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9

Joy Labinjo

Study Terra Firma X

Property Sold to Benefit The Centre for Contemporary Art, Lagos (CCA, Lagos)

Joy Labinjo

Joy Labinjo

Study Terra Firma X

Study Terra Firma X

Joy Labinjo

British/Nigerian

b.1994

Study: Terra Firma X


signed and dated Feb 2022 (on the reverse)

oil on canvas

80 by 60cm., 31½ by 23½in.

This work is in very good condition. Inspection under UV light reveals no clear signs of restoration or repair. 


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 and Tiwani Contemporary

"I think a not-for-profit space for artists to be nurtured and educated is invaluable, but more so in Lagos where there are few and far between. I also think it's a huge honour to be able to honour and continue Bisi Silva's legacy in this way. I didn't meet her but so many people in the art world champion her vision, what she created is amazing.”


The present lot relates to the artist's recent series of nude self-portraits, and her interest in the significance of the nude in the history of visual art and contemporary public practices of sending nude digital imagery for example to lovers. Each work comprises loose geometric colour blocks where her body can be likened to a variegated landscape. Capturing a range of poses, the works are resolutely frank and unapologetic. In this way, they assert an acceptance of self that is divergent from performative nudity and highlight self-love as erotic and feminine and at odds with patriarchy and sexism.


Labinjo’s figure is emphasized by muted and simplified backgrounds, distinct from the dense compositions of her earlier paintings. Departing in colour and composition from previous works, these works present muted earth tones alongside a solitude that dominates each image and contrast with the vivid, saturated colours and social exchanges shown in earlier paintings. She continues to hone distorted renderings that percolate between abstraction and representation. Each work positions Labinjo’s body against a new beginning or a space to be populated by unforeseen content.  


In the context of historical and contemporary events in Nigeria, the works also recall the significance of female nudity and its link to collective action in the West African country. In the early 20th century, numerous accounts emerged of women using their nude body to dissent against onerous taxation structures and unfair laws during the country’s colonial period. More recently, Nigerian women have threatened and used naked protest against a range of happenings in the country including the abduction of school girls in Chibok in the north-east and, in the north, anti-violence in Kaduna respectively.