‘The art world is part of my medium,’ explains Kayode Ojo. A disciple of Marcel Duchamp, adopting his penchant for the appropriation of mundane, ‘readymade’ objects, and recognition of the gallery’s ability to vastly elevate the worth and discourse associate with the objects within its grasp, Ojo is interested in making layers of production and trade visible. He gathers fragments pertaining to a materialist, capitalist culture; relics of fast fashion like a H&M fringe dress, a grey ASOS suit, a hairpiece purchased from Amazon. Although Ojo problematises the objects’ conception, he also willingly elevates them, realising their aspirations for grandeur. He meticulously drapes synthetic fabric over metal armatures and pieces of Breuer-style furniture, fastening all of the items taut in a play of mutual culpability using key rings, carabiner hooks and steel handcuffs. ...
