We are what we consume.
Tar, salvaged materials: metals cans, oil barrel, pipe, sewing machine
In the series Discarded, Adeniran's work draws attention to the social, environmental, and economic impact of the Nigeria’s main export and source of revenue—crude oil. Adeniran also critiques Nigerian politicians, alluding to the style of outdated leadership with the 1960’s Singer sewing machine in Power for the People. A vibrant mosaic of aluminum strips stitched together unravels into a tar-filled barrel, symbolic of the creation of the glistening fabric ‘aso oke,’ typically worn by Yoruba royalty, and the detrimental effects of prioritizing financial gains over the social and environmental challenges of the country. Presently, crude oil is shipped to European countries to be refined and then sold back to Nigeria for use. Everything from transportation to fresh produce fall prey to the destabilizing fluctuation of oil prices. In works like Anonymous I-V abstract portraits crafted from oil barrel lids highlight the identities of those impacted both directly through tribal conflicts over oil and indirectly through oil-polluted drinking water and gas explosions.