In the ongoing solo exhibition of metal master Olu Amoda at the 21st Art Museum in Victoria Island, Lagos, threats to mankind-especially freedom of the press-form the backbone of the work, Yinka Olatunbosun said.

Entering the 21st Art Gallery in the exhibition space of Eko Hotel and Suites on Victoria Island, the solemn spirit envelopes anyone. Exciting devices made of welded steel rods, nets, stainless steel and mirrors have morbid memories. Its creator-the famous sculptor-Olu Amoda was inspired by global events, especially the murder of Saudi Arabian journalist Jamal Khashoggi. He The last time I was seen alive and entered the Saudi consulate in Istanbul, Turkey.

The segmentation device-with a long pen on it-reminds people of how Khashoggi's body was reportedly mutilated. Its spectacular performance at the exhibition is a cry for freedom of the press and a strong artistic statement of the issue of a person's destructive ability. The work is called "The New Normal-The Difference Between Good and Evil (2019)" and is one of the many works in the solo exhibition with the theme of "Carte Blanche". The name of the exhibition originated from France, which seems to imply "omnipotent".

The exhibition will last until January 29, 2022. It is Amoda's fourth solo exhibition at the 21st Art Exhibition, showing his work over the past three years. By purposefully using repurposed materials such as low-carbon steel objects, nails, poles, aluminum and wood, the Wari-born artist deepened the dialogue about sociopolitical issues beyond surface aesthetics. This exhibition is not just an expression of an environmental artist; it reflects the challenges that threaten our collective humanity, such as robberies, state-sponsored executions, and other barbaric acts. Amoda sees the world as the theater of his life and put Nigeria at the center stage of observing the unresolved crimes.

For Amoda, art critics should be positioned as cultural agitators; using art forms to stimulate social discourse and help promote cultural change.

"One of the strategies explored in this series of works is to use familiar things to reveal unknown things, each of which challenges the work of art that is seen and expressed. Their composition is complex, but they reflect the organization of today’s society. The chaos is to accumulate more eternal desires than we need. The ants in the ant colony will marvel at the way humans have managed so far rather than extinction themselves. Today’s challenge is about a person’s ability to subvert," he said.

Based on African literature, some of Amoda's works on the show are characters in the tragedy of "Dare to Destroy" Voule Soyinka, "The Knight of Death and the King". For example, "Mrs. Pilkins III" is a visual reference to the role of imposing British colonial power on the Yoruba and the identity struggle of postcolonial Africa. In the works "Dialogue-Olunde" and "Elesin Oba III", the artist juxtaposes appetite between the mentality of educated Africans and the mentality of traditional rulers who regard suicide rituals as an honor. In the process of resolving the dramatic conflict, Orend dared to destroy the colonial order.

In order to adapt to the development of the country, Amoda also produced a mesh work called "Ruga". This work uses the cow as the theme, alluding to the Nigerian policy introduced by President Buhari to solve the crisis between nomadic Fulani herders and farmers.

Amoda is one of the most stable artists in the past three decades, as well as a muralist, furniture designer and multimedia artist. Best known for using recycled materials derived from consumer culture, Amoda boldly faces provocative themes.

His groundbreaking work "Sunflower" explores the connection between mass industry and organic matter. It won the highest award at the DAK'ART Biennale in Dakar, Senegal in 2014. Amoda has also worked at the Museum of Art and Design in New York, the Victoria and Albert Museum in London, Villa Arson in Nice, France, and the luggage factory in Johannesburg. His works are collected by the Newark Museum in the United States; the Blachère Foundation and the Sindika Dokolo Foundation in France.