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Alexis Galleries is set to present The Stories We Left Behind, a dual exhibition featuring acclaimed Nigerian artists Olumide Onadipe and Yusuf Durodola, in an artistic exploration of memory, identity, human existence and the significance of materials often overlooked or discarded by society.
The exhibition, which will open on November 14 and run until November 28, 2026, brings together two distinct artistic perspectives on how personal experiences, cultural values and collective histories shape human existence and influence future generations.
The exhibition is sponsored by Coca-Cola, The Macallan Highland Single Malt Scotch Whisky, Art Café by Alexis Galleries, Schweppes, Saffron Moroccan Taste, Gin Mare Mediterranean Gin, Aina Blankson Global, The Guardian, Tiger Beer and Mikano International Limited. Meanwhile, the founder of Alexis Galleries is Patty Chidiac-Mastrogiannis
Curated by Uche Obasi, the exhibition examines the relationship between what people preserve, what they abandon and the stories that remain embedded in memories, objects and everyday materials. Through paintings, mixed-media works, installations and performance, the artists invite viewers to reconsider their understanding of history, identity, spirituality and the environment.
The exhibition explores the idea that stories are not preserved through words alone but also through objects, textures and materials that have experienced human contact. While Onadipe approaches the subject through family, lineage, memory and spirituality, Durodola examines existence and human relationships through discarded materials and unconventional artistic expressions.
Obasi said the two artists would present works inspired by different backgrounds and experiences, using materials and artistic languages that reflect their individual perspectives.
Onadipe explained that The Stories We Left Behind was conceived as a collaboration aimed at documenting contemporary life while highlighting the experiences of previous generations and the importance of the generations yet to come.
He noted that his artistic practice largely involved the use of alternative materials, including sachets and newspapers, which he transforms into visual expressions.According to him, materials that have experienced human touch carry stories about the people who used them and the circumstances surrounding their existence.
One of his major works in the exhibition, Portrait of a Family, examines the changing structure of family relationships and the gradual disappearance of communal values in contemporary society.
He observed that the traditional belief that it takes a community to raise a child appears to be losing its relevance as families increasingly operate in isolation.
Onadipe argued that the weakening of extended family relationships and communal responsibilities has contributed to the development of dysfunctional families and, by extension, a dysfunctional society.
Through the work, he challenges viewers to reflect on whether previous generations were more secure, morally grounded and socially responsible than contemporary society, despite the technological advancements recorded in recent times.
Another work, In Between, explores the relationship between the past, present and future. The artist described human existence as a continuous process of transition, noting that people are constantly experiencing changes that shape their understanding of life.
He explained that technological developments, social experiences and changing realities make individuals constantly move between different stages of existence.
The work also examines the intersection of life and death, isolation and joy, allowing viewers to interpret its symbols, colours, shapes and textures according to their individual experiences.
His third work, Ori, explores the Yoruba concept of the inner head, which represents the spiritual essence and personal destiny of an individual.
Onadipe described Ori as a sacred element of human existence that carries an individual’s path even before it manifests physically.
He explained that his interpretation of Ori goes beyond its physical representation, exploring its significance as a repository of memory, history, purpose and destiny.
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The artist disclosed that he would exhibit five works at the exhibition, with his presentation reflecting his continuing interest in how memory and lived experiences influence human identity.
For Durodola, the exhibition provides an opportunity to challenge conventional perceptions of waste and discarded materials.
He argued that materials are not necessarily waste until people decide that they have no further use, adding that what society discards may still contain possibilities waiting to be discovered.
His artistic practice combines painting, performance and upcycled art, using materials such as plastic bags, paper offcuts and discarded objects to create works that explore human existence and collective experiences.
One of his works, What Did You Hear, What Did You See and What Did You Say?, uses plastic bags to raise questions about perception, communication and the relationship between what people hear and what they actually see.
He explained that the work encourages viewers to look beyond information received from others and develop their own understanding through observation and personal interpretation.
Another work, Communal, uses colours, shapes, lines and forms to communicate the importance of collective responsibility and peaceful coexistence.
According to Durodola, the different elements in the work cannot achieve meaningful harmony without the presence of a communal ideology that recognises the importance of living together.
His installation and performance piece, Mummy Imoh, further explores the relationship between technology, human consciousness and interpersonal relationships.
The interactive work will involve both artists and members of the audience, encouraging participants to examine how well they understand the technology they encounter daily and how their interactions shape their identities.
Durodola explained that the work challenges people to question what they believe they know and pay closer attention to the things that influence their individual and collective experiences.
He disclosed that some of the materials used in his works were sourced from discarded computer casings, paper offcuts and other items associated with printing and graphics production.
Drawing from his experience as a graphics professional and printer, he said he became interested in how materials previously considered useless could acquire new value when viewed from a different perspective.
He recalled that printing offcuts once regarded as waste were later repurposed for other uses, demonstrating that the value of an object can change according to how people perceive and utilise it.
Durodola said he would present nine works at the exhibition, including the interactive performance piece, Mummy Imoh, which will be jointly performed with Onadipe.
Ultimately, The Stories We Left Behind seeks to encourage conversations about memory, identity, family, spirituality, environmental consciousness and the responsibilities people owe future generations.
Through their different artistic approaches, Onadipe and Durodola seek to remind audiences that the past is never entirely lost, as its stories continue to exist in people, objects, memories and the materials that surround them.
Caption: Olumide Onadipe
