By Ifeoluwa Olutayo.
BEKINWARI. Photo taken by Busayo Okojie.
BEKINWARI (b. 2000) is a Nigerian creator based in Lagos, known for their dark, abstract expressionism. An architecture graduate from Covenant University, BEKINWARI employs a host of mediums to create their paintings; watercolour, gouache, acrylic, pastel, ink etc. to render negative emotions, feelings and thematic pursuits with the intent of encouraging their audience to engage with those feelings, just as they would with positive ones.
BEKINWARI’S work has been featured at the “SEE ME DIE” Art Exhibition curated by VOFOART, “THE MISSING PIECE” Exhibition curated by Untainted Arts, “STORIES” Art Exhibition curated by the STORIES Art Gallery and “the th3rd place: Art Exhibition & Pop Up” curated by the th3rd place.
I sat down with talented creator, BEKINWARI, to discuss their work, inspirations and plans for the future.
Q: To start, what would you say is your most important thematic focus when you create work?
A general theme or well something that I’d say is always present when I’m creating a piece(s) is the unsureness(¿) of the final outlook– like solving a puzzle without a picture guide. Let’s say there’s a piece that exists, somewhere, shrouded and blurry. Now, I have to figure out how to get it to reveal itself and THAT is my focus.
Q: What would you say is the thing you’d like a viewing audience to take away once they walk out of an experience you have created?
So the way I feel when I examine my work or a piece I’ve just completed is similar to encountering a question. Upon continuous examination, it begins to solve itself/reveal its answers/show its completeness. This is the same array of feelings I hope my audience experiences.
Q: I have loved your work for the longest and I’ve seen it take different forms over the years. Could you walk us through what informs all the directions and experiments you take your work in?
First off, thank you so much. That will always mean a lot to me.
So, I’d say art is, in some way, proof of evolution or the telling/expression of a time or period.
Most of my works are time stamps– so to speak – of the phases, experiences, and mind states I’ve had over the years. At the time I decided to commit to art, my work had less depth. That’s understandable because we must start somewhere but still, there’s a difference between the art I made then and the art I make now –and want to in the future.
I think as time passes the growth/trust in the process and oneself becomes more apparent, as well as the influence of oneself on their work.
My experiences greatly influence my work, so my “direction” per time is a reflection of what experiences I might be processing or have just processed. As for experiments, I love to try out methods and ideas. I love to find/ figure out new processes/things that would better express what I want– new ways to solve puzzles.
I’m really inspired by other creatives (pictures/pieces/cinema/processes/delivery) which encourages me to want to think outside the box and keep trying new things.
Q: I love that, being beholden to an ever-evolving approach to your work. I want to ask next, is there anything or any thematic pursuits, or even mediums you’d like to explore in the future? Especially because in the process of diverse inspiration, you may find modes of expression you may want to engage with.
I want to do many things, I want to try many things, especially mediums. I am very curious to see what those creations would look like. I want to work with clay, fabric, metal, wood, “trash”, beads, jewellery, leather, and photos. I want to work with spaces and landscapes¿
I also am looking forward to when I make larger pieces. I’d like to merge mediums as well (not sure how to explain that), collages/mosaics.
I hope I get to explore more illustrative work. I have no fixed theme in mind for that, but at the moment, I’d like to make something(s) crude/gorey and I’m determined to make it/them cruder/gorier than the ones I’ve done before. My hope is that it will be the next step to embracing deeper, the parts of myself that enjoy this theme.
Q: Are there any pointed inspirations for your work that you can share with us? Art, cinematic or otherwise?
Cinematic. I’m hoping to do something based off a Cronenberg film or a really good horror/mind fuck film. I recently saw The Fly and In the Mouth of Madness and they sparked things in me, although I haven’t quite pinpointed what those are. I have also been reading a book, “Hellbound Hearts”, based on the Hellraiser universe and I’m loving it– I’m a Hellraiser fan. I’d love to contribute.
Q: Can you walk us through your process? What does idea-to-finished painting look like for you?
The idea could be anything from a word, to a film or experiment or feeling or experience or line/sentence/quote, or something significant enough to require my attention.
I’d usually write that down and forget about it for a while. eventually, I’d do some research to find more inspiration and sketch out templates/rough ideas–elements. When I’m satisfied with the sketch, I decide on the mood and choose a colour palette based off that– the palette might also be affected by whatever colour(s) I feel particularly drawn to at the time.
The next thing is execution and it takes a while before reaching this point. This stage involves some trials and errors, A LOT of breaks/gaps between work periods, music… indulgences.
I work until I’m satisfied with the piece and then we get to naming the pieces (my least favourite part). I always have to consult my friends when I want to give titles to my work because either nothing dey my brain or I need a better word/way to put the word(s).
Q: What’s the most unusual place you’ve drawn from for a painting?
When I painted “ICHOR”, my cat (Navi) had just scratched me and that shit wasn’t healing so I had to take antibiotics. It’s funny but at the time I was really thinking I could die from a scratch and that would be so pathetic/unfortunate. Anyway, I took pictures of my hands and decided to paint them.
Q: One of my favourite paintings from you is GORGÉS de SOLEIL, where a beautiful marriage of acrylic, watercolour, and gouache, gives this, forgive my unschooled choice of words, oil painting feel, richer and denser than what you’d find in other mediums. I wanted to ask what the process was like creating this painting and what inspiration fueled the creation too.
I was really into portraits because I loved faces so much– still do. I would go on Pinterest and look for pictures of people I thought had interesting features/nice proportions/nice angles and save as many as I’d find. I found a muse amongst the pictures and tried to portray her in a way that complimented her features.
GORGÉS de SOLEIL (altered) (2024)
Q: I also wanted to ask about two particular places you’ve exhibited at; the th3rd place: Art Exhibition & Pop Up in June of this year, and last year’s “The Missing Piece” exhibition with Untainted Arts. How was the experience across both and were there any marked differences in what you showed or maybe the viewership? Also, since they were a year apart, were there any differences in expectations across these two events?
Aside from my work being on display for people to see, I’m not really one to have expectations. Although considering the year gap between the events, I’d say at The Missing Piece I was more focused on how I presented myself alongside my work, while at the th3rd place (T3P), I was more focused on what conversations my work would inspire.
“The Missing Piece” exhibition was a semi-formal kind of setting. The event itself went great, the turnout was great although I wasn’t in the best mind state so I was nervous. I was burnt out before the event because I’d just gotten back from a family holiday.
I displayed “ICHOR” and the untitled self-portrait. There was a lot of one-on-one conversation (I dread those), and lots of inquiries.
I remember talking about ICHOR and one of the older observers didn’t seem to like the response I gave because it “didn’t do justice” to the piece. At the time it bothered me because I felt I didn’t really have anything deep to say but thinking about it now, simply wanting to paint my wounds is a satisfactory response.
The th3rd Place Art Exhibition and Pop-Up was a more informal setting with a big enough crowd.. mostly people in my age range–I was definitely less nervous. I was also in a much more levelheaded state when I exhibited here and I’d just completed the pieces I displayed: “the EyE is grEEn”, “C O N U N D R U M”, and “GRIT and BONES”. There were activities like the art club where we were asked to pick people to draw– people drew me and I saw myself being perceived in real-time which was interesting. There were also performances by a few upcoming artistes. There was less conversation about the art in comparison to The Missing Piece but it was still very engaging and very fun.
I got to exhibit alongside creatives I’d admired like VOFO (not the first time), David Nnogo, Vitalis, ØDIN, Wase, 6Wrld and I met other really cool creatives.
Something I really appreciated was how closely I got to talk to/with the artists because of how comfortable the energy was.
Q: Do you think collaboration would be a rewarding space for you, given how you work?
I think collaborations are very rewarding. Most of the projects I’ve worked on with people (not just art) have been great, though that could be because I was not the one proposing/managing. Presently, it’s easy to work with people when I’m contributing as opposed to the other way around but I want to come out of that and make proposals. I know the way I work now is the reason why I haven’t already done that but also I know I won’t always work like this so I’m definitely looking forward to future collaborations on pieces/projects.
Q: How important do you think Community is for artists and creators working in Nigeria?
Very important! I owe a lot to the people who have/had me in mind when it comes/came to jobs/shows. In a country like Nigeria where applying for things quickly becomes discouraging, it helps that a network exists where different people do different things. Someone always knows someone or would like to work with someone or something along those lines, if you get what I mean.
Q: Looking at the current art landscape, what do you think the future holds for Nigerian artists and creators working in this day and age?
I’m optimistic about the future for artists and creators in Nigeria. There’s indeed a lot happening and living here is far from easy but I see a new artist/art almost every week and I think that says a lot about the people in this creative space. People don’t want their passions fucked over and it shows. I see exhibitions, collaborations, groups, spaces, platforms put together to create room and avenues for the artists/art(s). It’s encouraging and beautiful to see.
Q: What have been the challenges you have encountered in your journey in the art world?
I think my biggest challenge right now has to be funding my career. Art is expensive. Materials are getting more expensive by the day, and attending exhibitions in Lagos can oftentimes be discouraging because of the inflation.
There’s even the process of curating exhibitions here, the cost to secure locations, obtaining materials for the exhibitions, and marketing; it’s insane.
Another challenge for me has been consistency. I have creative blocks so often, it’s crazy. My first piece this year was in April and that was mainly because I had no idea what to do until then. Balancing making a living with making art and existing in my home has been a lot. I live with my family and that comes with requirements that affect the flow and amount of work I can do. Most days my tasks are centred on house maintenance and that can be exhausting. I’m almost always tired so it takes a while before I finally get to create or even be in the space for that. I also recently became active in the Lagos rave scene so that has been an added responsibility.
On a more psychological level, I have a few “disorders” (I wish there was a better way to refer to these things) and AuDHD– non-professionally diagnosed; they make existence and interactions a bit difficult. Almost everything I do that is engaging feels draining. I always need a nap/rest between tasks and when I have episodes I’m far from productive. It’s annoying also because these episodes are somewhat random and the lengths vary.
Q: Being from the Tiv ethnic group, is there the possibility of you exploring your cultural heritage through your work? Does that already seep into the work or is it something you want to explore?
I think so. I recently came across a book about our theatre and I’m intrigued. I don’t know enough about my tribe and that’s something I want to change.
BEKINWARI. Photo taken by Busayo Okojie.
Q: I know that you’re a big fan of Tejumola Butler Adenuga’s work, (better known as Butler Archive). What about his work speaks to you, and if there’s any bit of inspiration that comes from his work.
Yes, I am! I really love his presentation and how he weaves through his choices of medium. The pieces he constructs– examples being the raft bench, the Àgbàlàgbà chair and the C-type bench– are favourites of mine because of how rigid/geometric they are. There’s also the dedication to his palette– white/greyscale. Having studied architecture, his work/content reminds me of that study and inspires me to lean into it sometimes.
I think another thing I find really inspiring is that he’s a Nigerian. It contributes to my optimism and hope for Nigerian artists. I visited his recent exhibition in Lagos, “Future, Past”, and seeing the pieces up close was an almost surreal experience.
Q: Do any of your talents intersect or inform the other? I know you also write, do they intersect at times, art and writing, and if they do, in those instances, which one is the chicken and which one is the egg?
Sometimes, yes. Often an idea wants to be expressed in multiple ways, although I don’t pick up on a link until much later and that’s about it. I don’t really feel the need to show any connections at that point.
When they’re more in sync, any could come first but it’s usually the writing.
Q: Just by way of an outro. I’m going to ask two questions. If you could recommend a text, film or piece of work that has greatly improved your journey to someone starting, what would it be? The second is, for those reading, what is the holy grail of paintings to you?
Unfortunately, I don’t read much but two films I’d say got me thinking about how and why I make art are, “The House that Jack Built” and “Crumb”.
The holy grail of paintings, hmm. I’d say anything with intricate details, they blow my mind, bonus points if they’re dark-themed. For example, the paintings inspired by the works of Dante or inspired by Dante himself.
