A review of Toyin Ojih Odutola’s first UK exhibition

A few weeks ago I grabbed my trainers, threw on a mask and hopped on the Northern line to check out the Barbican’s latest exhibition, A Countervailing Theory. Located in the Curve Gallery, the exhibition is Nigerian-American artist Toyin Ojih Odutola’s first UK commission, so if you live in London and haven’t seen it yet, please stop whatever you’re doing right now and book a ticket. If you don’t enjoy it I promise you your money BACK (it’s free lmao, just go). 

Drawing inspiration from a recently discovered rock formation in central Nigeria, thought to have been inhabited by an ancient civilisation, Ojih Odutola presents an enchanting visual narrative. We witness her fully embrace the art of storytelling, as she reimagines this long forgotten African landscape. A Countervailing Theory unveils a fictional society, created by the artist, that is governed by matriarchs and undisturbed by colonialism. Without a doubt, this exhibition conveys an exciting and more experimental side to her artistic practice.

Using pastel, chalk and charcoal, Ojih Odutola once again reprises her role as narrator, this time telling a story across 40 new drawings, choosing to explore themes such as community, identity and intimacy. In this exhibition, she examines power dynamics, as we follow the tale of an ancient mythical society ruled by women. Her artworks are punctuated by the tranquil soundscape of Ghanaian-British sound artist Peter Adjaye. Both elements work in tandem to depict a compelling story of a fictional past. 

Her works also challenge traditional gender roles, as she presents large-scale portraits of women as leaders and men as labourers (we LOVE to see it). The series of works are a window into a world centred around female empowerment, and the subsequent effects on both identity and intimacy. Ojih Odutola’s use of storytelling is powerful, as she is able to effectively engage her audience through strong imagery. Her works are mythical and filled with intrigue, giving away just enough to the spectator, whilst still allowing for ample interpretation. 

The presence of black subjects in Ojih Odutola’s portraits is particularly poignant, as we seldom see black figures displayed on the walls of prominent galleries and museums. She joins a growing list of black women artists who have exhibited their works in major galleries here in the UK; and her presence at the Barbican reminds us of the importance of representation for both women artists and artists of colour. Ojih Odutola offers not only a brilliant visual narrative, but also visibility for those who are historically underrepresented within the arts. She is audacious with her craft, and in doing so, is inspiring a new generation of young black artists and patrons.

Ojih Odutola’s A Countervailing Theory gives us strong Wakanda vibes throughout, marking a truly exceptional UK debut for the young artist. History is reimagined through surreal visuals and a monochromatic aesthetic, allowing us to fully immerse ourselves in her body of work. To describe Ojih Odutola’s work as merely radical would be extremely limiting. Her technique alone is intricate yet expressive, whilst her portraits are both complex and engaging. She is an artist in the true sense of the word, and here we witness her in her element.

A Countervailing Theory is on at the Barbican Centre until Jan 24th 2021. Book your ticket here!