Eyes are often described as the mirrors of one’s soul. This is particularly true for Ayobola Kekere-Ekun, a Nigerian artist who believes that eyes expose the genuine essence of an individual. “There’s a lot to uncover from a person’s eyes. It’s a window into shared vulnerability,” she reflects.
Her vibrant art pieces have graced exhibitions from Lagos to Los Angeles and even caught the eyes of celebrities like Alicia Keys and her spouse, who awarded Kekere-Ekun and other artists a $5,000 grant as part of a program supporting artists.
In her art, Kekere-Ekun merges playful, colourful visuals with thought-provoking themes like sexism and Black identity. Her preferred medium isn’t traditional paint or sculpture but the intricate paper-folding art form known as “quilling.”
The art of quilling, also known as paper filigree, traces its roots back centuries, even to European convents in the 16th century, as per the non-profit Quilling Guild. Yet, Kekere-Ekun discovered it serendipitously. One day, as she strolled home, she was handed a flyer and began fusing with it.
The moment was pivotal. “I’d discovered a method to paint without using paints,” she recollects. “So I immediately went back out, bought loads of paper, sliced them up and continued rolling and pasting them onto a board to see what ensued. It evolved into an intense passion that eventually became a stable, loving relationship.”
Her art blurs the lines between craft and fine art. “It’s a technique that a suburban mom in Arkansas might use for card-making,” Kekere-Ekun muses. “But I don’t treat it as a craft. To me, it’s as worthy as sculpting or creating an installation. It’s simply an alternative mode of storytelling.”
The duration to complete her artwork varies greatly, from two weeks to seven months, depending on the size and complexity of the piece. The process typically commences with a sketch, becoming a “skeleton” for the final report. She then painstakingly quills, piece by work, using coloured paper, ribbons, and canvas fragments, gradually bringing the piece to life. “I’d compare it to constructing a jigsaw puzzle, except I can foresee the result,” she explains. “I often refer to it as ‘lines on steroids.'”
Born and raised in Lagos but now residing in Johannesburg, Kekere-Ekun’s father was a surgeon in Saudi Arabia. At the same time, her mother resigned from her hospital administrator position to care for her and her siblings.
Art intrigued her from a young age, but initially, she did not envision a career. Following her great-uncle’s path, She first considered architecture a viable, stable job. However, the mathematical aspects deterred her, and she instead found her calling in art.
Her art focuses primarily on Black women, delving into aspects of femininity. “I feel like men occupy enough space in the world,” she states. “I don’t think they need to take up any more space in my thoughts either.”
Kekere-Ekun aspires for her artwork to defy stereotypes of Nigerian art. “Earlier, there was a rigid perception of what Nigerian arts should look like masks for abstract art, market scenes or women fetching water for figurative art. Now, it’s more nuanced.”
Therapy has significantly shaped Kekere-Ekun’s art evolution. Initially, her work centred on societal and political issues that irritated her, but treatment gave her a more personal expressive outlet. “I felt overwhelmed because I’ve spent my entire life bottling up my experiences,” she confesses. “I truly believe that therapy saved my life.”
Kekere-Ekun is completing her Ph.D. in art and design at the University of Johannesburg. Balancing academia and art has been challenging, but she firmly believes artists should remain authentic.
“Dishonest work stands out glaringly. If you don’t appreciate your perspective, no one else will,” she remarks. “The feeling of connection when people I’ve never met resonate with my expression is both humbling and rewarding.”
As Ayobola Kekere-Ekun continues her journey in art and academia, she remains committed to her unique technique and powerful narratives. With her vibrant quilled works, she challenges conventions, redefines what Nigerian art can be, and offers a fresh perspective on global cultural dialogues. Her passion for authentic storytelling and her ability to connect with people through her art is a testament to her rising influence in the international art scene. One thing is for sure: the world will continue to watch this innovative artist as she shapes and colours her path with folded paper.
