What are we looking for when examining a portrait photograph? Are we looking for a familiar face; do we identify ourselves in it, or do we seek to understand others? Or is it a part of all three? We can see both identity and the celebration of differences as a key part of Oluwatobi Ogundunsin’s photography.
The series ‘Gele’s Grace’ is based on the gele, the traditional West African head wrap, and the women who wear it. In the lead portrait from the series, the woman stares us down, sporting her gele with the pride that comes with displaying her cultural heritage. In no way does she play into the idea of the male gaze – we’re not looking at her, she’s looking at us and graciously welcoming us into her world.
The reflective sunglasses, covered with colourful abstract shapes, draw on the rich tradition of global abstract modernism while ensuring we don’t see her full identity, so she can represent any West African woman from today or generations past.
In the Talking Drum series, the drum is both an important part of West African culture and a form of communication within community rituals. In both series, Ogundunsin is looking to further lower the cross-cultural boundaries that are already falling due to globalisation and how we’re all now connected through technology.
The works remind me of Hassan Hajjaj’s striking photographs of individuals in North Africa, which celebrate that region’s cultural diversity. His works also owe a debt to Seydou Keita, often referred to as the ‘father of African portrait photography’, for his black-and-white portraits, often set against ornate backdrops reminiscent of those in Ogundinsin’s work. I can also see similarities to the stylised portraits by James Barnor and Omar Victor Diop, both of whom celebrate black figures in their oeuvre.
Outside the above series, we see Ogundunsin becoming more experimental and unafraid to try different styles, including black-and-white photography, a sparing use of colour, and digital manipulation that causes a face to break apart. It demonstrates that he is willing to adopt new styles and that there’s still space for his photography practice to grow and evolve.
It’s not just portraits; he also photographs rural landscapes and urban cityscapes, the latter softened to the point that they look like postcards. Just as Martin Parr captures a sense of British life through his photographs, Ogundinsin seeks to capture a similar slice of life, albeit from a different background and perspective.
The UK’s diverse fine art photography and wider art scene benefit from varied approaches to fashion, style, and composition, and Ogundunsin brings his unique vision to the discussion. The art scene in the UK is constantly evolving, and it’s always great to see fresh new voices joining the conversation.
More information about Oluwatobi Ogundunsin’s photography can be found on his website and Instagram account.
