"The Sacred Art of the Ori" | Laolu Senbanjo

48,329 views ・ 2017-09-11

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[Yoruba: Freeborn Ijebu-Ode son,]
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[of true Ogbogbo Clan,]
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[whose wealth and resources surpass all that Europe ever had,]
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[whose altar is filled with gold.]
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This chant is called the oríkì.
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My grandmother used to sing it to me when I was a child in Nigeria.
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See, an oríkì is the song of praise of the Yoruba people,
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and this particularly speaks of treasures that the West does not have.
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Mama -- that's what I call my grandmother --
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told me many stories about Yoruba mythology.
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You see, the Yorubas are an ethnic group from the southwestern part of Nigeria,
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and I was always fascinated by these stories.
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I was always intrigued.
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And Yoruba culture has inspired my art since I was a child.
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You see, African art is not just what you buy at Harlem markets in New York.
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Every artist has a name,
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and every artist has a story.
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This is my story.
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See, mama had tattoos on her arms and her legs.
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As a child, I thought she was born with them,
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with beautiful black lines and detailed symbols.
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And then she told me
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that they were actually symbols from the Yoruba mythology.
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I never knew how this was going to influence the artist that I am today.
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You see, as a young child, I saw art everywhere.
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I remember the house we lived in in Ilorin, in Stadium Road.
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We had marble floors,
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and you know, I would look at the marble floors,
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and I would see all sorts of patterns and designs in it,
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and I thought everybody could see them.
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So I would call my brother, and I would be like,
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"Ikeolu, come and see this marble design, see this pattern, see this mask."
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And he would tell me, "Laolu, I don't see anything."
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So I would use ink, and I would trace out what I saw on the floor.
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And then when my mom noticed, she got really upset.
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(Laughter)
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But that didn't stop me.
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I switched from ink to chalk,
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because I got in trouble a lot with my teachers and my parents.
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So I remember my mom said, "Laolu, we are Christians.
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Why don't you draw like other people?
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Why don't you draw landscapes or maybe you draw chairs or furniture,
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or maybe even draw Jesus?"
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You know, I could paint the whole house if I had a chance,
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but when I grew up, I knew being an artist was not an option,
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so I wanted to be the person my parents wanted me to be,
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so I went to law school.
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Of course, that's my dad there. He was so proud that day.
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And this was what my notebooks looked like in law school.
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(Laughter)
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Of course I would miss classes,
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and I would make up excuses why I wasn't going to class.
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But when I started working at the Human Rights Commission
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as a human rights attorney,
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my mind was elsewhere.
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I saw a very tough reality.
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I worked with children
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who had to choose between getting an education
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and actually being forced into marriage.
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I was so frustrated seeing all the injustice around me,
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and my only outlet was art,
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so I started painting.
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This piece is called "Dreamscape."
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So when you zoom into this piece,
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you're going to see a girl child
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and the accidental birth,
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the fact that our future is controlled by where we are born.
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Now, the next one you see a man and a man holding hands,
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a woman and a woman holding hands.
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You see, in Nigeria, same-sex relationship is criminalized.
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You can actually get 14 years for that.
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With my art, I like to tell stories.
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Through my art, I like to start a conversation.
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So in this one, you see the map of Africa,
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you see the questions, you see crying,
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and there you see syringes plugged into Africa
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and the natural resources being drained out.
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So I asked myself, where does it go?
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Who benefits from all of this?
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You see, with my art,
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the way I weave my art around the patterns, the masks, the stories,
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and the way I use my lines,
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it's all from the Yoruba culture.
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So in 2013, I made a big gamble.
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I quit my job and I moved to New York City to practice art full time.
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Of course, my parents were like,
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"Oh, [it's just a phase.] He'll come back."
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But life as an artist in New York was not easy,
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because I was broke,
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no money, no gallery agents, no representation,
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so no gallery would show my work.
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So I thought to myself, I need to survive.
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So I started painting on clothes to make a living.
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I started painting on shoes.
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I started customizing things for people.
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And then soon I realized the power,
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because people were so proud to wear their stories.
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So I started painting on everything.
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I painted on guitars,
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I started doing murals,
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anything I could find my hand on I painted,
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and everything became my canvas.
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So one day, I was just going on my Instagram feed,
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and I saw this picture.
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It was Reign. She took a picture standing in front my art,
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and the moment I saw that photo,
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something happened in that moment.
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I could actually see my artwork go into her and come out of her literally,
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and that's how I started painting on human bodies.
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As a child I saw art on the marble floors,
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I saw art on walls,
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but now I see art on people's faces and people's bodies.
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I remember my grandmother,
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and I realized that most of my creative instincts
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were actually based on my childhood memories
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and the art on my grandmother's skin.
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Now I look at all the people I painted, and I think to myself, like,
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what would it look like if we all walked around
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like gods and goddesses from Yoruba mythology?
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And boom, that's how The Sacred Art of the Ori was born.
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You see, Ori in Yoruba mythology
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means your soul, it means your essence, it means your instincts.
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And I realized that only when you tap into your Ori,
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then you can actually move mountains.
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So there's something so immediate about painting on human bodies.
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It's like art in motion.
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It's like a 3D experience.
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So one day, I was just doing my regular work in Brooklyn,
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and I got an email that said,
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"Hi, I'm a big fan of your work.
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Would you like to paint for my music video?
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Signed, Beyoncé."
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Like, Beyoncé emailed me.
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I was like, what?
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(Laughter)
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I was like, what, how did she even know me?
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I thought this can't be true. Of course I thought it was a scam.
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The Nigerian in me was like, nah.
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(Laughter)
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(Applause)
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But incredibly enough, it was real, it was true,
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and things happened really fast.
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You see, Beyoncé wanted to pay homage to New Orleans,
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and my art reminded her of her creole origins.
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So when "Lemonade" dropped, of course,
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boom, everything just went from zero to 100 real fast.
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People featured me in magazines,
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interviews.
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People stopped me in the street.
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People knew my name, like --
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And sometimes I had to step back
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and just chill, and, like, take everything in.
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You know, as artists, we work so hard all our lives
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for our art to be recognized,
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and for this I feel blessed.
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However, the attorney in me is still there,
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so I use my art to fight for what I believe in.
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My Yoruba heritage is always there.
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I'd like to share with you tonight some of my art in motion.
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Please, welcome with me on stage.
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(Music)
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(Applause)
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Now, this is Geli, and this is Reign.
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These are the first two people I ever painted in my life,
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and I spent the past day painting on them.
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Tonight, they represent my hopes and my fears.
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Now, I put my fears on the back.
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I put my hopes in front.
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What are my hopes?
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I hope that people know
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that Africa is not just one huge, nameless continent
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that is all the same.
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I also hope that people know
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that in Nigeria, we have over 350 ethnic groups and languages,
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and I am just one artist from one of them.
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(Applause)
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I also hope that you know that I hope I will be able to change
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the way people talk about African art on the continent and here,
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and I hope you know that African art
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is not just what you buy at Harlem markets in New York
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and that every piece of art you see has a story,
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and every artist has a name.
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Thank you very much.
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(Applause)
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