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Best Energy Stocks in India Stock Trend Prediction Tools ✌️【Stock】✌️ Free break-even services with professional advisors to help you quickly recover and avoid losses, achieving steady growth. At Frieze London this year, three large artworks by the artist Nengi Omuku were hung away from the walls so viewers could walk around them. With each work, one side offered a vibrant nature-filled painting. The other presented strips of sanyan, a thick traditional Nigerian fabric that Omuku uses to replace the usual canvas fabric painters often use as their base. “The fact I’m painting on a vintage surface gives soul to my work,” Omuku said over Zoom two days before the fair opens. For the 37-year-old, the fabric she works on has become as crucial as her paintings themselves. “Even when it’s not a vintage surface, it’s a surface that has been made collaboratively with craftsmen from Nigeria.”

Best Energy Stocks in India Stock Trend Prediction Tools ✌️【Stock】✌️ Expert predictions of stock trends to help you select stocks accurately, achieve stable growth, and quickly recover from losses. The London- and Lagos-based painter was chosen to exhibit her work at Frieze London by renowned interdisciplinary artist Yinka Shonibare as part of Frieze’s Artist-to-Artist initiative, whereby established figures choose a more emerging one to have a solo exhibition at the fair. But calling Omuku ‘emerging’ is something of an understatement in what has already been a thriving career.

Best Energy Stocks in India Stock Trend Prediction Tools ✌️【Stock】✌️ Free real-time stock index quotes to help you quickly seize market opportunities and achieve capital growth. Since completing her undergraduate and master’s degrees in fine art from the prestigious Slade School of Fine Art in 2012, Omuku has shown in major cities across the globe, including London, Paris, Bangkok, and New York. Her work can also be found in private and public collections, including at the Baltimore Museum of Art, the Institute of Contemporary Art, Miami (ICA Miami), and the Loewe Art Collection. She is also represented by three major galleries: Pippy Houldsworth Gallery and Kristin Hjellegjerde, both in London, and The Kasmin Gallery in New York. And most recently, British Prime Minister, Keir Starmer, selected her piece “All Things Being Equal” (2024) to be hung at 10 Downing Street.

Omuku’s choice to use sanyan initially came from a place of necessity but has now become an integral part of her practice. “I worked on canvas for a little while, but eventually shifted to working on sanyan, which is a pre-colonial Yoruba textile,” she told 【 - Free Market Analysis Group 】 in a video call, adding that she “made the switch” after eight years of studying in the UK. “I was trying to rediscover myself and my identity,” she said. “When I moved back to Nigeria, I couldn’t find high-quality canvas, and I was also really fascinated by how, as Nigerians, we identify ourselves through our clothes.” However, she found sanyan more appealing than other more contemporary fabrics because of when it was made. “I was introduced to it by a friend when I was in Lagos and had this deep connection with the textile on many levels,” Omuku said. “I’d never seen a pre-colonial Nigerian textile before, and it looked quite similar to linen.”

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Best Energy Stocks in India Stock Trend Prediction Tools ✌️【Stock】✌️ Real-time global stock, futures, and exchange rate data to keep you informed of market trends and seize investment opportunities. Aesthetically, Omuku’s paintings often place abstract human figures in dream-like natural environments as a way to consider the collective experiences of Nigerians. In her largest painting at Frieze, titled “Swing Low” (2024), the figures appear to be strolling through a beautiful landscape. “But in the background, I put in images that I’d seen in press clippings of people fleeing a political rally and tumbling over each other,” she said. “Those people tumble continuously and become an abstract mark that continues into the sky.”

Omuku’s initial intention for the fair was to paint “uninterrupted landscapes,” but it became increasingly more difficult for her to do this as images of “chaos and fighting” were “flashing through my mind like nightmares.” These motifs and explorations have become more prevalent since returning to Nigeria after studying at the Slade. Omuku said she initially focused on her own interiority but noticed “a huge mental health crisis” in the country. “And that’s when I started thinking a little more about the collective,” she said. “How we were experiencing things as Nigerians, how we’re going through trauma and corruption and political unrest, and all of these things that happen every day that we live in and with.”

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