Interview with Sarah Tanguy
ST: I think of working with clay as a very sensual activity thats different than chiselling away at a stone.
LO: What is inside, the internal need drives me more than the specific material. The use of clay, particularly to me, was inspired by something a bit more scientific: how to realise the mysterious capacity of clay and understand it as condensed information. Clay has all of the physical remains of the past, human, trees and everything else. I use clay to understand what is already inside, to explore the energies that appear mysterious. But really, with years of acquaintance, one realises that the shape of reality is less mysterious than what one may have thought.
ST: How do you decide on the colour? Is it related to emotions?
LO: The colour stems from the circumstances that surround the pre-engagement with the work. In fact, the working process calls up emotions, and these emotions overlap objectivity, although some objectivity survives the blitz of emotions.
Whether in clay or in stone, Oyekan's sculptures link past to present and pulse with an animistic energy. Rooted in physical experience, these bold creation stories celebrate natural phenomenahe once cited fruitage, colouration, and dispersal of seeds as notable points of transformation and bemoan human foibles and destructive forces. Above all, they inspire contemplation and renewal.
CV & Education
Qualifications and training
1988 - Master of Art, Royal College of Art, Kensington, London
2007 - Aston Martin meets Art /Lawson Oyekan, Aston Martin Lagonda Limited, Global HQ, Gaydon
2004 - Lawson Oyekan and The Spirit of Nature, Mariland Institute Colloege of Art, Baltimore, Maryland USA
2007 - Physics Being Healing Physics: Open Air Installation, Aston Martin Lagonda Limited, Global HQ, Gaydon, Warwick, England
Competitions, prizes and awards
2001 - Grand Prize, World Ceramic Bienale, World Ceramic Exhibition Foundation, Inchen, South Korea
1989 - Darwin Scholarship RCA, Royal College of ART, Kensington, London