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flowers and prayers Flowers and Prayers III, Acrylic, Oil and Ink on Burned Paper, 60" x 96", 2016 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1492934041836-VWIWLIA5RYZI78O7G8Q8/Artwork_Prayers+I_Alan+Roderick.jpg flowers and prayers - Prayers I Acrylic, Oil and Ink on Burned Paper 60" x 96" 2016 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1492934063065-DW47U5OROP6742LMFLTI/Artwork_Flowers+and+Prayers+III_Alan+Roderick.jpg flowers and prayers - Flowers and Prayers III Acrylic, Oil and Ink on Burned Paper 60" x 96" 2016 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1492934078905-2NFK5IS358HA1YRUGQJO/Artwork_Prayers+II_Alan+Roderick.jpg flowers and prayers - Prayers II Acrylic, Oil and Ink on Burned Paper 60" x 96" 2016 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1493580798195-J65BPVB8IZNCOVPXDRMO/IMG_5121.JPG flowers and prayers - Flowers and Prayers III Acrylic, Oil and Ink on 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https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1596601380302-DJITVB476XQXNTJXIV9Y/e6fcd112-9c57-461f-aa76-3abf7ff6ec9d.jpg dreams from the deep end Brooklyn Museum, May, 2019 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1538317570427-CFIZIPCNBMMWUG9ZU7DG/M5+cropped+and+rotated.jpg dreams from the deep end https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233546183-9ONDEYO72GNC2FNCJ8IR/And+Other+Rites+of+Summer.jpg dreams from the deep end - And Other Rites of Summer (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233547873-4VNBZLMHEI2ZVGYL4IPV/Ice+Cream+Girls.jpg dreams from the deep end - Icecream Girls (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233603865-ZL8YMPW0GABO0SPVWF2I/Dreams+from+the+Deep+End.jpg dreams from the deep end - Dreams from the Deep End (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233532252-JI45ADMU6ON7IN93S0RS/Deep+Blue+See.jpg dreams from the deep end - Deep Blue See (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233560218-7R6WLV3GCHMRCFWKUZD3/Indigo+Onlookers.jpg dreams from the deep end - Indigo Onlookers https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233627533-MM41V5MPUSZYRS4RHPFJ/MEDALLION+MAN.jpg dreams from the deep end - Medallion Man https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554234282186-DGQYKFWSGD9QH02D9Y0P/1922.jpg dreams from the deep end - 1922 (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233693959-7LLUOLN9JU598EVVRQJO/Pink+Honey.JPG dreams from the deep end - Pink Honey (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233565611-N3148U1GC5CW5BTYLT8G/Pink+Bracelet.jpg dreams from the deep end - Pink Bracelet (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233564847-1LGX1P6B914Q87SVGZZK/The+Appointed+Lifeguard.jpg dreams from the deep end - Appointed Lifeguard (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233629700-IL56ILFSGOIF9YA4D5WZ/The+Default+Lifeguard.jpg dreams from the deep end - Default Lifeguard (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554233603885-L1WY8KQD8XTF56NWGNDC/Gossip+Girls.jpg dreams from the deep end - Gossip Girls (2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554234650130-UWV1FE41S5XK6HZN2MPI/IMG_2010.jpg dreams from the deep end Dreams from the Deep End Exhibition Gallery 1957 Accra, Ghana https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554234650060-CATROYKNRKICVRU6B6MU/IMG_2009.jpg dreams from the deep end Dreams from the Deep End Exhibition Gallery 1957 Accra, Ghana 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Exhibition Gallery 1957 Accra, Ghana https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554234651396-4MNQ4SLOCG08C2QPLK1V/IMG_2016.jpg dreams from the deep end Dreams from the Deep End Exhibition Gallery 1957 Accra, Ghana https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1595971238294-CN4J6KK0M9CUWB84LBUO/Modupeola+Fadugba_Deep+End+Dreams+.jpg dreams from the deep end https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1581496077748-C1CK0SAVNCHC16FXHKCA/hhb3.jpg dreams from the deep end https://www.modupeola.com/the-peoples-algorithm daily 0.75 2021-09-08 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1493580453490-D6JYL5DNT3X0DVMU1L7O/image-asset.jpeg the people's algorithm https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446578536319-1NVMVKYU8N5JK0RO2TQ7/game2.png the people's algorithm Designing the Game Installation Exterior   After structuring my research, I arrived at the concept “ The People’s Algorithm”- a twist on the concept of “God’s Algorithm”- a notion originating from discussions about ways to solve the Rubik's Cube puzzle. “God’s Algorithm” refers to any algorithm, which produces a solution having the fewest possible number of moves. The idea is that only an omniscient being would know an optimal step from any given configuration.   I use the Rubik’s cube to depict the complex problems in the Nigerian education system and suggest the algorithm is in the hands of the people. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446578447084-WW6KVWA5IL4NNFXX35L8/game20.png the people's algorithm The People’s Algorithm 8 x 8 x 8 feet Plywood, acrylic, iron rods, perspex, light bulb, electric tape, wood, foam and burned paper Image courtesy of CNN Inside Africa https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446574769947-671CO2V8J9O527AMANIA/game1.png the people's algorithm Designing the Game Planning and Research I started by making notes, creating sketches, researching statistics and collecting data about the Nigerian Education sector. Resources like the Nigerian Population Commission, World Bank, and UNESCO, Wave Academies and the African University of Science and Technology ( Abuja) proved invaluable in providing information about school enrollment, exam performance, and employment opportunities in Nigeria.   At the time of conceptualizing the game, I was also completing my National Youth Service and consulting for a girl’s education project covering Kano, Kaduna, Lagos and FCT. In writing the game script, I drew from many stories about real threats to girl’s education, the skills mismatch between graduates and employers and the inevitable ensuing frustrations from all parties. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446475067157-FFULM1BW68KL9JLRLFL7/game3.png the people's algorithm Designing the Game Installation Floor I was never a fan of “Monopoly” in my childhood (the game has no end I knew little of investments, rents and returns), but I was able to borrow some helpful ideas in creating my own game.   I split up the floor into three sections: “Did you know,” “Heads or Tails” and “Intervention”, where game participants would collect data, experience challenges and present solutions, respectively. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446475066975-XRE4FULY6RP9I4EYK1UL/game4.png the people's algorithm Making the Game “Did You Know” Books I incorporated some statistics in hand-made books I created for the wall bookshelves.   This included government expenditure on education (as a percentage of GDP), primary school enrollment rates and the ironic fact that Nigerians are the some of most educated people in the United States… https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446475065982-5GR4BDOFMS1TAPACRJRX/game6.png the people's algorithm Making the Game “Heads or Tails” Coins Borrowing from the “Heads or Tails” series, I created these spinning coins to show the role of probability in education outcomes.   Sometimes, students are lucky, other times they are not.   The weight of the wooden coins around the axle was unevenly distributed so that they were not perfectly balanced from the center (i.e. the probability of one one event occurring was not necessarily 50/50). https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446580332192-903141OGN1L56PHS02HF/painting+game.png the people's algorithm Painting https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446580076532-I6XS6ZZUJPBYE8TBUZP4/game7.png the people's algorithm Building https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446579583033-PWZCVCY03WNRQNOQW3NA/gsme9.png the people's algorithm Building https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446580089505-AT1IWA90KWTZOXFDDGZP/gam10.png the people's algorithm Drawing https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446578240585-E6SR8HXB67G0AKXRTIXG/game12.png the people's algorithm Lighting https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446475103676-I0I055HDS4VVZK0LIO2Q/game13.png the people's algorithm Completion!   After what seemed like a a very long four months, I completed the construction phase of the game! https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446474993157-C9OIQTQT9TJB94E0EZF6/game14.png the people's algorithm Playing the Game   On the competition night, I was interviewed by CNN’s Soni Methu... https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446474992491-WNQZJEGGJPZCRT07XESD/game15.png the people's algorithm Playing the Game   …. I asked whether she would like to play as a student, teacher or policy maker… https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446474992276-VRKYX377QWWT76ZN1ZYP/game16.png the people's algorithm Playing the Game … and I explained the rules https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446578440035-49YIG55J57ET9ZHGIRGC/game17.png the people's algorithm Methu Plays   She decides to be a student, picks a green dice and rolls… https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446579575043-1NZLB3Z1UJ0CHQ443XQS/game18.png the people's algorithm Methu Plays Methu rolls a four and lands on “Heads or Tails.”   She spins the coin.   We are both excited to learn that Methu, beyond the odds, has graduated from university!   That is the upside, however. Methu has a computer science degree, but little understanding of the applications of coding. Without marketable job skills, she now joins the growing group of 20 million unemployed young people in Nigeria… https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1446580100004-M6SAQ6HF9F7JTOUUPQJJ/game20.png the people's algorithm Methu Plays Game Over   Methu’s run as a student comes to an end, but she continues to play, next as a policy maker, then as a teacher.   Off camera, Methu chokes up as she explains how troubling it is to to see this all unfold in Africa. A native of Kenya, Methu is no stranger to the problems of underemployed and unemployed youth. I am reminded that beyond Nigerian borders, this is truly an African crisis. Indeed, we all need to find a way to play our part… https://www.modupeola.com/dear-young-artist daily 0.75 2020-08-06 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1554232260329-1RPPXHRQ2DBOZ9JGRBSU/Slide1.JPG dear young artist - Dear Young Artist (Copy) Acrylic and gold leaf on canvas 144" x 48" Triptych 2016 https://www.modupeola.com/artist-statements daily 0.75 2020-07-21 https://www.modupeola.com/artist-statement daily 0.75 2025-01-22 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598298562499-1TPN44555AWFW2LGDXDT/Modupeola+Fadugba+WePresent.jpg artist statement WePresent, June 2020 (Art Story) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598879394111-QUCNII62EU8M23F38YEN/MODUPE+1.jpg artist statement https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1596728257214-P649FYU1FKGDTQ2U78SO/_19A5772.jpg artist statement https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1596730876692-WK57MZ2EVL8AF6BXQA2I/image+2+%282%29.png artist statement https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1596039000467-I1AJ252Q3SH0O45FV4UC/Image+4.jpg artist statement https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598298065474-5OSV4W46353E5ZODLGPA/Harper+Bazaar+cover.jpg artist statement Harper’s Bazaar Arabia Art, March 2018 (Cover Feature) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/63958ae1-5841-4f5d-adba-4c34f2377c78/A+Coral+Entrance+Still+working+through+the+last+days+of+2024++to+usher+unbridled+beauty++into+2025+++%23ojudeoba2025%23allthequeenshorses.jpg artist statement - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1660bdb6-a2ee-470a-b590-9ff3494c4bb4/Screenshot+2025-01-22+at+18.28.32.png artist statement - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.modupeola.com/swim-school daily 0.75 2020-08-24 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1596731511098-49JRDAA360J44TPQNIGG/the+hero+in+me+FINAL+%281%29.jpg swim school https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1596731418328-W3BAMLPLRF5J36HIKTJZ/ART+X.jpg swim school https://www.modupeola.com/catalogues daily 0.75 2021-11-17 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/eabd66cb-2f3c-4c8a-935a-7fc6d30c6251/Why+Nations+win+catalog.png catalogues - Make it stand out The Artist’s Algorithm: Why Nations Win (Alára Lagos: 2021) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598299794535-20EMX63U5TK7OZ7EMXRP/Modupeola+publication+for+Gallery+1957+ebook-1.jpg catalogues Dreams from the Deep End (Gallery 1957, Accra, Ghana: 2018) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1599738697253-0T78TSFD8263VUWOW7VP/SMO+Exhibition+Catalogue%2C+Heads+Up%2C++Keep+Swimming+by+Modupeola+Fadugba%2C+Nov.+2017+%281%29-1.jpg catalogues Heads Up, Keep Swimming (SMO Contemporary Art, Lagos, Nigeria: 2017) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1599778848246-A5591P4G3Q67PME1FDYE/Modupe+Dak%27Art+Catalogue_Final_English-1.jpg catalogues Like Play, Like Play (Dak’Art Biennale, Senegal, 2016) https://www.modupeola.com/press-2 daily 0.75 2020-09-10 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598298562499-1TPN44555AWFW2LGDXDT/Modupeola+Fadugba+WePresent.jpg press Modupeola Fadugba: I was terrified by this endless expanse of water, WePresent, June 2020 (Art Story) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598300219722-47MIJR0MM9YFGKFI5ZA7/Harper+Bazaar+cover.jpg press Never Stop Swimming, Harper’s Bazaar Arabia Art, March 2018 (Cover Feature) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598300116274-ZUKOBC4XMIPXVM4EDOEY/Modupeola+Fadugba%2C+Never+Stop+Swimming%2C+Harper%27s+Bazarpdf-1.jpg press https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598300116680-J64M72G9LDN3OAABX95Y/Modupeola+Fadugba%2C+Never+Stop+Swimming%2C+Harper%27s+Bazarpdf-2.jpg press https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1598300122045-FTRUV3W7FZBPP4SXF0P3/Modupeola+Fadugba%2C+Never+Stop+Swimming%2C+Harper%27s+Bazarpdf-3.jpg press https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1599741278140-OI947KB2MY5SOCZO58S3/Whitewall.jpg press Modupeola Fadugba Plunges into the Role of the Artist, Whitewall, May 2019 (Online) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1599741372281-AYX7VNIUPQ1OY2J3GWY3/Nataal.jpg press Modupeola Fadugba Plunges into the Role of the Artist, Nataal, September 2018 (Online) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1599741458944-ODZ8LC1O7GTSWJ4JWBTF/Artforum.jpg press Ayodeji Rotinwa on Modupeola Fadugba, Artforum, November 2018 (Print) https://www.modupeola.com/press daily 0.75 2020-08-24 https://www.modupeola.com/the-artists-algorithm daily 0.75 2021-10-20 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1633013375287-SUN1S0DNVHAAJ3WL0AZA/modupe+arts.gif the artist's algorithm - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1633011812413-S05EDCTM9M6KAUH8HRUF/Screenshot+2021-09-28+at+21.19.04.png the artist's algorithm The artists amongst new works (Medallion Girls series and Dr. Stella Ameyo Adadevoch) in Fadubga Studio, Ibadan (2021) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1633011457703-VOCAZ42GF16V6BW8L3AJ/Screenshot+2021-09-28+at+21.26.14.png the artist's algorithm Modupeola Fadugba in the Smithsonian National Museum of African Art, Video Still (2020) https://www.modupeola.com/why-nations-win daily 0.75 2021-11-18 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1637223898755-L5R9SYZ15FOR9A2CHC4G/0J9A1001.jpg Why Nations Win https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1637223899172-BTZAWC0QHW29FFM9B3HU/0J9A0968.jpg Why Nations Win https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1637223937243-G4MS9LQL9Q9V1ZWO147O/0J9A1062.jpg Why Nations Win https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1637223945616-T0YQSN8AZ8SNFE75MY9N/0J9A1155.jpg Why Nations Win https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1637223975194-FA1XXWE63Y4D2LYNLJYQ/0J9A1164.jpg Why Nations Win https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1637223987253-2SFLE8N1ZZGDEAWO07QH/0J9A1292.jpg Why Nations Win 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https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1637225889659-WIFT7VRHKWK68HI7FLQ2/0J9A3608.jpg Why Nations Win https://www.modupeola.com/the-artists-algorithm-copy daily 0.75 2024-02-06 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1633013375287-SUN1S0DNVHAAJ3WL0AZA/modupe+arts.gif the artist's algorithm (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1633011812413-S05EDCTM9M6KAUH8HRUF/Screenshot+2021-09-28+at+21.19.04.png the artist's algorithm (Copy) The artists amongst new works (Medallion Girls series and Dr. Stella Ameyo Adadevoch) in Fadubga Studio, Ibadan (2021) https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1633011457703-VOCAZ42GF16V6BW8L3AJ/Screenshot+2021-09-28+at+21.26.14.png the artist's algorithm (Copy) Modupeola Fadugba in the Smithsonian National Museum of African Art, Video Still (2020) https://www.modupeola.com/the-armory-show daily 0.75 2025-07-04 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/b0811e3c-4a2f-404e-be10-7ab516495edf/A2.png Armory 2023 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/06769cd8-09b7-43e7-88c2-fb87ab0f0a2b/Modupeola+Fadugba_Stargazers_2022_Acrylic%2C+graphite%2C+ink%2C+and+metal+leaf+on+burned+canvas_74+x+45+in_ko%CC%81.jpg Armory 2023 - Make it stand out Stargazers 2022 Acrylic, graphite, ink, and metal leaf on burned canvas 74 x 45 in. | 188 x 114.3 cm Description Stargazers depicts black waters with a tiled background alluding to a vast sky above. The six synchronized swimmers are all facing the same direction with their backs to us, looking upwards and showing off their intricate crown-like hairstyles. These women are leaping out of the water with poise, dignity, and triumphance. There is a double meaning insofar as these elegant swimmers are gazing up at the stars, whilst also being the stars of the show, We’re stargazers admiring their physical feat, and so are they with a nod towards metaphysical hope and possibility. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/21b7c9d7-808b-4b1d-b295-4f0977a41487/Modupeola+Fadugba_Merry+Go+Round+in+Gold_2022_Acrylic%2C+graphite%2C+ink%2C+and+metal+leaf+on+burned+canvas_88+x+46.5+in_ko%CC%81.jpg Armory 2023 - Make it stand out Merry Go Round in Gold 2022 Acrylic, graphite, ink, and metal leaf on burned canvas 88 x 46.5 in. | 223.5 x 118 cm Background Information In her ongoing series Synchronized Swimmers, the artist is inspired by the collaborative feat of bodies moving and working together in water as a metaphor for personal identity and collective empowerment. The figures in these works are often inspired by archival footage of historic Olympic team performances and are often anonymously matching in appearance, emphasising their sense of unity and shared purpose over individualism. The use of bronze, silver, and gold is in reference to the Olympic medals, yet instead of upholding their strict hierarchy they’re colours that are often mixed together, challenging the idea of what it means to win. In Fadugba’s Dear Young Artist letter, the artist offers advice to aspiring creatives inspired by the writing of Kenyan artist Wangechi Mutu and “Letters to a Young Poet” by the famous German writer Rainer Maria Rilke, which helped to keep aligning her personal compass when gaining early art world acclaim. This work also references the Tagged series with swimmers competing for a red ball in a glistening pool. The red ball in this work and its earlier series signifies the sought after red dots used to tag works in the commercial art world. She warns her swimmers about the dangers of losing themselves by getting caught up in the battle between commercial value and true worth, and encourages them to keep their head up and keep swimming. Looking inward, this same red circle acts as the desired end goal, innately embedded in its obtainment. Description Merry Go Round in Gold is a part of the Showtime Girls series featuring women wearing gold bathing suits in black water. They are a party at night, it’s a show. The glistening metallic connotes a special occasion: it’s all about technical radiance and brilliance that suggests beguiling glamour. This is a strong example of the artist’s practice to use a resonant medium to connote an idea or feeling: she is literally bedazzling these girls. This work incorporates a key spectrum of colours from the artist’s visual vernacular all coming together, dancing on the water’s service: bronze, silver, gold, black, and red. The red circle could be a ball or the sun, providing a sense of possibility and hope. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/21c65b0b-17f8-4ea8-ab6f-c3134404491f/Modupeola+Fadugba_Now+We+Are+Just+Showing+Off_2022_Acrylic%2C+graphite%2C+ink%2C+and+metal+leaf+on+burned+canvas_45+x+52+in_ko%CC%81.jpg Armory 2023 - Make it stand out Now We Are Just Showing Off 2022 Acrylic, graphite, ink, and metal leaf on burned canvas 45 x 52 in. | 114.4 x 132 cm Background Synchronized Swimmers employ a characteristic visual tool of Fadugba to create ornate, fastidious details to connote real-life experiences whilst also inviting viewers to look closer. For example, her painstakingly rendered braids and cornrows in graphite depict the real-life experience of women protecting their hair from the destruction swimming brings, whilst also symbolically crowning them with spectacular designs. It also represents the artist’s investigation of hair with regards to cultural representation. Braiding hair was actually Fadugba’s first form of income and she harks back to this as a bonding experience learning about women’s lives while taking care of each other. This is in keeping with the artist’s interest in the cross-pollination of personal and political contexts. Description This is another work from the Showtime Girls series, playfully referencing the idea of showing off and showing up in the title. It features the special Backbend Olympic position and references an earlier composition from 2017 – How To Do A Four Head Bend. It is a representation of literal and figurative support, strength, and defying gravity. The shape of the frame also formally references Fadugba’s Flowers and Prayers, series from 2017, featuring cathedral windows that reference mediaeval compositions trying to fit as many figures as possible in a space. This special dome-shaped work similarly creatively contains this unique pose. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/fa0af64d-76fc-4e3b-9c44-8822d73ba232/Modupeola+Fadugba_Lifeguards+Off-Duty_2022_Acrylic%2C+oil%2C+graphite%2C+ink%2C+and+metal+leaf+on+burned+canvas_74+x+43+in_ko%CC%81.jpg Armory 2023 - Make it stand out Lifeguards Off Duty 2022 Acrylic, oil, graphite, ink, and metal leaf on burned canvas 74 x 43 in. | 188 x 109.2 cm Background Heroic lifeguards are frequent motifs in Fadugba’s swimming paintings, representing real-life heroes that employ teaching and care. They summon two key literary references informing the artist’s practice: Simon Sineck’s The Infinite Game (about how game theory pertains to business, with known and unknown players, changeable rules, and no end. “The objective is not to win—the objective is to keep playing”) and Leaders Eat Last (“the ultimate guide to building a strong and inspiring team, and creating a supportive work environment, where everyone can thrive ''). Both serve as major points of research and inspiration about what leadership needs to look like to work in the 21st century. Description This work employs another iconic colour combo by the artist featuring red bathing suits in golden waters. The image portrays a group photograph where young female lifeguards aren’t performing, but are rather just gathered together in a moment for a group photograph. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/dc06c1f8-1a1a-47de-bcd0-3a9407ddab7f/Modupeola+Fadugba_Silver+Side+Up%3F_Acrylic+nad+graphite+on+burned+canvas_48+x+70+in_ko%CC%81.jpg Armory 2023 - Make it stand out Silver Side Up? 2023 Acrylic and graphite on burned canvas 48 x 70 in. | 122 x 178 cm Description In Olympic synchronised swimming performances, a lot of the action takes place underwater with spectators only seeing the powerful legs of the athletes. This painting is set in two planes to give you the full picture – what’s above and what’s below, where despite being hidden there is still so much technique and coordination. This piece stands out within this new body of work considering its unique colour palette incorporating silver and purple. The detailed mosaic confetti tiles one finds often comprising swimming pools summon the appearance of a Birthday Cake with naked layers, sprinkles, candles, imbuing this work as one of celebration. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/219b7a96-0c81-4034-8841-311ad40eaae6/Modupeola+Fadugba_Swim+School_2020.jpg Armory 2023 - Make it stand out Swim School 2020 Graphite, ink, and acrylic on burnt canvas 42 in. diameter | 106.7 cm diameter Background Fadugba’s acclaimed project The People’s Algorithm, an immersive installation set within a giant Rubik's Cube structure. Participants are invited to join in an interactive game seeking to address the critical situation of education and unemployment in Nigeria. Once inside, you choose between playing as a teacher, student, or policymaker, and then embark upon a series of competitive activities – collecting data, experiencing challenges, or presenting solutions – that empower all involved to learn, question, and make a difference together. Despite its aesthetic divergence from her works on paper and canvas, The People’s Algorithm physically manifests the heart of Fadugba's overarching practice and mission: to activate participants through a cultural exchange of reflexive criticality and collectiveness where we are always in motion, ready to decipher and play. Before starting full-time studio practice in 2014, Fadugba worked for 6 years in education and administration, which has deeply affected her art practice. employment as Director of Student Affairs at the African University of Science & Technology (Abuja) and engagement with an initiative teaching marginalised Nigerian girls business skills formed the foundation of her unique development perspective. Through her artistic practice, she assumes the role of a revolutionary philosopher-teacher. Furthermore, as an avid and lifelong swimmer, artist Modupeola Fadugba has a profound personal affinity for the pool and its capacity to foster health, creativity, and confidence. Description Swim School references a special enduring project in Fadugba’s practice, all about learning and teaching. It stems from a generative ideology that self-help leads to helping others, just like how the artist learning to swim has led her to create a whole creative ecosystem teaching others the same. In this touching work A mother is holding out to her baby girl who is learning to swim and moving towards her. The baby is just under the water but we can see her charming Mickey Mouse double bun hairstyle, giving the work a sense of joy. Fadugba takes on the potentially fearful nature of this acts and tenderly depicts how it can be fun. Furthermore, this powerful yet playful intergenerational moment embodies the artist’s interest in skill sharing, knowledge, and care as forms of sustainable community building. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/9dacdbb3-aa4e-44e5-a02b-32129cdb3213/Modupeola+Fadugba_Bronze+Reflections_Beside+Unstill+Waters_2023_Acrylic%2C+ink+and+metal+leaf+on+canvas_72+x+45.5+in_ko%CC%81.jpg Armory 2023 - Make it stand out Bronze Reflections: Beside Unstill Waters 2023 Acrylic, ink, and metal leaf on canvas 72 x 45.5 in. | 183 x 115.6 cm Background In 2018-2019 Fadugba set out with a formal research question: how could she achieve contrast within a limited scope of a monochromatic metallic palette? This led to her new, luminous Reflections series, whereby realist figures occupy the top half of the composition with abstract renderings below. The latter technique builds upon the artist’s enduring formal experimentation of depicting water, turning to artists the likes of David Hockney known for his iconic depictions of aquatic surfaces. This series further builds upon the artist’s practice of depicting detailed figurative swimmers to centre the importance of diverse representation through painting, alongside peers she admires such as Derrick Adams, Calida Rawles, Derrick Fordour, and Phoebe Boswell, amongst others. Swimmers come to life in these painstakingly rendered portraits, and intimate multimedia documentation. This new series thus presents a unique development of reverent realism in Fadugba’s artistic practice, reflecting her aspiration to empower individual bodies and voices in this resilient community. Description In her new Reflections series, Fadugba turns to documenting members of her own family and studio team, creating a bridge between life and art, the personal and universal, realistic and the abstract. These tenderly rendered portraits communicate a darker palette suggesting contemplation, playing with the different layers of where reflections means: physical, metaphysical, personal, and abstract. Beside Until Waters depicts two young women from the artist’s studio in a thoughtful moment at ease, depicting how friends can reflect individually and together while still being in a moment. The abstract explosion of shapes dancing on the water’s surface signifies a more metaphysical interpretation of this unique instance. These two worlds – realistic and abstract – are connected by the figure on the left, whose leg is under the water. This gesture creates a portal, whereby the moment of activation, the reflection, is a part of her. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/7e346e3a-aa6b-4f67-8999-0ace54d33fc5/Modupeola+Fadugba_Bronze+Reflections_Out+of+My+Depth_2023_Acrylic%2C+graphite%2C+ink%2C+and+metal+leaf+on+burned+canvas_72+x+45.5+in_ko%CC%81.jpg Armory 2023 - Make it stand out Bronze Reflections: Out of my Depth 2023 Acrylic, graphite, ink, and metal leaf on burned canvas 72 x 45.5 in. | 183 x 115.6 cm Description Here we see a composition from the Reflection Series featuring a solitary figure rather than a group formation. Fadugba thus invites an even more meditative and insular moment for reflection. We see this poignant figure thinking about something by herself, at ease, looking away and thereby physically removed from reflection. Her foot laying atop the water still connects her, as if creating a portal between the past, present, and future. It is an invitation for the audience to bring their own experience and thoughts to the work, and ask: what are we reflecting on now? https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/e4564efe-be3e-4f54-a4e8-761512a678d1/Modupeola+Fadugba_Lady+in+Red_2023_Acrylic+and+leaf+on+canvas_48+x+72+in_ko%CC%81.jpg Armory 2023 - Make it stand out Lady in Red 2023 Acrylic and leaf on canvas 48 x 72 in. | 122 x 183 cm Background For her seminal solo exhibition Dreams from the Deep End in 2018, Fadugba worked with the Harlem Honeys and Bears, an all-Black senior synchronized swimming team based in New York. Inspired by the history of the American public pool –a socially contested space fraught with tensions regarding access and autonomy– this body of work tells stories of survival, community, learning, togetherness, and play. Her research has been greatly informed by Jeff Wiltse’s publication Contested Waters: A Social History of Swimming Pools, which explores the history of public pools and their privatisation, in relation to race politics and community life in America. Since this exhibition, the inspiring 100 year-old Miss Lettice (the oldest member of the team) has been a hero and muse to the artist. She plays narrator to questions about race, gender, and age within the contexts of competitive sports, service industries, and American Beauty Pageantry. In exploring the representation and legacy of Miss Lettice, Fadugba builds connections between the individual (one woman's story – hero, muse); the national (contested and complicated histories of racial exclusion, gender rights, privatisation of the public, the American Dream); and the global (how bodies of water serve as a sites for both nightmares and dreams). Description This new portrait on display from the artist’s ongoing Dreams from the Deep End this ongoing series, Lady in Red, 2023, features the artist’s beloved muse Miss Lettice, visually crowned in gold and embraced by the striking red of the group’s swim uniform. In this work Fadugba pays tribute to a special visit she had with Miss Lettice in 2018 when together they watched the Miss America competition and were especially taken with Miss New York, a beautiful dark-skinned woman who won that year, who wore a red dress and sang as her talent. Miss Lettice, a former Queen herself, was deeply inspired by how far the pageant world has come in terms of diverse representation and expansive notions of beauty and power. For the Armory presentation, this recurring muse and mentor of the artist sits in direct dialogue with Fadugba’s own grandmother, tranquil yet tentative, alongside the precocious infant in Swim School, 2023, the masterful synchronized swimmers, and the meditative young women in Reflections. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/ea19eb04-2e42-455f-a2ae-eedc59ae2dc6/Modupeola+Fadugba_Walk+Before+you+Swim_2023_Acrylic+and+graphite+on+burned+canvas_72+x+45.5+in_ko%CC%81.jpg Armory 2023 - Make it stand out Walk Before you Swim 2023 Acrylic and graphite on burned canvas 72 x 45.5 in. | 183 x 115.6 cm Background The artist’s practice, often materialising itself on delicate burnt paper, is intrinsically related to time, texture, and the tension between a work’s surface and the ideas lurking beneath. Fadugba's fascinating technique of burning patches into her intricate pencil and ink paper works draws on memories of seeing holes and craters on bombed out buildings in Rwanda after the genocide; she spent many a school holiday visiting her parents in Kigali, where they worked for the Criminal Tribunal. These deep visual memories appear as burn patches in her art, reminding us of the fragility of life and the physical and emotional scars which remain forever. Throughout Fadugba’s practice the swimming pool is a nostalgic yet contested space where communities gather to play, learn, rest, and resist. Yet within this watery oasis there also lurks more turbulent experiences of risk, exclusion, and the looming chance of drowning. Description This special family portrait features Fadugba’s own grandmother. It is based on a recent, intimate real-life moment, with the artist cajoling her grandma to see and sit by the pool outside her studio in Ibadan. Unlike the confident, capable synchronised swimmers often gracing the artist’s canvas, this figure represents a more tentative and tenuous relationship with water and swimming. Fadugba’s grandmother didn’t even know, for instance, that her granddaughter has a swimming pool and was teaching all the members of the studio – as she typically prefers the safety and comfort of indoors. This moment of Grandma summoning the courage to sit by this contested space represents a transcendent moment of trust. In keeping with her use of pools as loaded, symbolic spaces holding many nuanced experiences and perspectives, Fadugba has employed a special rendering technique to create physical perspective through a spider-web like technique. With the point of origin taking place outside the frame, the steps of the pool open out towards us, as if welcoming us to sit next to Grandma and feel safe to physically and conceptually access this space. Moreover, the iconic burning technique lends a timeless quality to this work, whereby the personal may be universal. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/85a29bd9-1632-4b66-b3cc-3367823bede3/Screenshot+2024-02-06+at+21.40.19.png Armory 2023 - Make it stand out Armory booth 1/4 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/627f6a24-b94d-482b-81b8-7e7bd4617bb3/Screenshot+2024-02-06+at+21.40.52.png Armory 2023 - Make it stand out Armory booth 2/4 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/7bd10957-cfbb-40bd-ba59-35d5f58b5e3d/Screenshot+2024-02-06+at+21.41.05.png Armory 2023 - Make it stand out Armory booth 3/4 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/99f8bbb3-decb-489d-bd3e-bcfd59822768/Screenshot+2024-02-06+at+21.41.24.png Armory 2023 - Make it stand out Armory booth 4/4 https://www.modupeola.com/pagecv daily 0.75 2026-03-26 https://www.modupeola.com/of-movement-materials-and-methods daily 0.75 2025-07-04 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/74c1098e-2fb1-427b-add6-558faefe5d42/2P6A3119.JPG Of Movement, Materials, and Methods - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/ad1aca27-38b6-4384-a177-9010f4dc23c8/MF+2025_+Oba+Alagbada.JPG Of Movement, Materials, and Methods - Make it stand out Oba Alágbádá Acrylic and embroidery on burned Canvas 88 x 45 in.|223.52 x 114.3 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/c7112346-dbf6-4fcf-84de-e1e590b806a5/MF+2025_Balogun+Esin.JPG Of Movement, Materials, and Methods - Make it stand out Balógun Esin Acrylic on burned Canvas 38 x 30 in.|96.52 x 76.2 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/f7f71c38-f5c5-477e-bc73-18d2836d95f5/MF+2025_The+Lone+Rider.JPG Of Movement, Materials, and Methods - Make it stand out The Lone Rider Acrylic, graphite, and ink on burned Canvas 70 x 45.5 in.|177.8 x 115.57 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/4310e5c9-eb0a-4048-b25d-7c2c496e49d5/MF+2025_Still+Reaching.JPG Of Movement, Materials, and Methods - Make it stand out Still Reaching Acrylic, graphite and metal leaf on burned Canvas 75 x 44 in.|190.4 x 111.76 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/6d144378-7b09-4d2e-85eb-2201a89d43c6/MF+2025_+The+Coronation.JPG Of Movement, Materials, and Methods - Make it stand out The Coronation Acrylic, graphite, and ink on burned Canvas 68 diameter 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/6575c163-fce6-4cb8-b658-6493c5938efc/MF+2025_The+Noble%27s+Ride.JPG Of Movement, Materials, and Methods - Make it stand out The Noble’s Ride Acrylic, graphite, and ink on burned Canvas 70 x 45 in.|177.8 x 114.3 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/2fdff640-deed-44c5-aa60-38bf5e7e287e/MF+2025_The+Kiss.JPG Of Movement, Materials, and Methods - Make it stand out The Kiss Acrylic, graphite, and ink on burned Canvas 72 x 39 in.|182.88 x 99.06 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/849c8614-3b75-401a-b323-f31167116430/Screenshot+2025-05-14+at+10.01.04.png Of Movement, Materials, and Methods - Make it stand out The King’s Seat Acrylic, graphite and beads on burned Canvas 38 x 28 in.|96.52 x 71.12 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/efea42c6-0199-4c56-8500-e4cd3a969907/Screenshot+2025-05-14+at+10.00.37.png Of Movement, Materials, and Methods - Make it stand out Coral Entrance Acrylic and metal leaf on burned canvas 44 x 70 in.|111.76 x 177.8 cm 2024 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/ca035b77-c6ae-4b09-9a41-876ac1433be1/MF+2025_Amongst+us.JPG Of Movement, Materials, and Methods - Make it stand out Amongst Us Acrylic, graphite, and ink on burned Canvas 37.5 x 22 in.|95.25 x 55.88 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/0037377b-c1ee-4ac0-b10c-a159c7f68d57/MF+2025_+Agbada+Men.JPG Of Movement, Materials, and Methods - Make it stand out Agbada Men Acrylic, graphite, and ink on burned Canvas 45 x 43 in.|114.3 x 109.22 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/49f7fc1b-a515-431a-9890-c4fdc7b1145b/2P6A0399.JPG Of Movement, Materials, and Methods - Make it stand out Esin Onílèkè Acrylic and beads on burned Canvas 66 x 45 in.|167.64 x 114.3 cm 2025 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/f9c9ab33-6c49-4951-8e23-495fd950b9c9/Modupeola_0084.jpg Of Movement, Materials, and Methods - Make it stand out Installtion Shoot 1/4 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/dc1d7b82-8d8f-45ac-8105-4cec219d014c/Modupeola_0052-1.jpg Of Movement, Materials, and Methods - Make it stand out Installtion Shoot 2/4 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/4830e8d4-978e-41ad-a54f-1fcfcd216f9e/Modupeola_0075-1.jpg Of Movement, Materials, and Methods - Make it stand out Installtion Shoot 3/4 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/66649221-7b94-49dd-a18e-b1a3445753f9/Modupeola_0043-1.jpg Of Movement, Materials, and Methods - Make it stand out Installtion Shoot 4/4 https://www.modupeola.com/also-what-are-we-wearing daily 1.0 2026-03-26 https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/6428042d-1e36-4499-b011-ee6bc9ef99e4/2P6A4944.png Also, What Are We Wearing? - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/35fb62cf-6ef9-4db0-8da1-d848f593ac9f/MF_2025_Bead+and+Bronze%2C+Reframed_Acrylic%2C+metal+leaf%2C++ink%2C+and+beads+on+burned+Canvas_67+x+45+in._170.18+x+114.3+cm.JPG Also, What Are We Wearing? - Make it stand out Bead and Bronze, Reframed Acrylic, metal leaf, ink, and beads on burned Canvas 67 x 45 in.|170.18 x 114.3 cm 2025 Bead and Bronze, Reframed recontextualizes a historic equestrian figure from the Benin Museum, placing it against a pale blue field scarred by burns and punctuated with traces of gold. The figure, rendered in bronze tones, appears both monumental and spectral. By isolating this object from its museological frame and embedding it within her own material language, Fadugba interrogates how heritage is preserved, displayed, and consumed. The beaded border and scalloped fringe invoke Yoruba ceremonial aesthetics, positioning the work at the threshold between archive and performance. Here, beading functions not as ornament but as a temporal seam—binding ancestral legacy to contemporary authorship. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/a3c6ecea-3258-418f-ba41-462999d34b5d/MF_2025_Headed++to+the+Dressing+Room+_Acrylic+and+beads+on+burned+canvas_52+x+40+in+_132.08+x+101.6+cm.JPG Also, What Are We Wearing? - Make it stand out Heading to the Dressing Room Acrylic and beads on burned Canvas 52 x 40 in|132.08 x 101.6 cm 2025 This work presents a fully beaded horse, rendered with obsessive precision, standing against a background visibly burned and scarred. The contrast between the delicate, almost devotional labor of the beadwork and the violence suggested by the scorched surface creates a charged tension. Beading here is not ornament, but rather, it is endurance and structure. Each bead holds the rhythm of craft traditions often dismissed or feminized, and repositions them as forms of presence. The horse, a symbol of prestige and public display, is reframed through this painstaking surface, not just dressed, but armored in care. In the face of fire, fragmentation, or erasure, the integrity of the craft holds. What is assembled bead by bead refuses to be undone. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/0e2d54c5-cedd-4310-aae4-3710c8d30a59/MF_2025_Pink+Socks_Acrylic+and+beads+on+burned+Canvas_76.5+x+50+in._194.31+x+127+cm.JPG Also, What Are We Wearing? - Make it stand out Pink Socks Acrylic and beads on burned Canvas 76.5 x 50 in. |194.31 x 127 cm 2025 In Pink Socks, Fadugba stages an equestrian figure cloaked in the ceremonial grandeur of agbada robes, poised atop a vivid pink horse that seems to shimmer between motion and stillness. The composition pulses with layered hues, crimson, ochre, and deep plum, while scorched voids ripple across the surface like memory’s interruptions. A beaded fringe frames the work, suggesting both regality and fragility, while the rider’s facelessness resists singular identity, allowing the figure to stand as a vessel for collective tradition. This work draws on the Ojude Oba festival visual spectacle but pauses the procession mid-stride, turning its pageantry inward. Beads serve here as both ornament and anchor: markers of prestige that also tether the fleeting spectacle to a lineage of slow, exacting craft. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/1dd7a14c-ad38-4ef3-a793-ab7699512c9c/MF_2025_Looking+For+A+Coral+Unicorn_Acrylic%2C+graphite%2C+and+ink+on+burned+Canvas+_68+x+45+in+_+172.2+x+114.3+cm.JPG Also, What Are We Wearing? - Make it stand out Looking For A Coral Unicorn Acrylic, graphite, and ink on burned Canvas 68 x 45 in|172.2 x 114.3 cm 2025 In Looking For A Coral Unicorn, two riders emerge atop magenta and coral horses, their forms suspended between presence and dissolution. The surface bears traces of burning, staining, and layered mark-making, echoing the unfinished processes of tailoring, dyeing, and beadwork that precede the Ojude Oba festival. The work foregrounds the cultural labor behind spectacle, while the coral hue anchors the composition in Yoruba regal aesthetics. By staging the riders within a fragmented ecology of color and gesture, the painting reveals the invisible artisanship embedded in communal appearances. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/0b5f0f94-c165-4816-ae74-53d258d18da6/MF_2025_Tailor%2C+Don_t+Sew+Me+Nonsense_Acrylic%2C+graphite%2C+ink%2C+embroidery%2C+and+metal+leaf+on+burned+Canvas_70+x+45.5+in._177.8+x+115.57+cm.JPG Also, What Are We Wearing? - Make it stand out Tailor, Don’t Sew Me Nonsense Acrylic, graphite, ink, embroidery, and metal leaf on burned Canvas 70 x 45.5 in.|177.8 x 115.57 cm 2025 In Tailor, Don’t Sew Me Nonsense, the figure of a seamstress is set within a fractured surface, her patterned attire and sewing machine contrasted by a gleaming bottle of Coca-Cola. The work positions tailoring as intellectual labor, foregrounding the often-unseen hands that construct ceremonial appearances. The title invokes a popular Nigerian phrase that collapses humor and critique, suggesting the cultural stakes embedded in acts of making. The presence of the Coke bottle, mundane yet iconic, threads nostalgia into the scene, marking the temporal coexistence of local craft traditions and global consumer flows. The work reframes sewing as both care and critique, locating contemporary Nigerian identity within the tension between preservation and reinvention. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/35fc75af-3589-4fa4-bc35-ee9083e39ede/MF_2025_Agbada+Men+II_Acrylic+and+Beads+on+Burned+Canvas.JPG Also, What Are We Wearing? - Make it stand out Agbada Men II Acrylic and Beads on burned Canvas 58 x 41 in.|147.32 x 104.14 cm 2025 Agbada Men II presents a gathering of figures clothed in voluminous agbada attire, framed by beadwork that extends the logic of ornament beyond the canvas itself. The composition underscores Yoruba sartorial traditions as both cultural archive and contemporary theory, where cloth and bead signify intellect, status, and collective belonging. By integrating beading into both surface and frame, the work resists rigid boundaries between artwork and artifact, function and ornament. It offers a meditation on masculinity, ceremony, and the collaborative networks of labor that sustain Yoruba aesthetics. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/c707394d-e99a-44a1-842a-422e78189a6f/MF_2025_Beaded+Saddle_Acrylic+and+beads+on+burned+Canvas+_+38+x+31.5+in.+_+96.52+x+80.01+cm.JPG Also, What Are We Wearing? - Make it stand out Beaded Saddle Embroidery and Beads on burned Canvas 38 x 31.5 in.|96.52 x 80.01 cm 2025 Suspended against a burned and fractured surface, Beaded Saddle presents the ceremonial saddle as both fragment and monument. The fine beadwork and embroidery resist the violence implied by the scorched ground, positioning craft as an act of survival. By dislocating the saddle from its utilitarian context, the work reveals it as a repository of ancestral knowledge and aesthetic theory. Here, ornament becomes structure: an architecture of care that holds cultural memory together even as the fabric bears signs of rupture. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/5e9eaddb-c17f-4621-93c3-8294a0a3f711/MF_2025_Checkered+Skirt_Acrylic%2C+graphite%2C+and+ink+on+burned+Canvas_38+x+31.5+in._96.52+x+80.01+cm.JPG Also, What Are We Wearing? - Make it stand out Checkered Skirt Acrylic, graphite, and ink on burned Canvas 38 x 31.5 in.|96.52 x 80.01 cm 2025 In this piece, Modupeola Fadugba turns her attention to the saddle, rendered in a checkered pattern across a black canvas. Using pencil, bronze paint, and ink, she layers subtle textures that call attention to the object’s form and symbolic weight. In the absence of horse or rider, the saddle is transformed from a mere accessory into a central subject. It becomes an emblem of passage and potential—an object that carries histories of movement, endurance, and unseen labor. The shimmer of bronze punctuates the darkness, suggesting both resilience and quiet dignity. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/ba241985-95e3-43f7-ae53-ee34a5c11218/MF_2025_Gucci+This%2C+Gucci+That%2C+Acrylic%2C+ink%2C+metal+leaf+and+beads+on+burned+Canvas_38+x+31.5+in._96.52+x+80.01+cm.JPG Also, What Are We Wearing? - Make it stand out Gucci This, Gucci That Acrylic, ink, metal leaf, and beads on burned Canvas 38 x 31.5 in.|96.52 x 80.01 cm 2025 In this work, Modupeola Fadugba renders a bronze-toned horse set against a luminous orange background. Though its head is cropped from view, the figure radiates presence and strength. The metallic surface suggests durability and permanence, while the vibrant orange ground charges the composition with energy and warmth. A beaded frame surrounds the painting, adding rhythm and intricacy that extend the work beyond the pictorial field. The beads catch light in ways that echo the shimmer of bronze, transforming the frame into both ornament and reinforcement. Rather than presenting absence as loss, Fadugba elevates what remains—fragment as monument—inviting viewers to find beauty and endurance in partial forms, and to recognize continuity even in what appears incomplete. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/01b33a07-655a-468e-b04d-edba559eb1a0/MF_2025_Bead+Me+Coral_Beads+on+burned+Canvas_42+x+40+in._106.68+x+101.6+cm.JPG Also, What Are We Wearing? - Make it stand out Bead Me Coral Beads on burned Canvas 42 x 40 in.|106.68 x 101.6 cm 2025 Bead Me Coral isolates the ceremonial horse as an autonomous figure, stripped of spectacle yet charged with its residue. The body is constructed entirely from coral beads, their density and repetition foregrounding process over image. The scorched ground introduces rupture, asserting the work’s resistance to erasure. Beading operates here not as embellishment but as infrastructure, an accumulation of touch that anchors Yoruba ceremonial aesthetics within a contemporary discourse of endurance. The horse ceases to be a vehicle; it becomes a site where time, labor, and cultural memory coalesce. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/647dcf76-3271-4859-96cc-82371620b372/MF_2025_Saddled+Between+Frames_Acrylic%2C+graphite%2C+ink+and+beads+on+burned+Canvas_52+x+40.5+in._+132.08+x+102.87+cm.JPG Also, What Are We Wearing? - Make it stand out Saddled Between Frames Acrylic, graphite, inks, and beads on burned Canvas 52 x 40.5 in|132.08 x 102.87 cm 2025 In Saddled Between Frames, Fadugba isolates a ceremonial saddle, suspending it within a field of scorched canvas and muted violet. Rendered in intricate graphite detailing and encircled by glimmering beaded borders, the saddle becomes both artifact and apparition, caught between presence and disappearance. The burn marks ghost across its surface like traces of use, history etched into skin, while the beaded scallops at the painting’s edge suggest a stage curtain about to part. By dislocating the saddle from its rider, Fadugba redirects our gaze from spectacle to infrastructure, honouring the unseen labour and cultural memory embedded in its making. It is a portrait not of performance, but of the quiet architectures that make performance possible. https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/503e1223-7b1a-49c9-bc27-155928dacf8e/MF_2025_Men+In+Black_Acrylic%2C+graphite%2C+ink+and+beads+on+burned+Canvas_42+x+40+in._+190.5+x+114.3+cm.JPG Also, What Are We Wearing? - Make it stand out Men in Black Acrylic, graphite, ink, and beads on Burned Canvas 75 x 45 in.|190.5 x 114.3 cm 2025 Men in Black is a monochromatic work. Modupeola Fadugba renders a rider on horseback in the raw cream and burned texture, the horse’s head cropped to unsettle traditional equestrian imagery. What is usually a symbol of triumph becomes an ambiguous silhouette, charged with absence yet present. The painting is encased in a hand-beaded frame, linking the work to ritual and craft. Fadugba's choice is personal. She grew up watching women bead with quiet discipline and artistry. This memory surfaces here, transforming the frame into both ornament and testimony. By pairing the austerity of black paint with the delicacy of beads, Fadugba opens questions of visibility, power, and memory—what is seen, what is withheld, and how absence itself can hold meaning. In all of this, she chose to leave the men in black. Who are they? Where did they come from? https://images.squarespace-cdn.com/content/v1/56032535e4b07f7d56f14aa4/b2b99d9a-7552-47d2-8bcf-f350094d01ea/MF_2025_The+Quiet+Before+the+Colors_Acrylic%2C+graphite%2C+and+ink+on+burned+Canvas+_36+x+24+in+_+91.44+x+60.96+cm.JPG Also, What Are We Wearing? - Make it stand out The Quiet Before the Colors Acrylic, graphite, and ink on burned Canvas 36 x 24 in|91.44 x 60.96 cm 2025 This work depicts a coral horse and the spectral outline of an unseen horseman, accompanied by a young figure to the side. The subdued palette and partially rendered forms emphasize the liminal space before the festival begins—the gathering of fabrics, the quiet labor of artisans, and the anticipation of performance. The burned textures destabilize the line between material and memory, while coral signals both continuity and ceremony. In its restraint, the painting attends to what remains hidden before spectacle erupts into full color.