Favour Agumadu explores life, death, living in Death Goblet

Favour Agumadu’s artwork, “Death’s Goblet,” presents a profound exploration of the interwoven relationship between life, death, living. Where life and death are absolutes and can be considered as markers on opposing ends of a scale. Living is an arbitrary term that qualifies the quality of life and the definition of living can vary from person to person. This project, created in 2023 uses contrasting materials— cigarette butts symbolizing death and copper wires representing life—Agumadu invites viewers to confront the paradox of human existence: the conscious decision to drink from the metaphorical “cup of death.” in an effort to feel alive.

The inspiration for “Death’s Goblet” stems from Agumadu’s observations of societal norms surrounding smoking, particularly in the UK, where the habit persists despite widespread knowledge of its detrimental effects. This cultural phenomenon illustrates a broader truth about human behavior: individuals frequently engage in actions that undermine their well-being, even when aware of the potential repercussions. The phrase “Something must kill a man” reflects this resignation, suggesting a collective acceptance of mortality and the inevitability of self-harm.

The harms of smoking cigarettes are well-documented, with tobacco use being one of the leading causes of preventable deaths worldwide. Cigarette smoke contains over 7,000 chemicals, many of which are toxic and carcinogenic, leading to severe health risks such as lung cancer, heart disease, chronic obstructive pulmonary disease (COPD), and stroke. Despite widespread awareness of these dangers, the addictive nature of nicotine keeps many individuals locked in a cycle of dependence, exacerbating the long-term harm caused by smoking. Some find it relaxing to engage, some smoke just because it has become a part of their routine. Some people just like the sensation of fire close to their mouth.

Agumadu’s artwork uses cigarettes to expand on larger issues. The act of flirting with danger, being able to peer over the deep abyss without jumping into it. This is the same driving force that exists in adrenaline junkies, skydivers, parkour artistes. Flirting with death to maximise satisfaction with life. The cigarette butts, representing the destructive choices people make, serve as a stark reminder of mortality. Each butt signifies not just an act of smoking but a broader commentary on the decisions that lead us closer to the grave. In contrast, the copper wires symbolize life, embodying vitality, potential, and the fragile thread that connects us to our existence. This duality invites viewers to reflect on their own life choices, challenging them to consider what they are willing to sacrifice in the pursuit of fleeting pleasures.

The medium of “Death’s Goblet” further enhances its thematic depth. Crafted from wood, mirror card, copper, and cigarette butts, the materials create a tactile experience that engages the viewer on multiple levels. The use of copper wires adds a layer of complexity; their twisted forms suggest both fragility and resilience, mirroring the human experience. Meanwhile, the inclusion of cigarette butts introduces an element of decay, juxtaposed against the vibrant potential of the copper. This contrast serves as a visual metaphor for the tension between life and death, encouraging viewers to confront their own mortality and the choices that shape their lives.

Agumadu’s artistic process is reminiscent of Damien Hirst’s “A Thousand Years,” a work that delves into themes of life, death, and the cyclical nature of existence. Hirst’s piece famously features the decay of life through the use of animals and insects, forcing viewers to confront the reality of mortality. Similarly, “Death’s Goblet” compels viewers to reflect on their own life choices and the consequences that follow. The artwork’s thought-provoking nature fosters dialogue about self-destruction, societal norms, and the often-overlooked relationship between pleasure and pain.

The artiste Favour Agumadu started making art at a young age, and has since expanded beyond traditional paint on canvas. Last year, he exhibited ‘City on the Hill’– a piece of work that used hair, canvas, paper, eyelets, grommets and acrylic to symbolize ways in which slaves would create escape routes by plaiting pathways into the hair. ”Death’s Goblet” represents another aspect of life from Agumadu’s unique perspective. This particular artwork has been a part of the Letchworth Open Exhibition at Broadway Galley, United Kingdom.