款識：Jadé Fadojutimi Feb '21（畫背）
油彩 油棒 壓克力 畫布
78 3/4 x 118 1/8 英吋 (200 x 300 公分)
$600,000 - 800,000
Quirk my mannerism
, 2021, exemplifies the mix of spontaneity, emotional vulnerability, and exploration inherent to Jadé Fadojutimi’s artistic process—sweeping, softened arcs of green sway across the background of the canvas, as jagged streaks of oilstick dart in a colorful tangle of drawn lines. The artist often creates a painting in a single night, moving through the actions that form each composition like a midnight ballet—brushing broadly across the canvas ground, dripping concentrated pigments in gestural sweeps, and drawing onto the canvas with oil sticks, often directly onto still-wet paint layers. None of these steps are predetermined; but rather, they occur in the moment, as Fadojutimi follows her intuition through a process she calls “orchestrating randomness.”i
Lee Krasner, Portrait in Green
, 1969. The Pollock-Krasner Foundation. Artwork: © 2023 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York
Fadojutimi’s process follows in the footsteps of her twentieth-century forebears, including Lee Krasner and Joan Mitchell. These Abstract Expressionist painters emphasized spontaneity and the physical action of painting as central components of artmaking. Fadojutimi’s works build upon these traditions in distinctly contemporary ways, with a visually striking use of fluorescent colors and compositions that combine free line and fields of color.
These same dynamic combinations of line and color illustrate another major source of inspiration for the artist: Japanese anime. Within Quirk my mannerism,
the neon pink and orange lines almost radiate with motion over the green and yellow background, as if depicting a character flying across an animated landscape. Fadojutimi also looks to more contemporary artists such as Amy Sillman, Laura Owens and Makiko Kudo, whose influence is evident particularly in the primacy of color in Fadojutimi’s practice and life.
Animation still from My Neighbor Totoro,
dir. Hayao Miyazaki, 1988. Image: Photo 12 / Alamy Stock Photo
In her most creatively productive sessions, Fadojutimi “dances and runs at the canvas, scales ladders, cries, and sometimes breaks off to write in her diary.”ii
This inextricable connection between painting and writing is significant for the artist, as she considers both practices an essential part of her process. As she describes it, “the excitement to write in the middle of painting is just the same as the excitement to place the next mark on the canvas.”iii
Titles come to her through this writing, and the centrality of language is abundantly clear from the poetic names of her works. Ranging from the pithy, to the alliterative, to the long and wordy, the language she uses tells a story. The present work’s title, Quirk my mannerism
, plays with the viewer’s verbal expectations; the word “quirk” is used unexpectedly as a verb, leading the viewer to contemplate what the title could be asking them to do—how can one “quirk” Fadojutimi’s mannerism?
“I completely bathe in the conversations between color, texture, line, form, composition, rhythm, marks and disturbances that allow me to gush. Since I have no systematic way of working, I find myself painting slightly differently each time.”
In a way, Fadojutimi’s titles encourage the viewer to seek out corresponding representational forms within her abstract compositions. The artist has frequently commented on the tension between abstraction and figuration, which she sees “as opposite ends of the same spectrum.”iv
While not purposefully creating representative compositions, she notes that her “paintings derive their shapes, colors and patterns from clothing, anime, video games, soundtracks, childhood obsessions, memories, drawings, traumas, experiences, and objects I have collected along the way. They are woven together into emotive environments that breed characters and forms.”v
The forms in Quirk my mannerism
hint at these characters imagined by Fadojutimi—a circular eye here, a bent limb there, frantic movement suggesting animate life—but ultimately leave the painting wide open to interpretation, allowing each viewer to experience it personally.
Fadojutimi is the youngest artist with work in the collection of Tate Modern, London; the museum purchased I Present Your Royal Highness,
when the artist was only twenty-six years old. Her work also populates the collections of the Los Angeles Country Museum of Art, Kunstmuseum Bonn, and the Institute for Contemporary Art, Miami, among others.
Phillips holds the auction record for Fadojutimi with Myths of Pleasure
realizing £1.1M ($1.3M USD) at Phillips’ 20th
Century and Contemporary Art Evening Sale in London in 2021.
Currently, her work is on display in Space for Imaginative Actions
at Kunstmuseum Bonn, through Jan. 1, 2024, and at the Shah Garg Foundation, New York, in Making Their Mark
an exhibition of significant women artists of the past century, through Jan. 27, 2024.
Jadé Fadojutimi, quoted in “Jadé Fadojutimi – 'The Numbing Vibrancy of Characters in Play',” PEER Gallery
, Aug. 11, 2022, video, online
Alex Needham, “‘Painting takes me over – like witchcraft’: Jadé Fadojutimi, art’s hottest property,” The Guardian,
Sep. 7, 2022, online
Fadojutimi, quoted in PEER Gallery.
Fadojutimi, quoted in David Trigg, “Jadé Fadojutimi – interview: ‘I bathe in the conversations between colour, texture, line, form, composition, rhythm, marks and disturbances,’” Studio International
Apr. 26, 2021, online
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Jadé Fadojutimi is a British contemporary artist who lives and works in London. A recent graduate of the Royal College of Art, Fadojutimi has seen a precipitous ascent to success: she is the youngest artist represented in the collection of the Tate, London, and has upcoming exhibitions planned for the Hepworth Wakefield and the Liverpool Biennial. Fadojutimi’s work is immersive and all-encompassing, featuring tightly woven lattices of ecstatic pigment and electric line. The raw but bubbly energy of her paintings reflects aspects of the artist’s own interiority, as she treats each canvas as an opportunity to explore undiscovered or under-interrogated aspects of her individuality. Fadojutimi believes that color and personality mingle and encourage one another; the matrices of line and color resemble the psychedelic spindles of neural networks, actualizing the artist’s investigative efforts as visual translations of the artist’s explorations of identity and fluidity.
Fadojutimi brings a frenetic energy to painting, as many of her works are completed in late-night bursts of creativity; what may start the night as a blank canvas often emerges in the morning as a finished work. Describing her practice in environmental terms, Fadojutimi strives to incorporate the ineffable associations of memory absorbed from the warm moments and special objects of life; taken against the societal backdrop of their creation, Fadojutimi’s paintings shine out as optimistic beacons for dark times.