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Abi Ighodaro graduated with a BA Fine Art from The Slade School of Fine Art, London 2002. In the same year she received a University college London Expedition Grant to research traditional dance and festivals in Senegal, Mali and Niger.
Since then, Abi have undertaken a number of commissions, exhibitions, residencies and performances including ‘Bag Lady’ at Portlaoise Biennial: Urban Interventions’, 2007 and the Mentoring Programme in Dance and choreography at Daghdha Dance company, Limerick, 2006 / 2007.
Ighodaro was also assistant project coordinator at the Mediated Bodies: Media Technology in Dance project and worked in the Baldoyle Family resource centre, in their community education programme in African dance and folktales.
At her time inNo.72 Abi will explore dance and drawing through performance
This week I prepared my drawings on computer, the collages and the photocopies. Over the weekend, I did the actual messy work (colour spray, painting)
1. Elaboration of my drawings by computer, doodling, photocopies… that constitutes the first stage.
2. Collage of this assemblage on canvas.
3. Black and white paint to unify the picture and create the composition.
4. Add in colour.
For me, it is important that the placement in colour intervenes finally when all the elements of the composition are in place. I wanted to take at the residence advantage to perfect a new technique of placement of colour. The varnishes and oil colours I used make me ill. It was necessary to find a solution with watercolour. Without returning to the details, I found an ink mixture that compares well with the varnishes and even allowed new perspectives.
The week has gone well. Physically I’m more tired than usual. Us oldies like an afternoons lay-down and I’m standing for 6 hours. My imagining mode is almost completely visual. I’m living in my eye and minds eye. Words and other (assumed) source material is less relevant.
These figures, particularly the one on the right will play a key roll in establishing the next long drawing. It is a South African mythological figure called a Tokolosh .
By the end of the first week the space in John Street is no longer a “space” but has become a territory. Within this territory ideas could be hunted and pinned down. All the surfaces have been prepared and the selected materials are ready. The ideas that are firm have been drawn up in the sketchbooks or on sheets.
All the works are to be a form of confrontation . This had already been established in the first piece in which a wild dog confronts an Irish Elk. The confrontations are not to thought of as specific but as ideas, analogies, events, that could pictorially (but not sequentially) face each other.
1 Territorial confrontation.
2 Confrontation with death.
3 Biographical confrontation.
4 Artistic confrontation.
5 Art historical confrontation.
6. Future confrontation.
Each is a separate and self contained piece that may well generate a cross fertilizing of the others. This would obviously only become apparent when all are complete but as the conception is clear this could be more than possible.
As long as I am satisfied that the interaction is consistent (and materially it is) then this would also be apparent to the viewer. Certain shape/compositional links will also help in the reading process.
Continue with various idea for the follow-on from the Corpse. These are explored in the sketchbook.
Also play with some anthropological images of figures carved in wood and stone.
Do two more variations of the Drunk Monk.