the rooms holding each exhibition; Black Exodus is in a dark, black room whilst If You Keep Going South You’ll Meet Yourself is in a bright, white room. The contrasting spaces emphasise the difference in the artists’ perspectives on the direction in which the story of Africans and their migration is going in. In some illustrations of Africa during the 4 colonial eras such as in Joseph Conrad’s novel Heart of Darkness, the continent is often referred to as the “dark continent” in need of enlightenment and Viktor plays with this idea using the space and lighting of her exhibition and the works themselves. In the all black room, there is a suggestion that one’s journey is ambiguous and mysterious; however, the spotlights illuminate these golden artworks that draw the viewers in. Within these artworks are elusive black figures that blend in with the space as well as golden symbols. 

Pictures I took of VIktor's work in 'Black Exodus'.

The gold lines and patterns allude to Egyptian hieroglyphics which in itself gives an example of the benefits of Africans narrating their own stories. Unlike most Africans, Egyptians narrated their own history through hieroglyphics written in stone rather than orally and this has allowed their representations of their people to not be susceptible to alterations and therefore to be viewed as majestic and dignified, unlike many African countries which were seen as savage and primitive. The elusive black figures in Viktor’s work are photographs of the artist herself covered in black paint which makes her work an example of her taking charge of her own narratives. The figures are mostly camouflaged within the background but are made obvious with their gold hair; this creates dystopian images of a majestic creature forced into hiding and irrelevance by society. Oddly, although both artists are presenting narratives of Africans of the diaspora. Black Exodus is a representation of a dystopian world for Africans while If You Keep Going South You’ll Meet Yourself is utopian.

Violet Hwami’s ‘Family Portrait’.

Hwami’s vision of a fictional African utopia is amplified through the vibrancy of the colour she uses and it comes to life due to the fact that most of her paintings are life-sized. On the contrary to Viktor’s Black Exodus, Hwami defines her intentions as wanting “the portrayal to be playful and fun,” she adds that she “definitely [doesn’t] want to convey a negative image of the characters in [her] paintings”. Hwami, as an African narrator, has chosen not to present the Zimbabwean characters in a negative light and although this may be a biased narration, it is certainly different from western narrations of Africans. Hwami’s method involves using old family photos and manipulating them using a computer software before finally painting them. Therefore, there is nothing primitive about Hwami’s work; she is able to refer to her past African life in a modern way and her paintings appear slightly unfinished and manipulated, almost as if they too are being altered and shaped by the experience of being a part of the diaspora. This method and its effect on the final appearance of the paintings coupled with the exhibition’s title shows Hwami’s opinion of how diverse experiences help to form a more complicated sense of identity for an African such as herself.

Images of my ongoing work. 

Like Viktor, I tend to work with self-portraits and images of people I take pictures of in my everyday life. However, I never thought to make the connection that I was doing it to present my side of the African narrative. Often when I go home to Nigeria, I get comments from older Nigerians saying my work is “not African enough” and they also ask why some faces are so dramatic and sad. Now, I see my work as a mid-point between Viktor and Hwami’s work; I am more critical of the societies I have lived in as well as both the restrictions and benefits of tradition in African culture. Furthermore, I have concluded that I am not sure where the Nigerian story is going. A single perspective does not always make an accurate unbiased story but it is a piece of the puzzle. Hwami and Viktor’s exhibitions in London are puzzle pieces that form a part of the picture of emerging African and diasporic culture. Thanks to these artists and their exhibitions, I no longer see not being “African enough” as an insult but to see it as validation that I am neither part of dominant Nigerian culture nor of residual Nigerian culture; I am part of an emerging diasporic culture that will one day be dominant.

VICTOR EHIKHAMENOR: MERGING CULTURES.

Hi guys, Steph here. I don't know if you've heard of Victor Ehikhamenor before but between his powerful and diverse art and his carefully captioned Instagram posts, this writer and artist is another person to keep an eye on in Nigeria's exciting and ever-growing art scene.

Following his installation at the 57th Venice Biennale this year, 'A Biography of the Forgotten', which featured numerous bronze heads that hang over mirrors to signify the exchange of a human life for mirrors during the slave trade, against the backdrop of a canvas painted using symbols from Benin iconography, which Mr Ehikhamenor grew up around, he is holding an exhibition in London's Tyburn Gallery in line with the themes of his Biennale installation, titled 'In the Kingdom of This World'.

Venice Biennale. 'A Biography of the Forgotten', Victor Ehikhamenore, 2017.

Quick side note, this year's Venice Biennale featured the first ever Nigerian Pavillion featuring 2 other artists alongside Mr Ehikhamenor, Peju Alatise and Qudus Onikeku and curated by Emmanuel Iduma and Rele gallery's Adenrele Sonariwo. More on this here.

The title of the exhibition is the same as the title of Cuban novelist, Alejo Carpentier, whose work also draws on history and the pre-colonial and post-colonial worlds of his country to tell his story. Leading up to the private view of his exhibition at Tyburn gallery on the 23rd of November, Mr Ehikhamenor held a talk at SOAS University in London where he extensively discussed his thought process, themes in his work and his roots in Benin City, Edo state.

It was fascinating to listen to him explain how he came to be the artist he is and why he does what he does. A key turning for him in his art, he explained, was going to study in America. It was there where he discovered artists like the acclaimed abstract expressionist, Rothko and thought that the paintings looked similar to those in his hometown, Uwessa, saying 'this is like my grandfather's wall'. This is when it occurred to him that what he had simply grown up around and had passively observed was art. The murals on the walls of his home, the paintings and sculptures in the shrines, the patterns by his grandparents, was all in fact art. Coinciding with this realisation was another one that the same art he had grown up around and the cultures and traditions surrounding it had begun to dwindle and disappear. That way of life and surrounding he had grown up knowing was being swept under the rug by a force very aggressively championed not only in his hometown but all over Nigeria; Christianity, and this seems to be the basis of his work in Tyburn.

Throughout his oeuvre, symbols and iconography present in the murals in the Benin homes and shrines can be found. He has used his work as a time capsule, preserving the memory of his hometown and transferring it on to new media with his own narrative attached. That feeling of passing on stories and tradition is very strong in this exhibition. While he has frequently recreated historical and biblical moments in his work, this one feels more like a folktale. Walking through the white-walled space of Tyburn, I felt like I was a little girl again, being sat down by my grandmother to tell me the history and tradition of my land. The way each piece is titled heavily contributes to the passing of knowledge, they all serve different purposes and establish the world we are presented with. For example, 'I am a Saboteur, waiting for Britain to make me king of Benin', we immediately understand the setting, character, situation and place, its rapid-fire story-telling that brilliantly aids the image.

'I am a saboteur, waiting for Britain to make me king of Benin', 2017. Perforated paper. 

Another example, 'My last dance as King before Sir Harry Rawson's army arrived',  again all the basic story-telling elements are present but it also works to give emotional context to the image, without knowing the title we may not read it the same way.

'My last dance as King before Sir Harry Rawson's army arrived', 2017. Rosary beads on lace textile. 

At this point, it's a bit ludicrous that I haven't fully addressed how Mr Ehikhamenor executes the telling of Benin history as he juxtaposes icons from both Benin tradition and western tradition in the form of Christianity. The bigger pieces, the ones of the Benin Kings and other important figures are made with rosaries and lace textile. We quickly understand the symbolism between the two; the religious connotations of the rosaries and tradition attached to lace. If you don't know much about the relationship between Nigerian clothing and lace, it's one of the primary materials used to make traditional attire.

So is it then religion (christianity) vs tradition? On one level yes, the introduction of Christianity in many communities across the world has rendered the way of life of those people as taboo, devilish and fetish, denouncing their icons, gods and modes of worship as unchristian therefore leading to the obliteration of them. But on the other hand, Mr Ehikhamenor in his talk explained that he is essentially trying to draw similarities between the two cultures. It is apparent in one piece especially, 'I am Ogiso, the King from Heaven'. When you realise how similar it is to the idea of God and Jesus Christ, you begin to see how the Benin tradition is encapsulated within Christianity, which especially rings true with this piece.

'I am Ogiso, the King from Heaven', 2017. Rosary Beads on lace textile. 

Essentially every story and narrative is a permutation of itself, it is human beings that decide which one they believe to be true but it all exists "In the Kingdom of This World", at least that's what I've taken from this body of work.

I thoroughly enjoyed both the talk and exhibition and recommend whoever is in London to visit Tyburn Gallery while the exhibition is still on, it runs till the 20th of January. Until next time guys :*.

GTK: EBUBE ONOH.

Hi A'naala readers, we're back with another artist you should get to know; Ebube Onoh. He is a 20-year old multi-faceted artist ranging in mediums from film to graphic design to photography to painting. He sits comfortably in an understanding of these diverse crafts and is able to hone them to create absolute masterpieces, he's also incredibly funny. Watch the video below!



Here are some of his incredible works of art:

For Odunsi

Photography for JOLAG cover art. 

THE FOURTH WAVE : A FEMINIST SERIES (PT. 2)

Table, Chair, Hatstand (1969) Allen Jones.

'Ello 'Ello, little lassie Steph here. I don't know why I'm going with the British lingo but anyway I'm back with my feminist series even though it's been close to a year (wow) since I dropped the first one. This series was supposed to focus solely on feminist artists but in my course of looking into artists that I really like or just random research or actually just interacting with their work, I've become increasingly frustrated. It is vital that at this point you realise that these artists are male. While looking into some of my favourite male artists I make horrific discoveries, maybe horrific is a dramatic word but they do leave me with an immense feeling of disgust both at them and myself for liking their work extensively and still continuing to like it. It's only right that I call myself out. What horrifies me of course in relation to the topic at hand is the way they use women. The word "use" is very fitting here because it's exactly what they do, they use women like objects. Be it in their representation of them in their work or with how they interact with real-life women. So let me make more sense of what I'm saying with the some of the artists I'm talking about.

LOVING VINCENT: FILM REVIEW.

About a week ago (week ago) I went to see Dorota Kobiela and Hugh Welchman's Loving Vincent, the first ever feature film that exclusively used paintings to tell its story. In line with its subject matter, Vincent Van Gogh, the film employed a team of over a hundred painters that paint specifically in the style of Van Gogh’s post-impressionism to properly thrust us into his world and even mental state. I would like to break down separate aspects of the film as its individual aspects vary in their purpose.

VISUALS

The film opened with a Starry Night opening sequence that kicked off the giddy exciting sensation of engaging with a film that had entirely been painted. It further pushed me into the world with the post-impressionistic style that was employed but then subsequently found too harsh for my eyes. The compact and short brush strokes and endlessly vivid colours gave the illusion of a world on steroids, creating a warped and quite frankly torturous world of the film, which worked tremendously to convey Van Gogh's mental state but was painful for a 1 hour 35 minute sit down. It also transcribed the feelings of the settings in the village, Auvers, where Van Gogh took his life, relating to the emotions of paranoia and judgement. 

In contrast to this, the film contained flashback sequences that employed a softer black and white Realistic style. These were a lot easier to watch and were also magnificently cinematic, reminiscent of the popular Film Noir genre in 40's Hollywood. It was also interesting that realism was used to portray the flashbacks as in the timeline of art history Realism came before Impressionism which came before Post-Impressionism which therefore makes it an intriguing parallel to be drawn between the film and art history. Not to mention that the Impressionists that Van Gogh was influenced by in Paris like Monet and Pissarro were themselves influenced by pioneers in realism like Corot and Courbet. 

PLOT

I would say spoilers ahead but not really because there isn't much to spoil. The story follows Armard Roulin, played by Douglas Booth, one of the many subjects of Van Gogh's paintings and son of Van Gogh's dear friend and postman Joseph Roulin, played by Chris O'Dowd, as he struggles to deliver one of Van Gogh's last letters to a worthy recipient. 

Before I walked into the cinema, I prayed for one thing, that the spectacle of the film would not act as a compensation for a poor plot but alas, a girl cannot have everything she wants. So yes, the plot was underwhelming. The use of Armand Roulin as a main character was lazy and deceiving, it gave the illusion of something beyond the plot of just Van Gogh's life, it seemed like it would give us a character to thrust all our emotions upon and sympathise with but unfortunately that was not the case. While it had an arguably clear sense of journey it didn't have what we really look for in a protagonist; change and for us to understand why they change we have to know their goals, fears, wants and needs, Roulin lacked most if not all of these. He had one goal, to deliver the letter but beyond that there really wasn't much there. He was a passive protagonist in the worst sense where he did not make things happen and things did not happen to him. 

His journey was overshadowed by a cheap narration of Van Gogh's life inserting tropes here and there to cheekily recreate his iconic paintings, these made the plot branch out to stories and characters that were never developed. The film dragged creating a tiring motif of flashbacks and present time. It would have been more worthwhile had they just simply made a biopic. The potential that it had and did not live up to was painfully disappointing. 

VAN GOGH

Had one entered the cinema not knowing anything about the life of Van Gogh it may have been somewhat engaging. The film's success is in its communication of Van Gogh's state of mind and in it's conversation about mental health and society's perception of it, especially in times that were less sensitive to it. It explores a lot of different point of views on this and focuses on a key point in Van Gogh's life, his death, to tell the story of his life. Despite the fact that I have complained about the tropes that were used to recreate Van Gogh's  famed paintings they were also an incredibly exciting part of it as a fan of his work. Also notwithstanding my seemingly negative outlook on the film I thoroughly admire the work and effort put into making this film. I mean 7 years and over a hundred artists is no joke and that makes all the more painful that the story of the film didn't do more. 

Nevertheless, I see potential maybe even a genre in the future with painted films especially if they are done in the style of Realism, because boy oh boy those shots were great... I mean paintings, I guess.  For more specific details on the film visit its website here.

Thank you for reading. Come back next week for more :*

ART X LAGOS: NEW FOUND LOVES.

Lakin Ogunbanwo, Project One. 

Hey lovelies, Steph here. Okay, so yes, we weren't there but that doesn't stop us from really wishing we were. Through the lens of the lovely Wonuola Lawal's phone, we got to pretend like we were with her takeover on our Instagram taking us on a tour of the event. With the help of that and ArtX's interactive app, we were able to discover, secondhand, new artists amongst those who participated in the fair. Obviously, it is nothing like actually being there and experiencing it in full bloom but we can happily or grudgingly settle for what we have. Also a big well-done to the ArtX team for putting on this fantastic and pioneering show to strengthen the art fibre throughout Africa, even if it only held in Lagos, its impact is widespread.  So here are some artists I discovered and instantly fell in love with. 

OUR ONE YEAR ANNIVERSARY Q&A

'Twas the eve of October 23rd, creativity filled the air. We launched A'NAALA.

One year later and we're still going strong.

To celebrate our birthday we have a Q & A addressing all the questions you guys sent in as well as our reflections on the past year.

We'd love to take this opportunity to say a BIG BIG thank you to all our supporters. You mean the world to us and give us the strength to keep going! Here's to bigger and better things next year. Keep commenting/dming/emailing because we love hearing from you <3

Enjoy this little Q & A and ignore our weird mannerisms lol we're usually behind the camera.

ANAALA VLOG #1

Hi guys! I know it's been a while but it's uni szn which is why we've been a bit shitty on the posts. We PROMISE to do better!

In the meantime here's a vlog- and I use that term lightly- a vlog Steph and I attempted whilst we were in Lagos. Just thought we would let you in on the lives of the gals behind the blog! Hopefully if you guys like this enough we can get round to doing vlog #2?

Much love & hope you enjoy!
Eme xx

GTK: POP ARTII

We've been such slackers lately we know but we are making up for it starting with this interview with the creative head of Lagos-based fashion brand, Pop Artii, who specialise in hand-painted clothes. Their motifs are bright and quirky and true to Nigerian culture and essence. Check out the interview in the video below:

IF YOU DON'T KNOW, NOW YOU KNOW

Hi guys it's Eme here & I'd like to believe someone out there actually cares about my opinion & I'm not just talking to myself. Even if you don't particularly care (tragic), can't hurt to give this post a look? *please*

As you can see from my straightforward title, I'm going to talk about 8 artists I really really like/ think you should know if you don't already. I think this post will give you an insight into the kind of art I gravitate towards. I have quite a varied selection of artists on the list: young, old, famous, not famous, up and coming. Nevertheless, all incredibly talented artists that I'm excited for you guys to discover as well.

GTK: THOMPSON SAM EKONG (TSE)

Hi, everyone! Baby Steph in the hizzay. So a couple weeks ago Emu and I interviewed an actual living legend that goes by the name of TSE. If the name doesn't ring a bell then have you been living under a rock? Because goals, can I join you I'm looking for a place to be a depressed recluse thanks. Lol jk (or not).

TSE is a photographer in his own league, ahead of his time and thinking about the future so he can present it to us. His latest exhibition, "NO-1" at Carpe Diem on the 13th of August is a testament to his unconventional and futuristic style. Asides from being a mega talent he has a bubbly personality that reflects his flowing creativity. He cannot be tied to one style of photography and it is that versatility combined with an innate skill for the craft that makes him so ICONIC. Literally y'all this has been one of my favorite interviews to edit, I spent about a month editing this (don't judge me) and I don't cringe when I watch it now because he's just that great (I even know some of it word for word but you didn't need to know that).

Here's a likkle drinking game for you: Drink every time he says "meow" or any other onomatopoeia eg "pew" "skr". Enjoy (P.S. I'm sorry Tommy, your face doesn't actually look like that, it's my poorly set camera setting <3). Also stay tuned for a Marvel style epic post credit scene ;) :

THE NATIONAL GALLERY, NEW FRIENDS & REALIZING THINGS

Ok so I think we might just have formed the ultimate girl group. We're not sure what we're calling ourselves yet but I volunteer to be the Beyonce. Jk. I'm actually not kidding. 

Banter aside, Hi guys, Eme here (if you couldn't already tell).  As Cindy Lauper oh so rightfully stated, "When the working day is done... girls just wanna have fun". And we did just that. The first Sunday after our very first event (#ProjectA) we decided to reward ourselves with an indulgent trip to the National Gallery. And who better to invite than one of the very first people who showed us love on the blog, our new friend, and girl band member Zainab who probably deserves to be the Beyonce more than I do.

Quick note: this post may be confusing in terms of timeline- it was back when I was still in London so dw haha we just decided to delay it a bit!

It was a really hot day, so before we went in, we sat by the fountain at Trafalgar Square chatting, taking snap chats- the usual. I can honestly say it was such a beautiful moment, particularly when I realised that this time last year I had gone through so much with figuring out myself and I had struggled with being around people who didn't get me and subsequently couldn't provide me with the kind of support I needed. This time last year Steph & I had only barely started talking about A'naala & here we were- in the middle of London, a couple days after our first event with a whole new friend who supports us solely based on the fact that she actually likes what we do. Imma let you finish but that is the best feeling of all time.

Anyways, it kind of got me thinking that doing a little thing to show support for a friend/stranger can really go along way especially considering how vulnerable being creative can be!

On that note, shout out to Zainab because this post wasn't even supposed to be a post but homegirl surprised us with her photography skills so here are a series of shots documenting our day! Follow Zainab's photography instagram for more of her stuff!

Honestly, this shot looks like a painting in itself (also can anyone spot me?)

THE SELF EXPRESSION EXHIBITION

Hello again, Eme here! So last weekend Steph & I had the opportunity to officially cover 'The Self Expression Exhibition' organised by Gbenga Olaniyi and Tiwa Adegbuyi. The turn out was out of this world and we got the chance to meet & speak to so many creatives. Not to be weird or anything (probs too late for that) but it kind of felt like a huge family reunion. *Cues reunited and it felt so gooood*. Again I'm not trying to be weird.

We interviewed some of the artists, getting to know a little bit more about the pieces they respectively chose to represent the theme of the exhibition. The outcome of which is this absolutely incredible 7:00-minute video edited and shot by baby Steph herself. Comment below/ on youtube / insta / twitter  & show her some love if you like the video! (She could teach you- but she'd have to charge).

SAO & THE MUSE II

Hello friends! Eme here. And although no one asked, Yes. The A'naala girls are live and direct in Lagos. We haven't been here much since our launch back in October, but if you've been following our Instagram stories, then you'd see that Steph and I have been more than busy discovering the incredible art scene down here.

Now let's talk about Sao & the Muse II shall we? Unbelievably good. Honestly. Whoever's idea this was- you're doing amazing. No really. Probably the best art event I've been to in Lagos so far. The installations by @painterabe & @niyiokeowodesign  easily stole the show. Everyone and their mum took photos with the stylised vehicles on display. Myself included. We all know I love a good photo op.

BARIGA SUGAR

Bariga Sugar by Anaecheri.

"I believe the children are our future."

I do too Whitney. I do too.

3 words to describe "Bariga Sugar"- Refreshing. Potential. Deliberate.

PROJECT A: ART & CHILL

Eme here!

I would love to say the delay on this post was intentional but lol it was your typical case of procrastination. Project A has come and gone #sosad #babycomeback. I was telling Steph the other day that this project was literally figuratively our baby and it was so sad to watch it (our baby) grow and progress so fast. She insinuated that I was being a bit dramatic but  I maintain my point still.

In case anyone doesn't know what I'm on about, Project A was an event Steph & I put together where we got tons of art supplies, fabric, mannequins, clothes, and photography supplies and just had a really artsy get together with food and music.

Planning it was an emotional roller coaster. Steph and I went through highs and lows stressing crying and excessively worrying about whether or not this little project of ours was going to work.  I mean we literally started this blog in October and 9 months later we were throwing our very first event! We were just two little girls from Nigeria with creative dreams. Was anyone going to care?

We came to find out that you guys did care! (screams) & We want to give a massive thank you to all our readers and all the other platforms who have been supporting us from day one! You guys keep us going and we really appreciate you.

For the Project A attendees, you guys are so so amazing. It was the perfect day, everyone was so friendly and it was such an emotional experience to see our readers in person.

Immaculata (the most amazing photographer!) captured the day. Here are some of the photos below and you can access the rest on our Facebook page.

Cute