Most of the works see Fadojutimi’s incredible use of color. Paintings like The Woven Warped Garden of Ponder create a striking illusion with the use of iridescent paint, while Hope features thick bursts of oil bar streaks laid over furious scrawls. There are, however, several works that see the artist experiment with toning color down. The Itchfor example, hides neon pink and fluorescent yellow under a milky white layer, suggesting a probe into Fadojutimi’s inner psyche and a decision to hide the radiant hues that lie beneath.
“She isn’t drawing from culture and translating it into painting,” noted Gean Moreno, the exhibition’s co-curator. “It’s almost like it works backwards instead.” With color being her main subject of study, Fadojutimi has free range to paint whatever she likes. Her gestures range from frantic, knotted marks seen throughout paintings, like That night I looked upon the sky and a patterned theory of revelation consumed meto oval shapes rendered mobile as they develop throughout the canvas, like in Hope. The Daily (hip)Fractals(po) of a Dreamscape is likely the most color-saturated work, with primary hues dominating the canvas, built over a layered jumble of markings underneath.
As crowds will surely gather to admire Fadojutimi’s work over the coming weeks, savvy insiders would do well to continue keeping a close eye on Fadojutimi’s still-blossoming visual vocabulary and career trajectory. Gartenfeld is sure that this young visionary will hold an important place in the canon as abstract painting continues to evolve.
“Jadé is without question one of the most inventive artists working with abstraction today,” the curator concluded decisively.