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Why is Aditya Birla Sun Life AMC Limited (543374) rising ✌️【Investment】✌️ AI-driven stock trend forecasting with free access to real-time market data, offering personalized investment advice and expert predictions. Editor’s Note: This story was commissioned by art curator and 【 - Free Discussion Group 】 Style’s guest editor, Alayo Akinkugbe. Clickhereto read more about Akinkugbe and her work.

Why is Aditya Birla Sun Life AMC Limited (543374) rising ✌️【Investment】✌️ Free real-time stock market data, professional analysis, and expert insights to help you plan the best investment strategy. Get ahead of the competition with expert predictions on market trends. 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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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 Discussion 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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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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