{"id":494091,"date":"2026-06-24T09:30:00","date_gmt":"2026-06-24T07:30:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/who-is-jade-fadojutimi-young-painter-already-represented-by-mega-gallery-gagosian-2\/"},"modified":"2026-06-24T14:04:49","modified_gmt":"2026-06-24T12:04:49","slug":"who-is-jade-fadojutimi-painter-gagosian","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/art-en\/who-is-jade-fadojutimi-painter-gagosian\/","title":{"rendered":"Interview with Jad\u00e9 Fadojutimi, the rising painter already acclaimed by Gagosian"},"content":{"rendered":"\n
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Jad\u00e9 Fadojutimi,\u00a0
Yesterday\u2019s Visual Snow<\/em>\u00a0(2022). Acrylic, oil, oil bar and oil pastel on canvas, 140 x 110 cm. Courtesy: Kenji Takahashi. \u00a9 Jad\u00e9 Fadojutimi.<\/figcaption><\/figure>\n\n\n\n

Jad\u00e9 Fadojutimi, a rising star in the art world<\/h2>\n\n\n\n

What immediately strikes the beholder of Jad\u00e9 Fadojutimi<\/strong>\u2019s paintings is the energy they give off. For her latest exhibition in Tokyo, her first in Asia, in 2023, she showed \u201conly\u201d four works. They nonetheless filled the entire space thanks to their colours, at once strident and pastel, and to the pictorial movement of which they bear the trace, oscillating between figuration and abstraction. <\/p>\n\n\n\n

Born in early-90s London, Fadojutimi studied art first at the Slade and then at the RCA. Her paintings are the result of a performative and therapeutic practice that engages not only all of her senses, but also her autobiographical experience as a female artist of Nigerian origin in 2023 London \u2013 whence her show\u2019s title, Memory in Translation<\/em>. While Joan Mitchell<\/strong> is a clear influence, fashion and music are just as important, as are manga, which have often taken her to Japan. It was at her Tokyo exhibition that Num\u00e9ro<\/em> met up with Fadojutimi<\/strong>, before the artist represented by the Gagosian<\/strong><\/a> galleries flew to the South of France for her Luma Foundation residency <\/strong>in Arles<\/strong>.<\/p>\n\n\n\n

Interview with painter Jad\u00e9 Fadojutimi<\/h2>\n\n\n\n

Num\u00e9ro<\/em>: Tell us about the work you recently showed at Tokyo\u2019s Taka Ishii Gallery.<\/strong><\/p>\n\n\n\n

Jad\u00e9 Fadojutimi: <\/strong>Though they\u2019re purely abstract landscapes, there\u2019s a dialogue with figuration within that too. I like to think of them as being on the spectrum between abstraction and figuration. I\u2019d like them to remain open for both myself and the viewers, who will have their own dialogue with them visually. This is when my title starts to play a role too. As well as a conversation around my interest in certain Japanese subcultures, my work has also always been about the space I find myself in and the items or objects I choose to keep in my space, whether the studio or the home, as well as photos I find myself taking every day. Because I think those small decisions we make are something to question and consider. <\/p>\n\n\n\n

My paintings are about noticing how important the element you\u2019re drawn to is. Whether it was the colour or pattern of a certain item of clothing you wear all the time, or a soundtrack, for me personally, because I love soundtracks a lot. A thing that started a conversation with you internally \u2013 a conversation about, I don\u2019t know, deep questions to do with existence, or beauty, or simply the shape of the couch in my studio and a dialogue with the plants. I like to bring them together on the canvas to reflect a moment of my own existence. And I think that, when we\u2019re having a lot of conversations about what it means to be you in a society of cultivating diversity, at least in London, it can be hard to notice yourself. In a way, my new show is a comment on memory.<\/p>\n\n\n\n

What else goes into your work?<\/strong><\/p>\n\n\n\n

I\u2019m doing a lot of writing. And a lot of the drawing I\u2019m doing is if I\u2019m seeing shows or if I\u2019m traveling, and also reflecting on how my experiences as a child interweave with my practice. Which is why I find it important to listen to soundtracks that I loved as a kid. Music has the power to transport you back to a memory and revisit the emotions you felt that first time. In my studio, I have these large club speakers to submerge myself in soundtracks and the thought processes they engender.\u00a0<\/p>\n\n\n\n

What kind of music?<\/strong><\/p>\n\n\n\n

Japanese anime soundtracks, as well as video-game and drama soundtracks. Kevin Penkin is one, and I love Hans Zimmer too.<\/p>\n\n\n\n

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Jad\u00e9 Fadojutimi chosen by Herv\u00e9 Mikaeloff for Art Basel. Courtesy: Kenji Takahashi. \u00a9 Jad\u00e9 Fadojutimi.<\/figcaption><\/figure>\n\n\n\n

“My paintings are about noticing how important the element you\u2019re drawn to is.<\/em>” – Jad\u00e9 Fadojutimi<\/h2>\n\n\n\n

What\u2019s your background?<\/strong><\/p>\n\n\n\n

I was born and grew up in suburban London, in a Nigerian family, but I\u00a0wasn\u2019t introduced to art through my parents. The conversation about my practice and identity started with this understanding that when I was home, I had the culture of being a Nigerian girl, but when I\u00a0stepped out the door I was a British girl. It felt like this weird limbo space where when you go home different things are expected of you than when you\u2019re outside. I always found that fascinating. <\/p>\n\n\n\n

At the same time, it left me feeling quite lost as a kid, questioning myself as to how I\u00a0define myself, even separately from those two entities. I was always questioning things, wondering whether it\u2019s okay not to be okay, for example. I\u00a0spent a lot of time inside. That’s where I found this obsession with anime, because I was drawn to stories that resonated with me, a different way of translating human emotion, one I\u00a0couldn’t find in Western cinema. It opened up my perspective about myself.<\/p>\n\n\n\n

When did you decide you wanted to be an artist? <\/strong><\/p>\n\n\n\n

I don\u2019t think I ever decided I wanted to be an artist. I just loved making art. All the time. At school, I took photographs, and then I started painting. I chose to study art at university because I wanted to do what I enjoyed. At the Slade, where I had to choose between painting or sculpture, I\u00a0chose painting because I love colour. My way of existing is to just step into the things that fascinate me. When I was really young, I wanted to be a fashion designer. And my dream is to be a composer. So now I\u00a0call myself a composer of colour.<\/p>\n\n\n\n

Do you feel affinities with a particular group of artists?<\/strong><\/p>\n\n\n\n

I\u2019m a lone artist. I go to the studio almost every day. I like to trap myself in my own world, maybe too much at times. My studio plays a big part in that. It\u2019s like a collection of things I\u00a0have from past and present parts. It feels like a mini installation. Once I\u2019m in that space, I shut out the world. Because I\u2019m such an intense painter, there aren\u2019t many moments when I\u2019m with others. But there are times I want to run away from the studio, which I think is important. That\u2019s when I started contacting everyone to say, \u201cHey\u2026!<\/em>\u201d.<\/p>\n\n\n\n

\"Jad\u00e9\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Jad\u00e9 Fadojutimi chosen by Herv\u00e9 Mikaeloff for Art Basel. Courtesy: Kenji Takahashi. \u00a9 Jad\u00e9 Fadojutimi.<\/figcaption><\/figure>\n\n\n\n

“Painting is a discussion with ourselves. When you see a work you\u2019re drawn to, there\u2019s always a moment where you want to leave, but can\u2019t.<\/em>” – Jad\u00e9 Fadojutimi<\/h2>\n\n\n\n

How much do you care about the spaces you exhibit in?<\/strong><\/p>\n\n\n\n

I do care, especially when there\u2019s a window. In some paintings, I use Williamsburg\u2019s interference paint. Depending on where you stand, especially if there\u2019s a window, the painting changes colour. Interference paint comes in violet, red, blue and green.\u00a0<\/p>\n\n\n\n

Are your drawings preparatory studies for your paintings or independent works in their own right?<\/strong><\/p>\n\n\n\n

Most of them are independent. Some people write a diary, I guess I\u00a0draw a diary \u2013 the burst of energy, thoughts, or colours that are in my mind. In the studio, I tend to fill my walls with drawings. And rather than using a drawing directly to start and finish a painting, I might extract elements from the drawing and let them intertwine into many works.<\/p>\n\n\n\n

What do you seek to make people conscious of through your work?<\/strong><\/p>\n\n\n\n

What I love about painting is that it\u2019s a discussion with ourselves. When you see a work you\u2019re drawn to, there\u2019s always a moment where you want to leave, but can\u2019t. I\u2019m always curious about that bridge of conversation we\u2019re having with the work we enjoy, because I\u00a0always want to notice what it is I\u00a0love about it, what it is I don\u2019t like, and what it reminds me of. I think all those thoughts are valid. I want my canvases to be spaces where people maybe recognize themselves and think, \u201cI see this, and that\u2019s okay, but why do I see this? And what does that mean to me?<\/em>\u201d\u00a0<\/p>\n\n\n\n

Jad\u00e9 Fadojutimi is represented by the\u00a0Gisela Capitain (www.galeriecapitain.de), Gagosian, (www.gagosian.com) and\u00a0Taka Ishii (www.takaishiigallery.com) galleries.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Jad\u00e9 Fadojutimi, a rising star in the art world What immediately strikes the beholder of […]<\/p>\n

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