Exploring the age-old relationship between art and the female form.
Forme Femine held its first physical exhibition, Forme Femineé (2019), at Thought Pyramid Art Centre in Ikoyi, Lagos, prior to its (re)launch to the global stage with Collect Call // Diaspora Dial virtual exhibition.
By de-emphasizing the underlying sexualization of African women, the show aimed to reconstruct the conventional art practices that objectify the female body, undermining arbitrary notions of how femininity should be perceived.
Forme Femineé set out to create a pedestal that would showcase female-inspired artistic innovation to the discerning public, reflecting the value of the feminine.
Featuring collections from Thought Pyramid, One Draw Gallery, The Art and Antiques Barn and Forme Femine Art, the curated works enfeebled remarkable ethnic preconceptions, purposefully confounding collective perceptions of femininity and her particularities.
“Curatorial preferences were inevitably titled in favour of works that peel back our collective fascination with the female body language, without the pessimistic reservations of the moral prude or the fanatic self-effacing bias of the cultural anarchist” (Ogolo, 2019).
Forme Femineé displayed works by indigenous artists - with a selection exploring the age-old complex relationship between art and the feminine form as represented by the artists.
Pitching its thematic tent on differing foundations of conservative, liberal, and radical conceptions of the relevance and perceived worth of femininity and its portrayal in the arts.
Forme Femine illustrates the intricacies through which feminine art might be better appreciated, in a time where gender equality remains elusive.
Featured Works by:
Hafsat Sani Sami Temmie Ovwasa Magret Nze Chidinma Nnoli Millicent Osumuo Alice Obodom Awarun Adeshope Tayo Akinnagbe Akanimoh Umoh Shokunbi Noleem Adejumo Segun Donald Onuoha Tony Gomez Emmanuel Inua Ibrahim Bamidele Omotebi Olatunji Onyegbu Cyril Adebesin Adedimuja
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