Abiodun Olaku: Realism Meets Expressionism
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Abiodun Olaku is a professional visual artist hailing from Lagos, Nigeria, whose style is both empirical and personal. He has a knack for depicting his surroundings in a way that emphasizes the emotions of the moment, blurring the lines between realism and expressionism. His paintings of seemingly mundane scenes and landscapes are cleverly contrasted and masterfully lit, creating a sense of dimensionality and spontaneity that truly sets him apart. The focused spots of light in his predominantly dark, crepuscular paintings are also very symbolic, serving as signals of hope and fortitude. In the words of the artist himself, we live in a world of choices, and it is really up to us to use that privilege of choice to live the reality we envision.
When portraying people instead of landscapes, the artist often opts to go for a faded, stylized depiction, which doesn’t necessarily highlight people as individuals but rather as a society, a group responsible for actions and changes. His “FRENZY” study is a perfect example of that, depicting the emotion behind turbulence and unrest in a very unique and thoughtful way.
Combining realism and expressionism, as described earlier, might seem like a contradiction. After all, realism is really all about staying as true as possible to a subject, while expressionism is perhaps the opposite. This 20th-century artistic current is all about portraying a mood rather than an objective item, making for a more intuitive and expressive point of view, as the name suggests. Abiodun Olaku is somehow able to bridge the gap between these two virtually opposite mindsets, doing so in a very organic way. His paintings are a testament to how the artist managed to create something coherent and compelling, offering beautiful pieces of art while effectively conveying the desired message and storytelling.
As a fine artist, Abiodun Olaku is known for his exceptional technical proficiency combined with an emotional approach, resulting in vivid and memorable work. He uses his paintings as a way to share an ongoing story with the audience, highlighting his unique perspective on his hometown. Much of his art deals with the city of Lagos and presents a unique view of it. He captures not only its inner beauty but also the image of a fast-growing metropolis in constant expansion. The Nigerian capital is experiencing very fast urban growth, which is radically changing the way people live in the city. Through artistic statements such as Abiodun Olaku’s works, people can experience snapshots of this growth as it happens, keeping a record of the Lagos that was, is, and will become.
Overall, his work is distinctive and artisanal, making him stand out in the Cool Continuum. Like a proper artisan, the artist is very proficient from a technical standpoint, and it is very clear that he holds the experience, talent, and know-how to create world-class quality work. However, he is also very emotional in his execution, allowing his technical mastering to serve as an instrument to create a much more genuine connection with the listeners overall.
In addition to painting, Abiodun Olaku is also an educator in the artistic community. He is the co-founder of Universal Studios Of Art and is also affiliated with other important local organizations, including Iganmu and the National Theatre in Lagos. He continues to carry the torch of art and culture in Nigeria, not only sharing his unique perspective but also connecting with a younger generation of aspiring visual artists and storytellers with a strong awareness that art is not just entertainment. It is an instrument for self-empowerment, freedom, knowledge, and dialogue.
Abiodun Olaku is often seen collaborating with fellow artists or supporting other people’s work because he firmly believes that success is best enjoyed by a creative community as a whole, not just an individual.
Cool Continuum is a collaborative effort by Jason S. Comely and A.I. For more artist profiles and ideas on how you can make your mark on the art world, follow me on Medium.
