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Can we figure out which company this is ✌️【Customized Planning】✌️ Free stock selection services backed by expert predictions. Our advanced analytics and real-time market data will help you stay ahead of the competition and make smart, profitable investment decisions. 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.”

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Can we figure out which company this is ✌️【Customized Planning】✌️ Free access to global stock market data, with real-time updates on indices, futures, and commodities. Make informed investment decisions with the help of expert advisors and accurate stock trend predictions. 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 Risk Assessment Services 】 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.”

Can we figure out which company this is ✌️【Customized Planning】✌️ Accurate stock market predictions with real-time stock indices, futures data, and global market trend analysis. Achieve stable growth and avoid losses by staying ahead with our expert recommendations. This journey has also allowed Omuku to consider how her artmaking could merge with her Nigerian culture by learning “how to prepare the surface for painting while still honouring the textile.” This journey began by working on vintage textiles found in local markets before eventually moving on to finding people who make sanyan. “I still paint on vintage textiles, but through going to different places, like Dakar, in Senegal, I’ve learned how to spin cotton,” she said. “Now we work with a family of cotton spinners to make sanyan specifically for paintings.” She noted there’s also an element of historical preservation here as cotton spinners are dying out due to fast fashion. “People had even told me it was extinct,” she said.

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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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