Yinka Olatunbosun
Ebiren Oliuwa Prosi Prosi – Tiffany-Annabelle’s latest solo exhibition – opened on Friday, April 25 at AMG projects,24 Rasheed Alaba Williams, Off Admiralty Way, Lekki, Lagos. In the exhibition, which is on until Saturday, May 17, the artist unfurls a vibrant colourful symphony of womanhood, where joy, growth, and radical optimism bloom in technicolour glory.
This latest chapter in her artistic journey is a love letter to her Itsekiri heritage, infused with the lush language of flora native to the Niger Delta. Her brushstrokes dance with abandon, enveloping her nude subjects in tender intimacy, surrounded by hibiscus that burst with resilience, African orchids that exude poised strength, and frangipani that waft the sweet scent of rebirth.
These flowers aren’t just meaningful motifs – they are metaphors in full bloom. The hibiscus is the ultimate Transformer, boldly embracing change like a boss. The African orchid? A rare and radiant queen, owning her space with elegance and poise. And the frangipani? A delicate darling, whispering secrets of cultural roots and quiet power.
Beyond the canvas’ gentle hush, this presentation strikes a powerful chord: an urgent ecological reflection that echoes the artist’s growing concern for the Niger Delta’s fragile ecosystem. As the region’s biodiversity hangs in the balance, her art becomes a defiant bloom of resistance. On canvas, flowers unfurl with abandon, even as they’re wilting in reality – a potent reminder that beauty and activism can entwine like tender shoots. Each brushstroke is an ode to the region’s splendour, and a rallying cry to preserve it.
Tiffany-Annabelle’s artistic ethos gets back to basics – literally. She turns to brown paper as a canvas, embracing its unbleached, organic texture as a sustainable statement. This deliberate choice isn’t just about aesthetics; it’s a tactile love letter to the earth, reminding her viewers that harmony with nature is often found in the quietest moments. As she amplifies her voice, the artist invites her audience to consider the delicate balance between preserving the environment and cultural heritage.
The exhibition’s title, ‘Ebire Oliwa Prosi Prosi’ – ‘Women are still flourishing’ in her native Itshekiri tongue – is a powerful declaration. It’s a nod to her ancestors, a celebration of a language on the brink of extinction, and a clarion call to protect our cultural DNA. Culture isn’t a static relic; it’s a living, breathing force that needs our care to thrive.
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