I decided today’s Friday review would be the series on a Nigerian woman’s sexuality that a friend who’s one of the most talented artists I’ve ever met just recently completed.
I met Tosin Sanni a couple of years ago when I travelled to Cannes and we got to talking about art; his art to be precise and mine (hey, I’m a writer! I count as an artist ;)) and when he showed me some of his pieces I was awed. I know it’s said that art is subjective and people have different ways they respond to it. In my case, I responded to his art. From the paintings he did of Grace Jones and Fela Anikulapo Kuti, to his illustrations and even those little scribbles I sometimes catch him doing when he’s bored (he scribbles a lot. Lol).
So when he told me he’d done a new series on women embracing their bodies and their essence and asked that I help write a short piece for him about what I could see from the paintings, I jumped at the chance.
Here’s the write-up, followed by the paintings in the series–Sorry it’s not so clear. I took it with my phone–and then an attached image that links to his tumblr site if any of you’s interested in seeing more of his work.
Identity and Sexuality: The Nigerian Woman
More often that not, a Nigerian woman places her identity in others. She finds it in the knowing eyes of parents who watched her grow up. She finds it in the loving arms of a husband. She finds it in the voices of her children. A Nigerian woman therefore learns to identify herself as these three primary things: a daughter, a wife, and a mother.
And these three things define her sexuality. To her parents, she is the chaste daughter. To her husband, she’s the dutiful wife and her children don’t see her as a sexual being.
But she is. She is a mixture of sensuality and sexuality, perfection in every curve, a being who loves and is worthy of being loved. And it is when she accepts and loves that part of herself that she begins to discover who she truly is. Not as a daughter, wife or a mother. But as a woman.
Click on the image below to find more of Tosin’s work: