Bio
Nola Ayoola (b1992) is multidisciplinary artist from Nigeria whose works are a visual diary that express a language and translation of being.
Through portraiture, woven and cut out abstract compositions which encapsulate the philosophy that ‘you cannot understand what you cannot pull apart’. Furthermore, her works are an observation of her heritage and its profound impact on her identity by storytelling through varying lenses in which she sees and imagines.
They are both theoretically and physically layered as a core voice, its a study of dismantling, intertwining and overlapping of subjects, stories and mediums. Nola explores the idea of moving parts and processes, highlighting the varying complexities of identity.
Nola’s visual language pays tribute to traditional African craftsmanship practices, - hand dyed indigo to carved block printing and weaving. The process of hand printing backgrounds (an ode to Yoruba carving techniques and traditional Adire textiles) holds equal importance to the subjects.
Whilst constructing/ deconstructing; her works celebrate representation, shared narratives and experiences. She believes she is nurturing recurring themes of her interpretations of blackness, being Nigerian, social constructs of gender, human interaction with surroundings, 'Yoruba-ness', spirituality, individuality, auras and the seen/ unseen.
Statement
The notion of storytelling and folklores are an integral and significant factor in my heritage and culture which have been instilled in me from childhood. It has therefore been the formation and basis of my identity. I see my works as a study and documentation of the breakdown of interconnection in multiple aspects. I am heavily influenced by my hometown - which since as long as I know, has been a place of grounding and connection to my core. It has served as the predominant foundation of my self identity.
I intertwine the use of traditional artistic processes to tell everyday life stories that we live in today whilst also drawing some from the past.
My woven abstract works are a glimpse into my imagination showing the interlinking and connection of many themes and entities that make up our communities/ us - heavily influenced by my hyper- sensory processing of sensitivity and synesthesia of naturally connecting sounds, colours and emotions to each other, inspire me to capture essence in each work.
My grandfather's home for me is where I learnt about my lineage and heritage from a young age. Being full of artefacts passed down from generations, I got extremely immersed by all the stories I was told about my ancestors. Observing how historical documentation intersects with art, as seen in wood carvings with settings of everyday life.
This informs the way I work and how I reimagine; through exploring time and shedding light on narratives of the world we live in today. I see my works as a form of the provenance of our time.
What continues to motivate you to create your work?
I almost don't consider this as motivation, it's more so a constant urge to create and, most importantly, the very need to express my experiences, emotions, surroundings, and culture. Creating has always been my biggest outlet, I consider my works to be a (visual) diary.
Who or what influences your practice?
My heritage, upbringing, and family life are the cornerstone of who I am, they are what inform both what I create and the processes in which I create.
I am heavily influenced by my hometown -- which since as long as I know, has been a place of grounding and connection to my core. It has served as the predominant foundation of my identity, which is reflected in my work.
The notion of storytelling and folklores are integral in Yoruba tradition and culture. It has therefore been the formation and basis of my immersion in reimagining folklores as my subjects, highlighting themes of social constructs, beliefs, religion and socio-economic transgressions.
I see my works as a study and documentation of the breakdown of interconnection in multiple aspects, therefore layered both theoretically and physically.
I pay tribute to traditional artistic processes such as hand dyed indigo (adire) to carved block printing and weaving, to tell modern everyday life stories whilst also drawing some from the past -- an exploration of the concept of time.
My woven abstract works are glimpses into my imagination, a study of dismantling, intertwining, and overlapping of subjects, stories, and mediums. I am drawn to the idea of moving parts and processes, highlighting the varying complexities of identity. These are heavily influenced by my hyper-sensory processing of sensitivity and synesthesia of naturally connecting sounds, colors, and emotions to each other, which inspire me to capture essence in each work.
How would you describe the mood of your work?
I would say, the mood of my work is not particularly stationary, it's periodic -- a continued paradigm of oscillations. At times I am very much engrossed in capturing settings that I have experienced, day to day experiences -- Ebbs and flows of living life (particularly in Nigeria) through my lens. It's part of how I express the dynamism of identities, communities, and interconnection.
More recently, I have been drawn to delving into expressing my emotions through abstract compositions. It is how I'm able to vividly best communicate a plethora of personal yet universal themes such as aloneness and mental health.
I am very much enthralled in creating visual languages, decoding them, and sometimes combining them to produce hybrids.
What do you feel is the most challenging part of being an artist?
In my case, probably the initial struggle of being publicly vulnerable. If you're an introvert (like me), you'll particularly be able to relate.
A lot of my works are born from my emotions, thoughts, memories, and are often very sentimental. I mentioned earlier that I consider my works as diary entries, so, one can only imagine that it can almost feel like having your diary being read by everyone. Being an open book, if you will.
On the flip side, it's really all about perspective -- these very ‘challenges’ have been more gratifying. Being openly vulnerable through my work has/is extremely therapeutic and cathartic.
Additionally, it is rewarding to be able to evoke, open up dialog, and inspire critical thinking -- more so when people are able to relate to/connect emotionally.
Tell us about something from your creative life that you are particularly proud of?
Creating portraits of my grandparents (who have now both recently passed). Having mentioned that my heritage and family are part of the cornerstone of who I am -- my grandmother and grandfather are extremely significant and influential in my story. In turn, being able to create the portrait ‘Asiawu’ (2021) (my grandmother) and ‘Chosen’ (2020) (about my grandfather) allowed me to immortalize them and tell their stories. A homage and full circle moment.
