Mami Wata: Power Show
In Praise of Professor Peller
Hallelujah D.J.,
Pomba Gira Das Sete Encruzilhadas
The Sweet Smell of Success
Flights of Fancy
White Horse
Should I Stay or Should I Go?
Dura Mater
Mind Over Matter?
Promise
Chance
Trip The Light Fantastic
Eye to Eye
Consequence
Fight Fire With Fire
Smell the Roses
Amazing Grace
Antidote
Laroye Portable Home Shrine (inside),
Laroye Portable Home Shrine (outside)
Raising Hope
Prudence
Soul Man
Is Anybody There?
Balls of Steel
The Girl Next Door
Union of Farmers Against Suffering
Lucky Knickers
Safe Pair of Hands
Gut Feeling
U-Turn
Nelsons Lament
I’d Rather Be a Hammer Than a Nail
Invisible Man
Love Play
Midas
Boys Will Be Boys
Cameran Superhero (RIP Malick Sidibé),
Mothball
Freedom Fighter
Come Hither
Channeling Prometheus
Tranquilidade
Wonder Worker
Up To Scratch
Tit For Tat (triptych, folding)
Gold Star Champions of Love
Leftwing … Rightwing
Prodigal Son
Raising by Professor Peller
SOLO EXHIBITIONS
Eye to Eye, Copeland Gallery, London, 2016
Hi-Life, Brixton East, London, 2014
Aldeburgh Beach Lookout, Under the Influence, Suffolk, 2013
Under the Influence Snape Maltings, Suffolk, 2013

GROUP EXHIBITIONS
Brixton Street Gallery, London, 2015
National Portrait Gallery BP Awards, London, 2013
Pangea Artists Consortium, Knight Webb Gallery, London, 2013
Abe Odedina was born in Ibadan, Nigeria in 1960 and currently lives in London and Salvador Bahia.

Odedina, who is a trained architect, started painting on a trip to Brazil in 2007 where he fell under the spell of the popular arts of Bahia and Pernambuco. Now a full-time painter, Odedina describes himself as a folk artist. The ideas inspiring his work are rooted in the rich figurative and oral traditions of African art, infused with a trace of magic realism. His work is exuberantly non-elitist, celebrating the power of the everyday and the mythical.

Odedina paints with acrylic on plywood, making flat surfaces with vibrant, stylised subjects that delight in the use of colour and symbols to create a figurative and imaginative pictorial statement. Odenina’s bold and hybrid visual language conjures energy from the streets and surfaces from cities like Lagos, Salvador de Bahia, and Port-au-Prince: the walls of temples, beer parlours, and love motels – advertisements for barbers, vulcanisers, and healers.

The legibility of Odedina’s stylistic vernacular, warmly hailed as “Brixton Baroque”, is paramount. His allegorical works simultaneously inhabit different dimensions and gestures, engaging viewers in a conversation filled with personal and universal references. “The struggle is to reconcile bold imagery with ideas about ambiguity or indeterminacy, my intention is to arouse the imagination and heart of the viewer and to detonate ideas in another realm.”

Odedina references objects and symbols from our collective imagination and activates them with timeless and relatable characters - magicians, goddesses, lovers – to create accessible acts of communication. His work is operatic whilst triumphing the power of the everyday, the vocabulary of the street, where religious iconography meets advertising and everyone promenading has an inner superhero full of poignant power.

Odedina is influenced by a diverse range of creators – Voodoo practitioners from Haiti, the Painters of the Sacred Heart, anonymous African craftsman – championing those who choose to be makers. His practice seeks to revive and deconstruct quintessential classical themes spanning from ancient Greek to Yoruban mythologies to create a charged dialogue between epochs, cultures, and peoples. The stories breaking through the surface of his paintings surpass physical borders. They activate a uniquely contemporary conversation with the viewer that oscillates between life and art, and in the folk tradition, life trumps art.