With Atolagbe’s lens, artwork of pictures captures curiosity

The sub-conscious traits of people, which both outline energy or weak spot, entice the lens of photographer, Olaniyi Atolagbe, because the picture artist implores a conceptual method to portrait pictures.

For being conceptual, Atolagbe’s pictures strengthens the significance of the digital period of the twenty first century in creating photographs. More of curiosity, the inventive vitality within the photographer brings themes which might be essential to human curiosity, in addition to highlighting religious connection to creativeness.

Viewing the works of Atolagbe with a foreknowledge of his background offers a greater depth of what facet of critique one ought to lean in direction of. Atolagbe, who has a background in Mathematics, appears vastly influenced by his social, cultural and religious environments, on which he grew up. His background and experiences have collectively introduced surreal contents into his works, explaining the emotional and typically fantasy contents of his pictures.

Going into the religious area, Atolagbe engages human energy of creativeness in a bit titled ‘Rooted Dreams’ during which he depicts a girl and her vitality of reference to the spirit of a tree. With double exposures, Atolagbe blends the contemplative portrait of the girl with the highly effective type of a tree, symbolizing the interconnectedness of human nature, physique, reminiscence and spirit. Specifically, ‘Rooted Dreams’ embodies the blurred strains between expertise and its reminiscence, suggesting how the previous can both be cherished or loathed.

While Atolagbe flaunts his sense of conceptuality in ‘Rooted Dreams’ with the double publicity approach he utilized, the one color for the 2 overlapping photographs of the girl and branches of tree seem to weaken the idea. Perhaps, a transparent differential in color of the 2 photographs fading into one another would have created a better depth of idea.

From items similar to ‘Unseen Exchange’ and ‘Unseen Self’, Atolagbe continues illusory and fantasy contents that probe into the creativeness of individuals. Between the surreality of the pictures and the captured people’ supposedly meditation, there are inventive in addition to religious takeaways. And identical to a few of the flashes encountered in goals and imaginations, the pictures from Atolagbe’s lens include the duality that life brings on the whole.

However, between ‘Rooted Dreams’ and ‘The Unseen Self’, the photographer’s peculiar signature and identification in conceptual pictures is uncovered: whereas one is available in darkish tone, the opposite brings brighter photographs. As regards the context of identification in artwork, most artists want to be identified for range whereas nonetheless retaining their signature. For Atolagbe, ‘The Unseen Self’ and ‘Rooted Dreams’ almost take range from his identification; the 2 works are virtually equivalent in color and the mannequin used.

Still trying to find the variety in Atolagbe’s conceptual pictures, there comes a set of works that brings one thing totally different. Supporting Atolagbe’s inventive dexterity are works similar to ‘Iberu Bojo’, a capturing of hysteria, worry, and maybe meditation of a woman in both religious, environmental, or psychological communication with some unknown entity; ‘Adé Okùnkùn’ (Crown of Darkness), crowded head of a Black girl in creativeness of the unseen, as the various objects on her head characterize unknown travails; and ‘Passage of memory’, a determine that depicts how fragile human reminiscence is, noting that each step ahead echoes the duality of forgetting and turning into.