Kambui Olujimi: Zulu Time exhibition catalog

ZULU
TIME
On the Art of Kambui Olujimi
Gregory Volk
Along with many artists of his generation, Kambui Olujimi
often deals in found objects and Internet images. He has, however,
a transformative—at times almost magical—way of reconfiguring
these objects and images into artworks that defy easy categorization:
sculptures, flags, and large-scale wall works incorporating transmuted
photographs; sculptures that have attributes of painting and drawing;
protean sculptures with variable dimensions. These works are
suffused with ideas about race, class, politics, urban environments,
space exploration, cosmic structures, history, nature and the sublime,
and technology. Olujimi is an expansive thinker and eclectic research
underpins his projects. He is also a consummate maker who lavishes
attention on all aspects of his works. Characterized by a concentrated
engagement with forms and materials, these works emanate a peculiar
power. Granted, they are sculptures or photographic images, but they
also operate as uncanny forces.
Stowaway (2017), one of several wall sculptures from Olujimi’s
ambiguously titled Killing Time series, seems at first lovely and stately.
Silver, gold, and black metal circles, a small blue ball (almost like a
mini-globe), black brocade, and a gleaming, multicolored pendant
form an exquisite mesh of textures, colors, and shapes. This austere
yet lush work rivets one’s attention like some sort of potent talisman.
With Never Adds Up (2017), four metal circles are arrayed on the wall.
Descending from each and connecting the whole work are gracefully
curving silver and gold chains, a gold braid, earrings, glittery trinkets,
and blue beads. Solitaire (2017) is even more elaborate, arcing up the
wall with multiple circles, curving strands, pendants, and assorted
small objects.
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