Lady in Scarf
Lady in Scarf
Executed in 2012
44 by 28 by 23cm., 17¼ by 11 by 8¾in.
This work appears to be in very good original condition. Small areas of removable detritus in some places.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Donated by the artist
“Nails are used in my work as a metaphor. They have survived generations and remain one of the most ideal and enduring pieces of engineering. Nails depend on the notion of shared responsibilities, like ants. Small but lethal, a nail is able to defend itself, but yields to the will of the craftsman. What we call little things are merely the causes of great things: they are the beginning, the embryo and the point of departure, which generally speaking, decides the whole future of an existence.”
Working as a sculptor, muralist, furniture designer, and multimedia artist, Amoda is best known for using repurposed materials found from the detritus of consumer culture. His works often incorporate rusty nails, metal plates, bolts, pipes, and rods, that are welded together to create figures, animals, flora and ambiguous forms. Amoda uses these materials to explore socio-political issues relating to Nigerian culture today, from sex, politics, race and conflict to consumerism and economic distribution. His seminal body of work, Sunflower, explores the connection between mass industry and the organic, winning top prize at the DAK’ART Biennale in Dakar, Senegal in 2014. More recently, Amoda has experimented with new materials and processes as he examines issues of privacy, surveillance, and voyeurism in the Nigerian urban environment.
Amoda graduated in sculpture from Auchi Polytechnic, Nigeria, and received a Master’s Degree of Fine Arts from Georgia Southern University, USA. Amoda has participated in exhibitions at the Victoria and Albert Museum (UK), the Museum of Art and Design (New York), Skoto Gallery (New York), Georgia Southern University (USA), Didi Museum (Nigeria), WIPO Headquarters (Switzerland), and Art Twenty One (Nigeria), among others. He has completed residencies at Villa Arson (France), The Bag Factory (South Africa), Appalachian State University (North Carolina), and the New York Design Museum. His work is included in many prestigious art collections including the Newark Museum and Fondation Blachère. Amoda has taught Sculpture and Drawing at the School of Art, Design and Printing at Yaba College of Technology in Lagos since 1987. Amoda lives and works in Lagos.