Saheed Adelakun has launched an art exhibition titled Kókó Ewà, a visual campaign championing natural beauty and rejecting skin bleaching among Africans. Held in Lagos on Saturday, the exhibition draws inspiration from Fela Anikulapo-Kuti and Shina Peters' music, as well as daily life at Balogun Market, where Adelakun observed widespread efforts to alter appearance. The title, which translates to "The Essence of Beauty," reflects his message that true beauty is rooted in identity, heritage, and inner strength, particularly as embodied by African women. Adelakun's mixed media works on Masonite boards combine paint and twine, the latter symbolizing his surname, which means "one who unties knots." The pieces feature women from various ethnic backgrounds, each portrayed according to their personal interpretation of beauty, emphasizing facial features, adornment, and emotional depth.
Adelakun stated that while beauty is visible every day, the deeper meaning behind it often goes unnoticed. He emphasized that Yoruba aesthetics value character and presence over mere physical traits. "At our core, the beauty we seek is already within us," he said. The exhibition also explores the paradox of self-perception, referencing the Yoruba proverb, "The seer does not see themselves," to highlight how people overlook their own worth. The display includes both full-body compositions and facial portraits, rendered in vivid colours and intricate textures. Attendees praised the technical skill and cultural resonance of the works. Ibukun Awosika, former Chairman of First Bank of Nigeria, was among the notable figures present. Others, including artists Daniel Oruwhone and Nathaniel Bolarinwa, commended the use of colour and the contemporary portrayal of feminine grace. Media professional Markuochi Okafor described the pieces as detailed and thematically cohesive, while student Sofia Ahamiojie highlighted the visual impact of beads and pigments. The exhibition runs until April 18.
When Adelakun says "the beauty we seek is already within us," he is not making a vague appeal to self-esteem—he is directly challenging the multi-billion-naira skin-lightening industry that profits from self-doubt. His use of twine, tied to the meaning of his own name, becomes a metaphor for unravelling deep-seated myths about Black skin. This exhibition does more than celebrate African women—it positions art as a tool for cultural reclamation. In a society where global beauty standards still dominate, Adelakun's work is a quiet but firm act of resistance.
