• IN HIS RECENT BODY OF WORK, KELANI ENGAGES TECHNOLOGY TO BY-PASS OBSOLETE MATERIALS, TRANSPORTING THEM INTO MODERN RELEVANCE, USURPING OUTMODED MACHINERY AND TOOLS SUCH AS PRINTING CASES, LETTERPRESS TYPES, METAL PLATES, RUBBER BLOCKS AND THE STAMPING TOOL TO GENERATE NEW NARRATIVES. HE CONSTANTLY EXPLORES THE IMPORTANCE OF MATERIAL INHERITANCE, INTERROGATING HOW PAST AND PRESENT COALESCE. 

    KELANI ATTEMPTS TO MAKE A STATEMENT OF THE FUTURE THAT CONCEDES THE INTERDEPENDENCE OF DIFFERENT MOMENTS, INVESTIGATING THE POSSIBILITIES INHERENT IN PAINTING, PHOTOGRAPHY AND PRINTING USING ARCHIVAL MATERIALS TO HIGHLIGHT PERSONAL STORIES, AGAINST THE BACKDROP OF SOCIAL AND POLITICAL EVENTS, WHICH ALSO ENGAGE TIME AND MEMORY.

  • Casing History is an ongoing research on time. It is responding to the question of how a moment can be paused. My effort is geared towards fixing a particular period in time, as well as reclaiming archives by re-appropriating the use of the letterpress type-case, switching the letters in each box with personal archives, “Photographs from family albums, friends, relatives and images from autobiographies”.

  • I make use of uncalibrated palettes of grays, sepia and greens of archival images as my tint. Thus painting with...

    I make use of uncalibrated palettes of grays, sepia and greens of archival images as my tint. Thus painting with time, replacing the traditional mediums with the tint of imageries, laying side by side images that were taken between 1940s and 1980s, the older a photographic print gets, the paler it becomes.

  • As the tonal value of each imagery gets paler through phases, it expresses feelings and emotions; joy and pain, life and death, wealth and beauty.

    As the tonal value of each imagery gets paler through phases, it expresses feelings and emotions; joy and pain, life...
    • Kelani Abass, Casing History 24 Diptych, 2020
      Kelani Abass, Casing History 24 Diptych, 2020
    • Kelani Abass, Casing History (Sisters 2), 2020-21
      Kelani Abass, Casing History (Sisters 2), 2020-21
  • Scrap of Evidence contribute to the practice of memory and historical recall, I try to create dialogue between the past and present, analogue and digital by re-imagining and re-imaging the past through archives as well as manipulating and reconstructing the use of images via painting and photography.

  • The oeuvre highlight personal and collective histories and marked the story of loss, love, heartbreak, harmony and deceit, overlapping multiple...

    The oeuvre highlight personal and collective histories and marked the story of loss, love, heartbreak, harmony and deceit, overlapping multiple nuances and bringing back memories.

  • As a child I recalled working at my family press with tones of materials which are now obsolete, today I appropriate models of those element in my practice. For instance “A Chase” which is a heavy steel frame once used in securing types in letterpress printing is now a template for “Scrap of Evidence”

    As a child I recalled working at my family press with tones of materials which are now obsolete, today I...
    • Kelani Abass, Scrap of Evidence (Orogun), 2020
      Kelani Abass, Scrap of Evidence (Orogun), 2020
    • Kelani Abass
      Kelani Abass
  • Chronological Remuneration is a point of departure from a 2011 exhibition “Man and Machine” which probes the difficult connection of belonging and identity and in particular, the shared history of man and technology through a wide range of different media including acrylic, oil and charcoal.

    The body of work is bridging the gap between art, architecture and engineering as well as exploring the intersection of art and science by stressing the importance of machinery in aiding manpower in today’s fast growing technological advancement.

  • The deliberate segmentation of my panels into diptychs is highlighting the interface between opposite space of consciousness.

    The deliberate segmentation of my panels into diptychs is highlighting the interface between opposite space of consciousness.