Yinka Ilori is a London based designer. He specialises in up-cycling vintage furniture, inspired by the traditional Nigerian parables and African fabrics that surrounded him as child. Humorous, provocative and fun, each piece of furniture he creates tells a story.
Bringing Nigerian verbal traditions into playful conversation with contemporary design, Yinka Ilori’s work touches on themes as various as hope, sexuality and social class. Conscious that the parables are as relevant today as ever, Ilori wishes to share his work with people throughout the world.
Ilori is passionately against the unnecessary waste he has seen in European and West African consumer cultures and this drives him to reuse discarded furniture and other found objects. With each custom made piece inspired by a parable, Ilori restores new life and purpose to reclaimed materials. His furniture takes on new meanings depending on how it is used or positioned. Ilori is interested in playing with the relationship between function and form and his work sits between traditional divisions of art and design.
He studied Furniture and Product Design at London Metropolitan University and has since exhibited internationally in solo shows: If Chairs Could Talk, The Shop At Bluebird, September 2015; This is Where It Started, The Whitespace Gallery, Lagos, October, 2014; Yinka Ilori, Just Africa, Stockholm March 2014 and It Started With a Parable, Jaguar Shoes, London in collaboration with London Design Week, December, 2013. And group exhibitions: Home Affairs, Now Gallery, August 2015; Making Africa, Vitra Design Museum, Basel, March, 2015 touring to Guggenheim Museum Bilbao, Autumn 2015; Africa Calling, Africa Utopia, Southbank Centre, September 2014; Creative Britain feature stand, British European Design Group, International Contemporary Furniture Fair (ICFF), New York May 2012.
Yinka Ilori’s pieces are available to purchase by appointment at his London studio.
Visit the Website: yinkailori.com
Alimi Adewale’s pratice posit genres traditionally evoked in painting—such as portraits, landscapes, and nudes but with a contemporary expression in a profusion of rich texture and often uncommon sculptural finish. Whether utilizing photography and oil paint (Owambe, 2015) or thick lump of oils mediums, ( House of Assembly 2013) that takes years to dry, Alimi mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time. Imbued with their own mortality, his sculptures cultivate the experiential function of art compare to the traditional African sculptures. Alimi incorporates elements of minimalism and abstraction to create an oeuvre that is distinctly current, and as witty as it is macabre.
Alimi Adewale was born in May 8th 1974 and he studied mechanical engineering in Ilorin, Nigeria. Interest in art spur going to exhibitions and he later developed his knowledge of art after graduating by undergoing various art workshop.
Since the late 2002, Alimi has used his Art practice to explore and personalize urban issues allude to the lives of everyday city people, which are often neglected in the drive toward excessive urbanization, rapid modern development and the growing global economy.
Visit the Website: www.alimiadewale.com