Beyond expressing beauty as a combination of shape, colour, or form, Prince Saheed Adelakun is appealing to the senses, particularly sight to exalt African beauty through KókóẸwà (Essence of Beauty), a two-week art exhibition at Mydrim Gallery, Norman Williams, Ikoyi, Lagos.

Two interconnected visual explorations shape the exhibition; Dúdúyẹmí (Dark Skin Fits) and Ojú Tó ń Sọ̀rọ̀ (The Eyes That Speaks). The exhibition opened at the gallery on April 4, 2026, and closes on April 18, 2026.

The series titled, Dúdúyẹmíturns attention to the body, celebrating the richness of African skin, the sensual geometry of body forms, and the cultural symbolism of adornments such as simple patterned natural hairstyles, colourful waist beads, body markings, and floral-patterned draperies. Meanwhile, the portrait series Ojú Tó ń Sọ̀rọ̀ presents women whose calm and composed faces emerge from vibrant fields of painterly colour.

Together, these works propose that beauty resides not in isolated features but in the harmonious interplay of form, identity, and cultural consciousness. The faces speak of presence; the bodies affirm vitality; and the colours evoke emotional atmospheres that situate the African woman’s figure within dynamic worlds of energy and experience.

Adelakun explores the expressive capacity of the human gaze, revealing how the eyes of Nigerian women carry unspoken narratives of resilience, experience, and emotional depth.

In KókóẸwà, the artist extends this investigation beyond the eyes and body to encompass the broader landscape of African feminine identity in contemporary times.

For the artist, KókóẸwà exhibition is the result of many experiences in developing an integral awareness among Africans of different generations.

Each piece on display offers viewers an opportunity to compare various positive expressions of identity.

Through KókóẸwà, Adelakun examines the layered meanings of beauty within African cultural perception. The works unfold as a meditation on femininity, dignity, and presence, situating African women not merely as subjects of representation but as embodiments of cultural memory and aesthetic philosophy.

Through this exhibition, Adelakun contributes to a broader conversation within contemporary African art—one that seeks to reclaim cultural philosophies as living sources of artistic meaning. In doing so, KókóẸwà becomes more than a collection of paintings; it becomes a visual meditation on the enduring essence of beauty.

Speaking on the works, he said: “I started the series in 2021. I had other exhibitions while working on the pieces for this series. The process of creating the rope medium alone is tedious.

“The series began while I was listening to Fela’s ‘Yellow Fever.’ I became more interested in the theme and decided to research further. One day, I stepped out and saw a lady. I marveled at how beautiful she was and what she had done to her skin. I took a photograph of her legs and realised there was a need to explore the ideas in ‘Yellow Fever’, particularly the essence of black skin.

“I searched for models and selected both dark and light-skinned individuals. However, the dark-skinned models shone brilliantly in their natural complexion. This made me question why people feel inferior and resort to bleaching their skin.

“I will create works addressing Nigeria’s situation, but for now, I want to showcase how elegant our women are and encourage them. Sometimes, people do not see themselves clearly, so they need others to remind them of their beauty. I believe showcasing this will communicate the message effectively. God did not make a mistake in creating us, so I paint women in ways that reflect calmness and strength.

“Society sometimes makes us forget who we are, and that is why I created this exhibition to remind us that beauty resides within us, and there is no need to search elsewhere for it.

Speaking on the level of detail in work, The Accommodation II, he said: “I pay close attention to detail in my work to tell stories as effectively as possible. Growing up, I focused heavily on painting techniques; from impressionism to hyperrealism and naturalism. All these influences are represented in KókóẸwà.”

Speaking on hosting the artist for the third time, the founder of Mydrim Gallery, Sinmidele Adesanya, said the gallery is always delighted to host him because of the inspiring stories behind his works.

“He has built a reputation for integrity. He is compassionate and diligent. The Lord has blessed him with this gift.

Adelakun is the Prince of the Rope Medium. All his works carry inspiring stories and challenge viewers within the context of communal living, purposeful living, and impact. Every piece embodies a vision, a story, and a mission.”