Between Cézanne's insistence that the apple is the world's most philosophically loaded object and Cy Twombly's treatment of outline as a kind of slow, breathing inscription, Theo Adeyemi's submission locates itself precisely at the point where neither account fully wins. The tan line traces two lobed shoulders before curving downward to a double-indented base, and the leaf above - rendered as two divergent strokes that do not quite close - carries the same quality of purposeful incompleteness that characterises the whole: the form is entirely legible and entirely unwilling to settle.
Between Cézanne's insistence that the apple is the world's most philosophically loaded object and Cy Twombly's treatment of outline as a kind of slow, breathing inscription, Theo Adeyemi's submission locates itself precisely at the point where neither account fully wins. The tan line traces two lobed shoulders before curving downward to a double-indented base, and the leaf above - rendered as two divergent strokes that do not quite close - carries the same quality of purposeful incompleteness that characterises the whole: the form is entirely legible and entirely unwilling to settle.
- Curatorial note, wifärt gallery