By Corey Hall

     Freshly divorced, financially destitute, and flat-out desperate, the newcomer from Nigeria found himself surviving in the smallest apartment available to artists at 5750 S. Stony Island. The man, Adedayo Laoye, soon befriended other, older artists in the building who bemoaned how unoriginal their professional world had become. But with five used canvasses and no paper, what could Laoye – better known as Dayo – do?

     “Who said that’s the only thing you can create on?” his friends asked.

     Well, a few days later, Dayo happened upon and retrieved two doors discarded in the alley behind his apartment. He would bring them inside and soon begin panting on the doors, eventually creating “Orisa,” a Yoruba god, that, similar to a door, he noted, provides protection.

     Dayo – who graduated from the School of Art and Design, Yaba College of Technology in Nigeria – recently discussed his 30-plus year career as an artist, which will be displayed in “Evolution.” This exhibit will show from January 24 through March 6 at the South Shore Cultural Center, 7059 S. South Shore Drive. Twenty-two years after his arrival, Dayo, now equipped with ample canvasses, more paper, and much more studio space, has continued celebrating his Yoruba origins through his creations.  “Evolution,” he explained from his studio, chronicles how African people worldwide have progressed.

     “We were a family-oriented, spiritually-oriented people. We saw God through nature, and we saw specific people as intermediaries of God through us,” Dayo said. “I’m hoping that my work will emphasize our greatness and beauty of what we have, and that people will be able to see the beauty and pride in who we were and who we are, still.”

     Featuring 40-plus works created with watercolors, charcoals, pastels, oil and acrylic on canvass, and six wooden doors, “Evolution” will include titles such as “Prayer Time,” “Elder’s Meeting,” “Landscape,” and “Sango.”  (writer's note: A dot should be below the  “s” in “Sango?  It’s a Yoruba word, and the dot, Dayo stated, gives the word its “sh” sound.)

     “It’s my interpretation of the god of thunder and lightning. He became a deity after he passed,” Dayo explained, “but prior to that this particular rendition was presented as a warrior or a king. There is symbolism in that it explains what we have gotten from Sango devotees through the griot.”

     Daniel Parker, an art collector and author, whose book African Art: The Diaspora and Beyond features Dayo’s work, has purchased more than 10 paintings and one door by Dayo.  Parker calls the door, which he had framed, “one of the most cherished pieces I have.”  Dayo’s style, he said, forces African-Americans to look at African culture and invite it into their own.  

     “At first take, you may feel that the characters (in the paintings)  are cartoons, but when you look deeper, you will see that they have a far deeper meaning.  When you look at the eyes of the characters, you can see that they’re not cartoonish at all,” Parker said.  “They are significantly profound, and these hard edges to his work...captivate a striking image for the viewer.”

     When further discussing Dayo’s impact, Parker read an excerpt from his book about a painting entitled “Gre Gre.” This work, he noted, serves as an invitation to life, love, and sexuality.

   “Dayo creates acrylic paints almost sizzling off the canvass as this exuberant couple sensually dances to the pulsating beats.  (Dayo’s) burning colors and the fiery strokes of his brush add even more heat to the sultry image,” Parker read.  “Other than the dancing couple, only the artist hears the music, and he smiles as we draw nearer to better share in the mood.  The realization strikes this inviting moment meant only for the dancers.  With the stroke of his brush, (Dayo) has brilliantly woven the story, and it is our story.”              

     “Evolution” will also include “Oya by the Yorubas,” which features his interpretation of the River Niger. Oya’s interpretation, he explained, is based on a praise chant.

     “I interpret her as a whirlwind, which is fire and hurricane. Oya is known to light a fire from magical powers, because she’s a goddess represented by water, the river,” Dayo said. “Oyo is a very important part in the history of the Yorubas. She was one of the three major wives of Sango, the god of thunder and lightning.”

     While Dayo prefers not to suggest what new and seasoned observers should look for in his paintings, he does hope that they inspire conversation about their symbolism. “A work is considered alive if that happens,” he said. “If you walk through an exhibit and it does nothing to you, that work is considered dead, sterile.”

     “Evolution’s” ultimate purpose, Dayo added, is to inspire people today by celebrating the past and future.

     “I’m hoping that we will never forget who we are as Africans,” he said. “Our culture, our spirituality, our ways are the only things that distinguish us as who we are as we evolve.”

     An artist’s reception for “Evolution” will be held February 5, 2-6 p.m., and a forum, “Yoruba Culture/Symbolism & My Work,” will be held on February 19, 2-5 p.m.