Known for her innovative exploration of identity and storytelling, in her latest exhibition “Ilé Oriaku” at Kunsthalle Basel Toyin Ojih Odutola, invites viewers into the imaginary Mbari house of a troupe of spirits. Born in Nigeria and raised in the United States, Odutola is distinguished by her meticulous use of basic drawing materials, layering, and shading with careful attention to detail. Her new exhibition not only reinvents the traditions of portraiture but also crafts an immersive experience where language, self-perception, grief, and joy are woven into a richly textured narrative. Through a blend of vivid visuals, audio recordings, and poetry, Odutola creates a world where all these elements engage in a constant and dynamic dialogue, offering a profoundly resonant exploration of ourselves.
Director and Chief Curator of Kunsthalle Basel Mohamed Almusibli: “In ‘Ilé Oriaku,’ Toyin Ojih Odutola invites us into a space where the personal and the mythical intertwine, creating a deeply intimate exploration of grief, identity, and transformation. Her work bridges past and present, tradition and innovation, offering viewers a profound narrative experience that transcends cultural and temporal boundaries.”
When I arrived at Kunsthalle Basel, I was immediately struck by a sense of anticipation that began not within the exhibition rooms but in the long corridor leading up to them. Through the two doors framing the “Ilé Oriaku” exhibition space, I caught a glimpse of what awaited me — an enticing preview that invited me to pause. When I finally crossed that threshold, I was drawn to the three round poof sofas in the middle of the space. These sofas, reminiscent of traditional Nigerian seating, created an atmosphere that felt more like entering a home than an art institution. I took a moment to sit and take in the room from this vantage point. It was as if the space gently encouraged me to slow down, to prepare myself for the experience ahead.
As I savored that moment, my attention gradually spread out to my surroundings — a long room with pristine white walls bordered by a continuous brown line that encircled the space. This symbolic line, representing the walls and ceiling of a house, grounded the vibrant artworks that adorned the walls. The frames of Odutola’s artworks, made of wood, echoed this line, creating a harmonious dialogue between the artwork and its environment. The contrast between the vivid colors of the paintings and the earthy tones of the frames was striking, yet it felt natural, as though the space itself was part of the narrative.
As I moved through the rooms, I realized that the exhibition was not just a display of individual works but a carefully constructed narrative — a tapestry of characters and scenes that seemed to exist within their own world. As Odutola herself described, this world was “Ilé Oriaku (aka House of Abundance), a Mbari house for a troupe of spirits.” These spirits, flexible and fluid, performed their living through various theatrical productions, speaking a hybrid language of Yoruba, Igbo, and English. The titles of the works signaled the goings-on in every corner and chamber — from behind-the-scenes rehearsals to everyday moments of rest and reflection. Within the house, grief and joy coexisted, weaving together the emotional fabric of this spiritual abode.
One of the first works to greet me was “Don’t Be Afraid; Use What I Gave You” (2023), a portrait of a figure gazing into a mirror where their reflection, rendered in muted black and white, contrasted starkly with their vibrant, lifelike form. The subject’s contemplative expression, intricately detailed, and their deep, rich brown skin set against the bold yellows and lush greens draw me in. In the monochromatic palette of the reflection, a bright red glove added a layer of intrigue to this work. The mirror seemed to act as a portal, not merely reflecting the figure but offering a glimpse into another dimension of the self, prompting to muse on the dualities within us.
Further along, another work caught my eye — a portrait of two figures titled “When Past Meets Future, Will They Speak the Same Language? (Who are You? / Mother?)” (2023). This diptych presented a powerful dialogue between two individuals who, upon closer inspection, were revealed to be different versions of the same person at various ages. The younger self, on the left, raised their hands in a gesture of American Sign Language, attempting to communicate across this divide. The older figure, adorned with beads around their neck and the now-familiar striking red glove, appeared more contemplative, returning the younger’sgaze with a subtle gesture. As I stood before this diptych, I reflected on my own past and future, pondering the language I might have used to speak to my younger self and the wisdom I might have hoped to receive from the person I would one day become.
The deeper I immersed into Odutola’s world, the more it became clear that language and storytelling were not merely themes in her work but integral components of her art. Her drawings were not just images; they were narratives imbued with the power of language to convey meaning beyond what is seen. A poem by Odutola’s mother, Nelene, written in the first exhibition room, spoke about the journey of self-reflection, highlighting how, over time, one comes to understand and accept parts of oneself that were once hidden or unclear. Similarly, in the third room, drawings were paired with an audio recording of Odutola’s grandmother, layered with birdsongs from her Alabama home. The darkness of the room intensified the intimacy of the experience, allowing the voices and images to resonate deeply. Odutola’s use of language — whether through visual storytelling, colors, poetry, or recorded voices — challenged my notion of a singular narrative, reflecting the complexity of identity and experience.
Nelene Ojih Odutola’s Poem:
“They say … There are times, throughout the day, when you see a shadow in front of you, but then the day passes, and you see a shadow behind you. It is then when you recognize it as your own.”
“Ilé Oriaku” is an experience that invites viewers to reflect on their own stories and the multiple layers of identity that shape us all. Leaving the exhibition, I carried with me the vivid images and narratives that Odutola had masterfully crafted and a deep appreciation for how she had intertwined language, identity, grief, and joy. Through her art, she creates a space where the past and present, the visual, the written, and the spoken, converge, offering a rich and layered exploration that lingers long after one has departed.
“Ilé Oriaku” Toyin Ojih Odutola’s first solo exhibition in Switzerland, runs until September 1, 2024, at Kunsthalle Basel .
When Past Meets Future, Will They Speak the Same Language? (Who Are You? / Mother?), Toyin Ojih Odutola, 2023. Kunsthalle Basel © Photo by Stéphanie Courtines
Toyin Ojih Odutola, Ilé Oriaku, Exhibition View. Kunsthalle Basel © Photo by Stéphanie Courtines
Back to the Body, Toyin Ojih Odutola, 2024. Kunsthalle Basel © Photo by Stéphanie Courtines
Breaking and Entering, Toyin Ojih Odutola, 2023. Kunsthalle Basel © Photo by Stéphanie Courtines
Third Person Singular (keta eniyan/di ndu ato), Toyin Ojih Odutola, 2023. Kunsthalle Basel © Photo by Stéphanie Courtines
Toyin Ojih Odutola, Ilé Oriaku, Exhibition View. Kunsthalle Basel © Photo by Stéphanie Courtines
I Wish you Rest (Nature Girl), Toyin Ojih Odutola, 2023-2024. Kunsthalle Basel ©Photo by Stéphanie Courtines
Always in a Hurry, Toyin Ojih Odutola, 2023. Kunsthalle Basel © Photo by Stéphanie Courtines
Gathering Citations, Toyin Ojih Odutola, 2023. Kunsthalle Basel © Photo by Stéphanie Courtines
