Tiffany Annabelle produces works on paper using charcoal, acrylic paint, screen-printing and oil pastels. Using a combination of these mediums on unbleached, organic, brown postal paper, she foregrounds ideas of natural abundance through materiality. Material that suggests ideas of exchange and communication, forming the basis of what she sees as a kind of artistic “love letter” that records the joy and intimacy of her her mark-making.
Tiffany Annabelle is a British-Nigerian self-taught artist committed to celebrating womanhood as a space for what she terms “radical optimism”.
Born in London, the artist maintains a deep connection to Nigeria and is currently based in Lagos. After studying law in the UK, she launched her artistic career during the coronavirus pandemic, pursuing a fascination for art that began in her early childhood.
Her practice is informed by an exploration of her Itsekiri heritage, including the importance of cultural celebration and continuity. Her recent “Women in Bloom” series uses the motif of flowers and plants indigenous to her ancestral Niger Delta region, in which the hibiscus, the African orchid and the frangipani become synonymous with both the rootedness of identity and the possibility for renewal and transformation. Nestling comfortably and securely within the foliage, screen-printed female figures are expressed in triangulated forms basking in nature or enmeshed with lovers.
For Tiffany Annabelle, women metaphorically flourish, forging their own pathways and utilising their natural power.
As well as recent bodies of work in sculpture and installation, Tiffany Annabelle produces works on paper using charcoal, acrylic paint, screen-printing and oil pastels. Using a combination of these mediums on unbleached, organic, brown postal paper, she foregrounds ideas of natural abundance through materiality. Material that suggests ideas of exchange and communication, forming the basis of what she sees as a kind of artistic “love letter” that records the joy and intimacy of her her mark-making.
