Praxis Modulus, by Ayomide Tejuoso (Plantation), is interested in IFA and dialects of destruction in contemporary decadence. It is enamored by black visual aesthetics and the potency of images, sound, and objects in colonial wreckage. It is a three year body of work that will consist of sacralised images, films, paintings, texts, and sounds, centering Ayomide Tejuoso as a muse; a symbol of restlessness in modern calamity. 2026 will introduce the body of work through 50 images, 10 mixed media pieces and objects, a 5 minute film, and 1 exhibition. 2027 will follow the project with 4 solo exhibitions. Each presentation  will act as ephemeral symposiums of expressions, shaped by sound, image, material, and body– a physical entry into the creative universe.

To detail further, Praxis Modulus is an absurdist myth, a tale of “PLANTATION, PLANTATION” and the black bodies that survive in turbulence. It will consist of conceptual art portraits of black women with blue Sùkús sitting on white horses. Stills of Plantation with sheep on her chest and turquoise on her feet, and archives of black boys with golden crucifixes. It will be a dialogue of West African visual codes and Western Catholicism. The mixed media pieces will be canvas re-imaginations of the portraits alongside plastic found objects. The film will be a 5 minute expansion of the produced images; a rhythmic transformation of the script titled “I was born with blood on my teeth, death on my lips, and sin on my tongue” (Ayomide Tejuoso, 2024). The 5 exhibitions will be marked by a sound and performance installation made by Ayomide Tejuoso and a Yoruba folk music band. Enamored by the significance of Faaji Agba and Yusuf Olatunji the exhibitions will be immersive sonic introductions to Yoruba ontologies.
Praxis Modulus (2025 - 2028)

100 Images

20 Physical Artworks and 4 objects

2 films





                                                                         


The World:

Praxis Modulus is an absurdist myth. A tale of "PLANTATION, PLANTATION" and the black bodies that survive in turbulence. It is a photography, film, installation and performance practice grounded in IFA and black dialects of grief and becoming, a creative manifesto devoted to developing West African visual codifications through Yoruba ontologies and African American aesthetic philosophies.


It engages IFA in its position of the positive and the negative. Blue is not decoration here, blue is a symbol of death and of sacredness, held at once, refusing to resolve into one or the other. Everything in this world collapses into a collection of immersive and mythical stills, into a folk tale of black beings in Europe and West Africa stuck between states of nihilism and bewilderment, hope and resistance.


This is a dialogue of West African visual codes and Western Catholicism, two systems of belief and punishment and salvation pressed against each other until something else emerges. Black boys with crucifixes on their lips. Black women, bare, stained in blue, wrapped in green white flags, blackened bodies. My own naked body dipped in white, crossed with red, crowned with a Shuku, devoted to my name, PLANTATION PLANTATION. An ontology pressed against the moving image. It borrows nothing directly. It converses.
Mood board: