ROME.- Black Liquid Art Gallery presents ÀAÀ, Àwòrán Aláṣejù Àṣà - Olamilekan Abatan and the African Neobaroque, an exhibition curated by Antonella Pisilli that brings to light the extraordinary ability of young Nigerian artist Olamilekan Abatan to reinterpret the great classics through a contemporary lens.
Born in Lagos in 1997, Abatan is considered one of the leading figures in African hyperrealism, capable of blending Western classical aesthetics with elements of African visual culture. In his paintings, the influence of Renaissance and Baroque masters merges with modern and identity-driven details: African wax fabrics, with their vibrant colors and geometric patterns, become an integral part of the composition, enveloping the subjects and rooting them in a powerful and authentic cultural vision.
After graduating in visual arts, Abatan began his artistic career with remarkable success, establishing himself on the international scene thanks to his mastery of charcoal and pencil techniques. His work is deeply rooted in African textile tradition, using fabric motifs as vehicles of historical memory and cultural pride. In his early works, a strong sense of belonging to African culture emerges – a visual expression of Black power and the resilience of his people.
In recent years, the artist has explored the dramatic language of light and shadow, inspired by Caravaggio and his ability to transform painting into a theatrical stage. His works place the African man at the center of global art history, repositioning classical figures in a contemporary context.
Among the works on display, Samson and Delilah stands out, where Abatan reinterprets the well-known iconography of betrayal and vulnerability with contemporary sensitivity. While Rubens emphasized drama through a play of light and shadow, Abatan places his protagonists in a two-dimensional space defined by wax fabric, which becomes a cultural and identity-bearing symbol. The detail of a tablet featuring the Netflix logo suggests a modern take on the concept of distraction and deception, while the tattoo on Samson's arm – a skull wrapped in a serpent – reinforces the theme of destiny and illusory strength. This work is a reflection on human fragility, but also an affirmation of African cultural resilience.
In Flagellation, by contrast, he draws inspiration from the grand tradition of Caravaggesque painting. Here, Abatan eliminates any decorative elements and focuses on the brutality of suffering, revealing the human body in all its fragility and expressive power. Light does not define a spatial environment, but rather isolates and monumentalizes the figures, transforming pain into an iconic and almost mystical dimension.
The exhibition also offers a glimpse into Abatan's creative process, with videos documenting his skillful use of light and composition. Much like Caravaggio, the artist constructs a visual theatre in which the subject emerges with full intensity, telling stories of strength, beauty, and identity.
As art historian Moyo Okediji observes in the exhibition catalogue published by Gangemi Editore, Abatan develops a kind of painterly "pidgin language," where African and Western visual elements merge into a new expressive form. "Abatan is not an artist in exile," writes Okediji, "his art is born at home, from the Yoruba Àṣà, and he uses European painting as a tool, not as an end." In other words, his works do not simply replicate the Western canon, but transform it, giving rise to a visual narrative deeply rooted in his cultural origins.'
According to Priscilla Manfren, Abatan enters the globalized art context with a vision that unites tradition and innovation. "His art does not seek a definitive destination," says the scholar, "but continuously explores the possibilities of contamination between past and present, between aesthetics and content, between vision and reflection."
Abatan was recently featured in the exhibition Strategic Interplay: African Art and Imagery in Black and White at the Toledo Museum, an event that explored the expressive power of black-and-white imagery in contemporary African art. On that occasion, the work The Next Move was acquired by the prestigious museum, confirming the significance of his artistic research. His works are part of major international collections, solidifying his position as one of the most innovative artists on the contemporary scene.
