Determined to promote creativity and the artist behind it, Absa L’Atelier in Collaboration with the South African National Association for the Visual Arts (SANAVA) recently hosted “Thorns and Crown”, a solo exhibition by Taofeek Abiodun Badru  one of the 2022 Absa L’Atelier Ambassadors. The exhibition, described as a powerful and intricately constructed showcase and held at Alliance Française in Lagos, formed part of Absa’s 2025 Pan-African Gallery Exhibition Series  a platform spotlighting rising voices in African contemporary art. Writes 

The rain was heavy, the cloud 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 numbers 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 a richly-layered collection of hand embroidery, bronze sculpture, and textile installations by Taofeek Abiodun Badru showcased an emotional landscape where reverence and responsibility coexist.

The artworks were neatly displayed, complemented by the shining white background of the exhibition wall. The setting was tasteful, with enough room in between the artworks displayed. As each art enthusiast moved around to view the works, the excitement on their faces was a reflection of 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. Each of the triptych artworks was displayed separately, helping art enthusiasts present at the exhibition to have a better appreciation of the works.

Indeed, the attendees discovered Badru’s latest breakthrough art as he shared his story in the beautifully curated exhibition, dazzling eminent art lovers and users at the event that put on the shelf drawings that speak. As guests were viewing the works and socialising, there was enough to eat while drinks flowed freely.

The exhibition showcased the artist’s unique perspective on leadership, emphasising the struggles that accompany positions of power. By exploring the emotional landscape of leadership, the exhibition provided a nuanced understanding of the complexities involved in leading others.

This solo exhibition, part of Absa’s 2025 Pan-African Gallery Exhibition Series, spotlighted rising African contemporary art voices and featured intricately crafted works blending embroidery, sculpture, and textiles.

Marketing Executive, Alliance Française de Lagos, Precious Naador, who represented the  Director of Alliance Française Lagos, Mr. Marc Brebant, emphasised the importance of partnership and audience exchange, encouraging support for the artist’s work through purchases and collaborations.

“For us at Alliance Française de Lagos, 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 they would 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.”

The exhibition explored the dual nature of leadership, especially in the political context of Nigeria and Africa, where 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” unravelled this tension, examining the unseen weight of authority through a series of hand embroidery, textile installations, and bronze works.

Adedotun Sulaiman, Chairman of Absa Nigeria, welcomed guests to the exhibition,  praised the artist’s journey, saying, “I knew him when he was a little boy. He’s a big artist. I’m sure I can’t afford any of these things in this place here. Or can I? We used to be able to buy his work, but not anymore. But again, like I said, he has come a long way. Your vision, your vulnerability and voice are the heart of why we are all gathered here today. And we are glad for the work you do, which shares the stories that are often felt, but never told. We are honoured to support your journey.”

 “Thorns and Crowns”, featured intricate embroidery artworks that weave together threads of tradition, culture, and contemporary relevance.  

This captivating exhibition showcases Badru’s innovative spirit and artistic genius, offering a fresh perspective on leadership, identity, and existence.

Dr. Paul Bayliss, Absa’s Art and Museum Curator, provided a curatorial statement, saying, “We often say art is in the eye of the beholder and the opinion I’m giving you is one perspective. But It is not about artwork, it is about a visual story that the artists are giving you. And there is no right or wrong interpretation to the artwork. It is based on where you find yourself at that point in time and how that particular work resonates with you.”

According to Dr. Bayliss, Badru’s use of thread as a medium of expression is a bold departure from traditional art forms.

“Embroidery may not be a new concept, but the use of thread as a medium of expression is not as popular as other traditional media. Badru has brought this through as one of the heroes into his artwork, showcasing his technical skill and creative vision”, Bayliss said.

As visitors step into the exhibition, they are greeted by a kaleidoscope of colours and textures, each artwork a demonstration of Badru’s dedication and craftsmanship. Each piece is a labour of love, often taking months to complete, with every stitch meticulously woven to create a narrative that is both personal and universal.

“The beauty of art is that it crosses languages, it crosses cultures, values, it talks to everyone, and we all have an opinion thereof,” Bayliss emphasised, highlighting the universal appeal of Badru’s work. “When you look at artwork, you’re looking at it from a technical perspective and you’re looking at it from a conceptual perspective. Conceptually, what is the message that the artwork gives you?”

For Bayliss, the exhibition, “Thorns and Crowns,” is inspired by the phrase “uneasy lies the head that wears the crown” from William Shakespeare’s Henry VI, part two. It features a collection of embroidered artworks that explore the paradox of prestige and the weight of responsibility, with the human figure central to each piece. The artworks are a masterful blend of traditional and contemporary styles, with Badru’s use of skin-tone threads emphasising the intimate and personal nature of identity and existence.

“At the heart of this exhibition is a Yoruba Bearded Crown, a powerful emblem of leadership, cultural heritage, and influence,”, Bayliss explained.

“While it radiates honour, its intricate bead work hints at the quiet struggles that come in positions of power. The crown becomes an intricate beauty, but a metaphor for the duality of leadership, where prestige is often entwined with internal conflicts and relentless expectations”, he added

Bayliss praised Badru’s mastery of embroidery art, saying, “Technically, this work, I cannot find fault with it. And behind every piece that Badru creates, there’s a story, a philosophical or metaphorical, and attendant to deep messages. To Badru, he sees the world differently. It gives each of us the chance to do the same.”

As visitors gaze upon the artworks, they are invited to reflect on the complexities of leadership, identity, and existence. Each piece is a window into Badru’s world, a world that is both familiar and unknown, inviting viewers to see the world through his eyes.

 Bayliss urged visitors to invest in Badru’s work before it becomes unaffordable. “Watch this man,” Bayliss said. “If you don’t buy his work now, you are going to regret it in 10 years’ time when it becomes unaffordable to most of us. Fantastic investment, and really a worthwhile artist to invest into. Someone at the top of their profession”, he added

Bamidele Sadiq, CEO of Absa Nigeria, praised the exhibition, saying, “It’s a great pleasure to have everybody here. Thanks to Alliance Française de Lagos. Thanks to the guests here with us. And of course, massive thanks to Badru. It’s been an incredible honour to watch your progress. We are proud at Absa to be part of that journey.”

Sadiq emphasised Absa’s commitment to artist development, highlighting the significance of supporting creatives through initiatives like Absa L’Atelier.

The collaboration between Absa L’Atelier and the South African National Association for the Visual Arts (SANAVA) has proven to be a successful platform for promoting creativity and the artists behind it. By providing a platform for artists to showcase their work, Absa L’Atelier has helped to elevate the profile of African art globally.

“Thorns and Crown” exhibition was a thought-provoking showcase that elevated local narratives to global conversations. Through its unique blend of embroidery, sculpture, and textiles, the exhibition provided a nuanced understanding of the complexities of leadership, challenging viewers to look beyond visible symbols of power and prompting a deeper contemplation of what it means to lead.

With its commitment to artist development and promoting African contemporary art voices, Absa L’Atelier has established itself as a leading platform for showcasing innovative and thought-provoking art.

The exhibition’s success highlights the importance of initiatives like Absa L’Atelier in promoting African contemporary art voices. By providing a platform for artists to showcase their work, Absa L’Atelier has helped to elevate the profile of African art globally.

The collaboration with SANAVA has also demonstrated the value of partnerships in fostering creativity and artistic excellence. As Sadiq noted, “At Absa, we don’t just support artists because it’s the right thing to do, we support artists because they shape how we think, how we feel and how we evolve as a society. They are the center, they are central to progress and not separate from it.” This sentiment underscores the significance of Absa’s commitment to artist development and its role in promoting African contemporary art voices.

Badru’s work has garnered global recognition, showcasing his talent across continents. As a 2022 ABSA L’Atelier Ambassador, Badru has once again succeeded with the backing of two prominent international organizations.

“Thorns and Crown”, Badru explained, reflects the dual nature of 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”, Badru explained.

The celebrated artist from Abeokuta in Ogun state, also spoke about 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.”

“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 his artistic journey and the evolution of his styles, he said, “I started my art journey in Abeokuta. I went to the 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 different meanings. And my techniques are hand embroidery, bronze and sculpture and  textile installation.”

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.

“So many circumstances inspired this theme. One of them would be a 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 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 you know that there are challenges that come with all these things..

Badru thanked the sponsors for their support and for believing in him and his craft.