GOLD MINE
In front of my latest work, titled GOLD MINE
Terrachroma on canva
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In front of my latest work, titled GOLD MINE
Terrachroma on canva
Photo: still in solitary confinement at home.
I’m not taking the vaccine.
Not yet.
Waiting to see what happens.
The lack of sunlight is depleting the melanin shield of my skin.
But I take Vitamin D supplements to compensate for a lack of access to sunlight.
Last night I was looking for my pet elephant and discovered it was hiding inside my beard.
That’s fake news.
Good fake news.
The Farmer of Colors
Harvesting a field
of chromatic linguistics
is akin to a dance:
first you must hold
your canvas like a partner
and place layers of
harmonious tinctures over
the picture plane.
Gradually the African art gallery is falling into proper shape.
The art is also ready to go.
But I’m not in a hurry to open the gallery.
I will wait till it’s safe.
Another painting that I just extracted from my garage is this dark work.
There is an interesting story behind it.
In the year 2000 or 2001, the British Museum invited me to give a lecture as part of the ceremonies held in commemoration of the 50th anniversary of the coronation of Queen Elizabeth II, and also to mark the completion of the Great Court built as an extension of the main museum building. They wanted me to address the body as my topic.
Àkòdì Òrìṣà at sunset, Ile Ife, Nigeria.
This is the location of the Àkòdì Òrìṣà, the home of the ancestral orisa in Yoruba country.
The curator of the Àkòdì Òrìṣà sent me this picture to inform me of the treat that awaits me when I return to Ile Ife. I’ll be there soon. Soon.
LOOKING BACK
I
Exile, however sweet,
for home makes the heart yearn.
Àjò kìí dùn
kónílé gbàgbé ilé.
I colored the Yoruba proverb above for emphasis.
Why?
Because everybody living in Nigeria is a hero.
It is often akin to being a kamikaze pilot in WWII.
They just survived the #EndSars uprising.