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The View After the Questions

Artist: Adesina, Ade RSA · b. 1980

The View After the Questions

The artist, whose work have been described as both surreal and dystopian, writes of this work; “The inspiration for this work includes global issues…

The artist, whose work have been described as both surreal and dystopian, writes of this work; “The inspiration for this work includes global issues such as human population, deforestation climate change.” The title suggests a specific relationship to an earlier linocut print by Adesina from 2015 which was titled ‘The Questions’, in which the natural world appears in greater balance with the built environment and features such familiar landmarks as the Eiffel Tower, the Taj Mahal, and the Duomo in Florence. The present work shows the spread of urban settlement at the expense of forests and green spaces. The buildings, including London landmarks like the Gherkin, Big Ben and Tate Modern are much taller and denser than in the earlier work and the threat to the planet appears presaged by the symbolism of the dominant central tornado around which swim a shoal of sharks. This is placed above the baobab tree, a recurring motif in Adesina’s work and a motif familiar to him at first hand in his native Nigeria. Known as the Tree of Life on account of its ability to store water in its massive trunk, the presence on its trunk of a large clock face acts as a clear reminder that time may be running out for the planet unless steps are taken to counter Man’s mis-use and abuse of natural resources.

In an interview with Rhona Taylor, launched on ArtUK on 2021-11-18, Adesina spoke of this work as follows;
"So for example my print 'The View After the Questions' – that is just about how everything in the world is connected and how everything affects everything else around the world. That can be politics, religion, energy consumption or climate change – it can be war or it can be migrant crises. And I'm trying to tell those stories in a different way.

That print was inspired by my travels around the world. I first started thinking about this idea when I visited Trujillo in Spain – the view from the castle on top of the town holds so much history, reflecting wealth and poverty but also a very strong culture.

When I was on the bus from Madrid to Trujillo, I noticed how every few miles there was a castle. I was told that during a gold rush in America, a lot of families migrated there. After making so much wealth, they returned and tried to outbuild each other. I started thinking about how the wealth made abroad can totally transform a landscape in another part of the world. I was so fascinated by this connection and couldn't wait to get back to the studio with all the images and sketches.

'The View After The Questions' is a commentary about global connection. I tried to address the interconnection between economics, environment, development, and survival of endangered species. I took the images I collected while I was travelling, and collaged them with images from the old historical buildings of Yemen. Most of the Yemeni buildings have been affected by war, which has been going on for years. My thinking at the time was to keep those buildings alive."

Speaking of his artwork in general, Adesina has stated; “My work is a visual commentary around the ideas of ecology and our ever-changing world. I am fascinated by how the human footprint is affecting our planet. Our world is full of wonderful landscapes and I wish to highlight the continual damage caused through things such as deforestation, the politics of energy consumption, and endangered wild species. My practise is influenced by my experiences of travel and the experiences I encounter.” (Ade Adesina in Scottish Art News 54)

For further information on Adesina, vide exhibition catalogue Ade Adesina, John Martin Gallery, London, 2017-05-10 to 2017-05-27 with texts by David Mach RA HRSA and Ian Burke (copy in RSA Library, gifted by the artist)

Adesina was elected RSA in the printmaker rank at General Assembly on 2017-09-27.

© The Artist