Most of the works see the incredible use of color by Fadojutimi. Paintings like The braided and distorted garden of meditation create a striking illusion with the use of iridescent paint, while Hope presents thick shards of streaks of oil bars resting on furious scribbles. There are, however, several works that see the artist experimenting with the attenuation of colors. the itch, for example, hides neon pink and fluorescent yellow under a milky white layer, suggesting a probe into Fadojutimi’s inner psyche and a decision to hide the radiant hues that lie below.
âIt does not draw inspiration from culture and translate it into painting,â noted Gean Moreno, co-curator of the exhibition. “It’s almost like it works backwards instead.” Color being her main subject of study, Fadojutimi has full latitude to paint whatever she wants. His gestures range from the frenzied, knotted marks seen in paintings, such as That night I looked at the sky and a theory of revelation consumed me, with oval shapes made mobile as they develop on the canvas, as in Hope. The daily (in) fractals (hip) of a dream landscape is probably the most color-saturated work, with primary hues dominating the canvas, built on a superimposed jumble of markings below.
While crowds will surely gather to admire Fadojutimi’s work over the next several weeks, savvy insiders would do well to continue to keep a close watch on Fadojutimi’s ever-flourishing visual vocabulary and career trajectory. Gartenfeld is convinced that this young visionary will hold an important place in the canon as abstract painting continues to evolve.
“JadÃ© is undoubtedly one of the most inventive artists working with abstraction today”, concluded the curator decisively.