I constantly search for formal interpretation of my subjects through any available yielding medium, thus, my artistic practice straddles myriads of materials, process and deliberations. Conscious of the fact that every discarded/found object seethes with previous history and latent possibilities; I consider it an onus to collaborate or imbue encountered material with new meaning in relation to my subject matter. I have been exploring pneumatic tyre, a non-biodegradable material, for some years via cutting, screwing or weaving in order to evolve a new visual expression either in representational or conceptual mode. Pneumatic tyre, as well as other disused/found objects that are regarded as a menace are rescued and sheltered in my work.
I apply my work to engage subjects as diverse as politics, nature, humanity and survival via exploration of numerous available and unusual materials serving as my vehicle of interrogation in a multiple layered format. I strongly believe that each encountered object/material, like a strand in a web, has its role in my work and its character informs the process and technique of engagement which could either be traditional, innovative or combined.
Numerous mechanical parts, bronze pieces, pigments are, at times, applied unconventionally to imply myriads of challenges in human narratives. In a related manner, musical instruments such as talking-drum, saxophone and trumpets are infused into some of my works, not only to enhance their visual appeal but to serve as imageries of allusion to some societal issues I feel strongly about.
My visual deliberations are steeped in both zoomorphic and humanoid forms which are often allusively used as imageries to reference my constant contemplations regarding man as a living phenomenon in comparison with other lesser animals.
People, places, books, music, myths, folklores and disused/ready-made objects do serve as stimulus towards my visual contemplations and experimentation either in 2D or in-the- round format.