A Chorus of Reminiscence is an exhibition of Sejiro Avoseh's latest body of work, which retains his signature visual vocabulary—vaguely figurative forms that emerge from, or are obscured by, dynamic, polychromatic brushstrokes—and continues to evolve and push the boundaries of his compositions. Sejiro created the entire exhibition this summer in Miami, following his first homecoming to Nigeria since moving to England with his family. This reconnection with his homeland became a catalyst for an exhibition centered around Sejiro’s memories of migrating from Nigeria to England. In A Chorus of Reminiscence, the paintings—visual translations of Sejiro’s memories—seem to sprawl beyond the confines of the canvas, giving the works a sense of true boundlessness. These paintings, like memories, contort, expand, and bleed into one another.
This sense of boundlessness in Sejiro’s compositions stems, in part, from his artistic process. Sejiro begins his work with a layer of watered-down acrylic paint that he applies spontaneously to the canvas. The result is an energetic, sketch-like painting, a base that is quickly hidden by the many layers that accumulate atop it. Although the finished paintings only bear some visual traces of their simple beginnings, this process is crucial to the composition and conceptual fabric of his work. As Sejiro paints, each layer is subsumed by the next and every brushstroke conceals as much as it adds. What emerges is a gestalt—a composition experienced simultaneously, in which the unified whole transcends the sum of its parts. However, this unification isn’t always harmonious; often, the paintings feature crowded compositions and colors that clash and compete, heightening a sense of underlying conflict that permeates the exhibition. These incongruities reflect Sejiro’s emotional struggle to find refuge in England—a place that offers safety but is difficult to fully settle in due to the deep scars it has left on his homeland.
