THE signature, Olu Ajayi, no doubt, is popular in the Nigerian contemporary art. Despite this, Ajayi, the originator, is set to re-document it.Worried about the lack of proper documentation and standardisation of Nigerian art, Ajayis studio is heading for a policy that will adequately authenticate his works.Also important in his re-branding effort is limiting the number of paintings available to collectors. This, he argues, is necessary to protect artworks from being commoditised and accorded higher value.Ajayi hopes to put his new idea to test in July this year, with a solo show of 40 monochrome and watercolour paintings.The monochrome though represents old and conservative rendition, he says, I see colours in black and white. One of such works titled, A Lady in Bar, seated in an apparent isolated environment, brings to fore the prize of loneliness.Recently, Ajayi took another leap with a technique, which has derivatives from drizzling, spilling or simply breaking lines. For Ajayi, the new face of his canvas conceals surreal flavour of this technique.From drawing to painting, he brings forward a combination of what made the art scene of the 1980s and 1990s blossomed just as the dynamics of todays canvas is built into the new look of his work. For example, The Birth of the Winda curiosity into science goes a long way to enhance his new canvas. So much is known about rain, sun and moon, he explains. But, it appears we dont know as much about the wind.Surrealism, he says, is taken to a new height here as the drizzling brings some mystery and challenges to the viewer.The new look of his canvas, he notes, is about the ultimate aim of creating art, rather than the rudiment of copying and making pictures. This, the artist has imbibed in his over 26 years career; but has in the last one year taken a stronger shape.In 2007, Ajayi had experimented with this technique when he participated in a group show, Hellenic Images: 54 Nigerian Masters, organised by the Greece Embassy, Abuja. Since then, he has decided to up art with the technique, which was seen at the ArtExpo New York and the Guild of Professional Fine Artists of Nigeria (GFA)s debut show, Threshold, in 2008.Having been at the helm of affairs of the SNA Lagos State chapter, where majority of Nigerian artists and art galleries operate, Ajayi, indeed, knows the terrain long enough.For an artist who has put in over 25 years of consistent studio practice into the visual art business, there is no doubt that he has something more exciting for the art.
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