British/Yoruba artist, Damilola Oshilaja and the corresponding oeuvre is a construct from a good spread of cultural phenomena that overlap boundaries within the cosmos of culture.  The visual language expressed by the artist, and inherent artistic identity is held together by late twentieth century Afro-British sensibilities with a broad global-view.

In the context of contemporary art practice today, Damilola Oshilaja is situated in this burgeoning period of 21st century art.

The multi-aesthetic approach of the art signifies Damilola Oshilaja’s ancestry within the contemporary art forum, and the field of knowledge incorporated within the DNA of Arte Grungestretches across the ages in Art history.  The ground material of Oshilaja’s work draws upon influences from abstract expressionism, impressionism, the Pre-Raphaelites, and cubist eras; as well as the pre-historic period of Rock Art. 

The artist proposes to espouse the historical core values of fine art, by investing in the use of the Hand in art making; and recognizes the aspirational values that can be found in the oeuvres of practitioners including Picasso, Duchamp, Van Gogh, and Basquiat, among others.

The visual vocabulary presented in Oshilaja’s work, call to arms antecedents of Art, however the work is not defined by this – the artist is able to unearth a contemporary visual language that altogether exposes a unique point of view.

Oshilaja’s canvas is sumptuously multi-layered, predominantly large-scale and rich in a variety of media.  The artist takes an intuitive and delicate approach that employs new world aesthetics to old-world subject matter such as the figure and the landscape.  Within the foundations of Damilola Oshilaja’s perceptible point of view, there are trace materials which radiate late twentieth century comic-book/manga aesthetic values that chime expertly with the artist’s traditional fine art principles.

The artist’s treatment of the figure in the body of work called Mini Movies inherits its assemblage from 16th, 17th, or 18th century Japanese print work, but brings forward an altogether different aesthetic.  The figures are rendered beautifully in a photo-realistic style, and the plushness of any skin type is limited to tones of grey – whilst the rest of the canvas is doused in a beautiful colour array.

In the Landscape Redux, the landscape is perceivable, and at the same moment almost unrecognizable.  In this body of work, the artist is clearly channeling the aesthetic significance of British landscape painting, nonetheless the Landscape Redux offers more than a panoply of light and colour, and the texture in these paintings go beyond being a complement of the work of art.  The ethos behind the work is the delineation of what the naked eye perceives as local reality, combined with the various hidden variables of antimatter streams that stochastically oscillate in order to sustain life. The landscape redux is a study of milieux of varied characteristics; the entire collection embodies the analysis of line, colour, light, and the void.

Oshilaja further extrapolates on the landscape (as a digital surface area) in the series of works called Chip-Surface.

The notion of signalling as can be seen in rock paintings, or the work of Utagawa Hiroshige or street graffiti of the 1980s permeates the tapestry of every work in the Arte Grunge oeuvre – each work is distinct and possesses its own individual symbolism/mangaesque-traditional/expressionist aesthetic alignment.

Arte Grungeat first, appear to be familiar, and then it changes – as if there is movement within the stillness.  The origin is not fixed, it is an open source and there is a sector to explore.  Damilola Oshilaja’s research and development in fine art is about locating a new and original matter in painting.  In Oshilaja’s artistic universe, the key to achieving this is to extrapolate the form and movement of particles within the construct of all things.

The atom and light predominates as a focus of investigation within Damilola Oshilaja’s practice.  The perception of light, the formations of different matter, the transitions of gases, and the inter-relational interactions of these elements are of interest within a wider focus on terrestrial landscape (the natural world and the man-made world), including life within the landscape. Consequently, the human condition and human interaction with the environment plays a significant role in this concern.

Arte Grunge

The symbols in my work are codifiers that interact with the viewer on a conscious or sub-conscious level.  The sources are vast and varied as the impetus is primarily about adapting different forms of communication.  Read more

 

 

 

 
 
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