It was not the first time I had decided on a painting’s title well before gathering my thoughts on the materials it would require and the course of action to follow. Yet certain aspects of what I needed to do were clear enough. In line with my current artistic direction, I knew it had to be abstract. Also, it would follow the line of paintings I began a couple of years earlier, such as the Raw Emotions series.

Regarding the primary media accessory that would go on the surface of the canvas, I had a clear idea of what it would be. First, the overlay fabric would have to be one of the found materials I had saved in my studio, along with fragments of native Batik fabric I had sourced from the art collaborative I work with in Nigeria. While I liked the minimalist photograph by Anthony Lamb printed on the canvas surface, I did not like the idea of obscuring it with paint. But then I took consolation in the fact that it would even make for a better story for whoever sees or owns any of the pieces.

Next, I knew I would need the next few days for much-needed contemplation, the kind of intensive brainstorming that often precedes the projects I embark on, not just for the painterly pursuit but also for the storytelling that is integral to my visual art practice.

Even at an early stage, I envisioned a fascinating exercise ahead, and from the outset, I realized that what I had conceived as a painting was a story that needed to be shared. Overall, it is a powerful exploration of aspects of human existence and a depiction of quintessential family life. In addition, this exercise and the paintings that originated from it serve as a potent reminder that everything that takes place in our daily lives offers ample opportunity for a painterly story waiting to be told.

The three galleries—Gallery-J, Gallery-B, and Gallery-G— reflect the various stages of transformation.