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SOULL OGUN: Follicure, 2021, Antique Glass, Ruby, Black Onyx, Compressed Coral, Garnet 14K gold
7.25" H x 3" x 4.25" D
SOULL OGUN: JHERI, THHT, THHT, 2020, Wig: Brass, 24k gold, silver / Stand: Smokey quartz, tigers eye, opal, amazonian, mother of pearl, black onyx, rough ruby, brass, 12 × 8 in | 30.5 × 20.3 cm
SOULL OGUN: Self Portrait, 2020, Brass, 24k gold, silver / Stand: Smokey quartz, tigers eye, opal, amazonian, 12 × 8 in | 30.5 × 20.3 cm
SOULL OGUN :THHT/ THHT , 2020, 13”x 13”x5”, 22K Gold Leaf | Brass
SOULL OGUN: Sigil Knights, 2020
Brass, 24K gold, jasper, smokey topaz, quartz,
SOULL OGUN: THHT, THHT “: Tangled Coil Tangled Soil, 2022, Universal, Multiversal Spiral - The Wave”, 20” x 17”x 4”
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SOULL OGUN:Slip Through, 2020, Brass, 24K dip, clear quartz, agate, 12 × 10 × 9 in
SOULL OGUN
Provenace
Soull Ogun explores the relationship between ancient metal fabrication techniques, contemporary philosophy, solar technology, and the reimagining of Afro-Futurism in her jewelry and sculptural practices, utilizing metalsmithing techniques that encompass and encourage a rich history of blending regality with science. Ogun is co-founder and head designer of L’Enchanteur, a jewelry, clothing, and lifestyle incubator that seeks to redefine the meaning of an heirloom.
Ogun has created bespoke jewelry for artists including Ms. Lauryn Hill, Erykah Badu, and Beyoncé in the film Black is King. She was formerly the lead jewelry designer for 3.1 Philip Lim and earned her BA from Morgan State University.
ABOUT
VISITOR CENTER proudly announces Provenance, an exhibition opening April 15, 2023, that will feature works by Sophia De Jesus-Sabella, Soull Ogun, Patricia Orpilla, Sagarika Sundaram, and Mia Wright-Ross. Provenance will present contemporary artists who engage craft materials and traditions to consider intertwining notions of materiality, lineage, and identity.
ABOUT THE EXHIBITION
The ownership history of an art object, or provenance, is often recorded by cultural institutions in an effort to qualify an object’s authenticity or value. This practice frequently treats an object as its own entity from its completion to the present, separate from its creator, as it travels between places and amongst collectors. Recontextualizing the idea of provenance, this exhibition will encourage a broader application that centers and celebrates the layered histories and influences inherent to an object by re-engaging the agency of both the artist and the viewer.
The contemporary artists represented employ traditions, materials, and techniques associated with craft. This commonality is not coincidental, as craft media – including the weaving, metalsmithing, felting, and leather artisanship on view – are intrinsically rich with memory.
To observe any artwork is to activate it with one’s own interpretation; with craft media, the artwork is distinctly loaded with tactile connotations, historical applications, generational techniques, and material associations. Provenance thus presents works that are bolstered by their pasts, the identities of their creators, and the associations unearthed in the viewer.
