Part of the enduring legacy of Kolade Oshinowo’s art is his ability to translate the essence of Nigerian life onto canvas, capturing both the serene beauty of landscapes and the dynamic energy of urban streets. Oshinowo’s earth-toned depictions of Lagos and Western Nigerian streets evoke a sense of calm and grace, transforming the everyday into
By 1975, the most popular artworks from Oshinowo, were the landscapes detailing Lagos,Abeokuta and many other states.But there was the abstract side of Oshinowo, like this mixed media artwork titled, TheConference. In ‘The Conference’, lines replaced colour, creating movement and tension across thesurface of the artwork. It’s a dynamic, adventurous artwork that presents another aspect of
Kolade Oshinowo created the artwork ‘The conference’ in 1975. In the seventies and eighties, he experimented with abstract, mixed media artworks. These abstract artworks were a marked deviation from the landscapes and figurative artworks he was known for at the time. The abstract pieces, like ‘The conference’ present a more adventurous side of the great
Text for The Master’s Exhibition Catalogue 2018 by Mydrim Gallery Masters as Servants Service There are no masters here. Not in a conventional sense, anyway. These are not wondrous, other-worldly beings floating in a bubble of their success. No, these are no masters. These are servant, when you think about it. They have toiled
Kolade Oshinowo mask paintings are rare. It’s a theme he explored in the seventies and the eighties, but has mostly ignored in the ensuing decades. It’s interesting about mask-themed artworks. It feels as if, with each passing decade, there are fewer of these artworks. That’s understandable though. In the seventies and the eighties masquerades and
Oshinowo doesn’t quite fit the stereotype of the mad artist. He is understated, reasonable, well-dressed, measured in style and speech and business-like.