ABSA in collaboration with SAVANA unleashes African Art space with Taofeek’s Solo Exhibition, ‘Thorns and Crowns’
By BASHIR ADEFAKA
Determined to promote creativity and the artist behind it, Absa L’Atelier in Collaboration with South African National Association for the Visual Arts (SANAVA) recently hosted Thorns and Crown, a solo exhibition by Badru Taofeek, one of the 2022 Absa L’Atelier Ambassadors.
Determined to promote creativity and the artist behind it, Absa L’Atelier in Collaboration with South African National Association for the Visual Arts (SANAVA) recently hosted Thorns and Crown, a solo exhibition by Badru Taofeek, one of the 2022 Absa L’Atelier Ambassadors. The exhibition, described as a powerful and intricately constructed showcase, held at Alliance Française in Lagos (Mike Adenuga Centre, Ikoyi) formed part of Absa’s 2025 Pan-African Gallery Exhibition Series — a platform spotlighting rising voices in African contemporary art.
The rain was heavy, the cloud was darkened as if it chose the entire Saturday to do its thing. The arts enthusiasts were not dampened by the call of nature as they trooped out in large number to honour one of their own.
With captivating visual arts hung on the walls, which depict talent, ingenuity, creativity and tradition, the arts enthusiasts and invited guests had a mind blowing experience at the Alliance Française in Lagos where, richly-layered collection of hand embroidery, bronze sculpture and textile installations by Badru Taofeek showcased an emotional landscape where reverence and responsibility coexist.
The artworks were neatly displayed, which complemented by the shining white background of the exhibition wall. The setting was tasteful as there were enough room in between the artworks displayed.
As each of the art enthusiasts were moving round to view the works, the excitement on their face was a testament of Taofeek Badru’s talent and ingenuity. There were about three triptych artworks. A triptych is an artwork, usually a painting or photograph, formed as a trio.
And each of the triptych artworks were displayed separately which helps art enthusiasts present at the exhibition to have a better appreciation of the works.
Indeed , the attendees discovered Badru’s latest break-through art as he shared his story in the beautifully curated exhibition as dazzled eminent art lovers and users at the event that put on the shelf drawings that speak.
As guests were viewing the works and gisting, there was enough to eat while drinks flowed freely..
Present at the event were Sadiq Abi, Country CEO of Absa group , Precious Naador, Marketing Executive, Alliance Française de Lagos Adedotun Sulaiman, Chairman, Absa group, Nigeria and other dignitaries.
The brain behind these captivating visual arts is not a new kid on the block, Badru Taofeek’s works have traversed the length and breath of the continents showcasing his talents.
Badru, who was one of the 2022 ABSA L’Atelier Ambassadors has made it once more through the support of the two big leading international bodies. “Thorns and Crown'” is a deeply reflective body of work aiming at interrogating the unseen labour of leadership and the delicate balance between visibility, expectation and inner struggle.
Leadership is often adorned with prestige and reverence, yet beneath its splendour lies an unspoken narrative of burden, sacrifice and internal conflict. Thorns and Crown unravels this tension and explored the unseen weight of authority through a series of hand embroidery, textile installations and bronze works.
At the exhibition is the Yoruba beaded crown, a powerful emblem of leadership, cultural heritage and influence. While it radiates honour, it intricate beadwork hints at the quiet struggles that accompany positions of power. Through meticulous craftsmanship and layered symbolism, Thorns and crown explained the paradox of success, where admiration and responsibility are inseparably intertwined.
By blending embroidery, textile manipulation and abstraction, Thorns and Crown of power will challenge you to look beyond the visible symbols of power. It prompts a deeper contemplation of what it means to lead: to carry the crown but also to bear its thorns.
In its 39th year, ABSA L’Atelier, one of Africa’s longest-running and most prestigious visual arts development programmes, has supported its Ambassadors, Badru Taofeek inclusive, with funding, mentorship and a fully sponsored solo exhibition, serving as a professional platform designed to elevate their practice and bring their stories to new audiences – as part of its L’Atelier journey.
Speaking at the opening ceremony, Sadiq Abi, Chief Executive Officer (CEO) of ABSA in Nigeria, expressed his gratitude to Alliance Francaise just as he noted that Taofeek ‘s visual arts stories is a moment of reflection.
“And ‘Thorns and Crowns’ is more than an exhibition, it is a mirror, one that shows us the duality of leadership in admiration, and its weight, its honor, and its burden. Badru has gifted us something rare, a deeply personal yet universally recognized body of work. In reimagining the Yoruba crown, not just as a symbol of status, but of internal struggle, he has elevated a local narrative into a global conversation.
“That’s the kind of storytelling we believe at ABSA, because for us at ABSA, your story matters. Badru, your story matters to us. ABSA L’Atelier is not just about visibility, it is about development.
Speaking further, Abi said. “It is a pipeline for African artists to demonstrate their creativity, their strength, their passion, and their desire to be the best of themselves. And we at ABSA are proud to be a part of their journey, to be a part of their experience through their creativity, and showcasing their talent to the world,” and to Badru, he said “Thank you for your courage. Thank you for your craftsmanship. Thank you for telling the truth through texture and tension.”
On what endeared his company to Badru and his works. Abi said, “Badru won the ABSA L’Atelier competition in 2022 and again continues that track record of Nigerian artists demonstrating that they are among the best on the continent.
“Over the last few years we have had artists from Nigeria win the ABSA L’Atelier competition including Raji Bamidele, who was exhibited last year and another artist that will be exhibiting in a few months. So that is why we are here.
“We like to take artists through their journey as budding upcoming artists to international artists of repute and Badri is just one of the many artists that we have taken through that journey.
“Absolutely, like I mentioned, creativity and commerce go hand in hand. We have a long and distinguished track record of supporting artists through the L’Atelier competition. We have an art collection that is second to none on the continent because, art is part of our story and we believe your story matters.”
In his words, Adedotun Sulaiman, Chairman, ABSA Group in Nigeria, told journalists what motivated his organisation to sponsor the exhibition.
“ABSA L’Atelier has been on for over 39 years. ABSA considers art to be a central part of what we do and we have a long track record of supporting artists across the continent. For us at ABSA, commerce and creativity go hand in hand and it gives us immeasurable pleasure to support artists such as Badru Taofeek through exhibitions such as this.”
The ABSA boss talked about what he hoped to achieve through the sponsorship and how he sought to measure its success doing it.
“What we are hoping to achieve is to show what is possible. For us at ABSA, we believe that your story matters and art is about storytelling. We are here to tell Badru’s story, we are here to document and showcase Badru’s talent and show what is possible.
“Artists in Nigeria have demonstrated their creativity, passion, immense quality across the continent and this is just one opportunity to continue to showcase that. So for us, achieving the objective is what we are seeing here; the appreciation of the art, the appreciation of the journey of the artist, the appreciation of the emotion that the artist has gone through and we would very much like and indeed we have no doubt that in the coming years, Mr. Badru will transform from not just being an artist that is known in Nigeria but an artist of international repute and a worthy ambassador for Nigerian creativity.”
Dr Paul Bayliss, ABSA’s Art and Museum Curator from the organisation’s head office in Johannesburg, South Africa, also commented on the event.
Shedding light on his speech about the message and technicality of Badru’ Taofeek s presentation during the exhibition, Bayliss said, “When you are looking at contemporary art, the important aspect is to look at the balance between technical execution, the work of a technical proficiency that is just at the top of the craft and then conceptually what sort of message it is given. Because you have got a lot of artists that can paint very well but it is really just a picture.
“What Badru does is the embroidery and that is brought into the work. He’s used a technique that many artists don’t use. When we think of more traditional techniques, we think of painting oil or acrylic or charcoal so he’s brought in embroidery but, at the same time, his work forms a conceptual perspective looking at the role of leadership, the weight that the leader has to carry and the responsibility that comes with leadership.
“So there is also a lot of conversation around his work in that sense and that is the balance between technique and conceptual nature of a good artwork.”
Mark Rewon, the Director of Alliance Française in Lagos, ably represented by Precious Naador, Marketing Executive, said, “For us at Alliance, just like Denis has mentioned, partnership and collaboration is the backbone of what we do here.
“And being able to be part of ABSA’s project has been very fulfilling for us because it has helped us be a platform to be able to expose this artist to a different audience outside of the audience that we have in South Africa.
“To be able to exchange audience here in the creative ecosystem, help them to see, drive more partnership and collaboration with them and other creatives. Because I know many of you have come here to either collect a work, speak about future collaborations with Badru, invite him to also maybe exhibit in your gallery in the future.
“So this is something that we are always happy to drive. So I would once again welcome you and ask that we indulge with the work, ask questions to Badru, please buy works. We are also here to ensure that Badru makes sales as well.
“So very important, ask for the catalogue. If you are not able to buy, I am sure you know somebody in your community that is able to buy. So please share them the catalogue, let them buy.
“Let’s support Badru and help him make more beautiful body of work through our donations.”
In his words, the celebrated artist, Taofeek Abiodun Badru from Abeokuta in Ogun state, Nigeria, explained how his work, “Thorns and Crown”, reflects to the dual leadership especially in the political context in Nigeria and Africa.
“I think it relates to everything in general. I try to let us know that behind the success, behind the leadership role, behind the achievement, behind the glamour, there is a struggle beneath. Just as you cannot like roses without the thorns, if you like roses, you have to embrace the thorns.
“So, with this exhibition, I am trying to let us know that, especially in this social media era, where people only post their success story and their finished work. I am trying to let us know that there is struggle underneath it.
On how it contributes to the broader pan-African narratives of identity, vulnerability and tradition, he said, “It contributes to the extent that we have to know that you cannot eat your cake and have it. For example, everybody wants Africa, Nigeria to be developed, but it comes with challenges. You cannot want Nigeria or Lagos to be like New York, to be like London and not obey simple traffic rules. It has to come with being ready to face the struggle that will come with development.”
On what inspires his creative process and how he draws ideas from his experiences and surroundings.
“To get inspiration in this age now, I think it is very simple. So many things are happening at the same time in Nigeria and in Africa. So many struggles are going on. Everybody wants to become a celebrity now. So, the inspiration comes from all these things. Listening to news daily, listening to what is happening through our music, through the media and on,” he said.
On his artistic journey and the evolution of his styles, he said, “I started my art journey in Abeokuta. I went to Federal College of Education, Osiele. After that, I went to Obafemi Awolowo University (OAU) for my first and second degree. So, this is the process of my journey. I am from Abeokuta.
“Abeokuta is known for the Adire practice. And when you look at my work, you will see some Adire-like patterns there. Those patterns are like communication symbols. They have their own different meanings. And my techniques are hand embroidery, bronze and sculpture, textile installation,” he said.
He added that he chooses the themes he explores in his artwork, “Just like I have a general theme for the whole exhibition. So, under this general theme, which is Thorns and crowns, I now have titles for different art pieces. Talking about what I am trying to say through the main title, which are thorns.
On his title “Thorns and crown” for the work, he relieved the specific incident that inspired the titling.
“So many circumstances inspired this theme. One of it would be one film that I saw online. I think the guy went to the Holy Land, Mecca. He was now praying at the Ka’aba: ‘I want to be Dangote. I need money like Dangote.’ When I saw the video, I was like, if God answers this prayer, is this man ready for the challenges that will come with being Dangote, the richest black man? Because there will definitely be challenges that will come with it.
“So, when you look at social media, everybody wants to be celebrated. Everybody wants to trend. No matter how crazy that will go. So, I am trying to let us know that there are challenges that come with all these things. And even being here now, I am the only artist exhibiting here today. So, these are the challenges.
Explaining his work of art. “The work is actually three in one. In art, we call it diptych. So, it is when three works come together as one. So, it is not possible for somebody to buy one of these. You have to buy the three.
“So, I am trying to relate it to our normal life now. In the journey of life, there will be a certain period, that something happened to you that changed your destiny. For example, maybe as I am here now, exhibiting now. Maybe one celebrity comes here now and uploads one work. And from there, a big art collector saw the work and bought it. It brings expansion, recognition and rewards. Badru thanked the sponsors for their support for ‘believing in him and his craft.’
