Evan Ifekoya was born in Iperu, Nigeria in 1988, earning a BA in Fine Art New Media from Winchester School of Art, University of Southampton (2010), followed by an MA in Contemporary Art Practice from the Royal College of Art (2017). Identifying as 'they', Ifekoya examines the politics of culture, society, and aesthetics through various media, including sound, text, video, and performance, spotlighting marginalised voices, challenging dominant power structures, and exploring Black queer histories. Their work often interlaces personal experiences with broader cultural narratives, shedding light on issues such as gender dynamics, racial identities, and technological influences in modern life. Ifekoya's art bridges the past with the present, emphasising the significance of shared experiences and histories.
Interdisciplinary artist and lecturer, Evan Ifekoya was born in Iperu, Nigeria in 1988. Moving to the UK, Ifekoya gained a BA in Fine Art New Media from Winchester School of Art, University of Southampton (2010), followed by an MA in Contemporary Art Practice from the Royal College of Art (2017). Ifekoya examines the politicisation of culture, aesthetics, and society. Drawing inspiration from both historical archives and current events, their work uses diverse media such as sound, text, video, and performance to challenge predominant power structures and highlight previously marginalised voices and experiences. Ifekoya’s interest lies in the idea of speaking from multiple positions, simultaneously. Their exploration spans the somatic act of listening, the therapeutic power of sound, and the spiritual facets of sexuality. By reinterpreting common imagery and employing day-to-day items, they aim to shatter the veneer of preciousness in art. They envision art as a realm where resources can be redefined and shared equitably, while also questioning the unspoken norms of public and social domains. Ifekoya critically evaluates technology's role in our lives and often incorporates its influence, especially in performances. In Gender Issue (2015), Ifekoya tackled the topic of trans identification. Utilising digital video, they investigated the intertwined nature of trans identities, societal gender narratives, racial dynamics, and systemic inequality. This work employed collage and superimposition techniques as a commentary on the interplay between cultural gender portrayals and personal narratives, emphasising the social implications these portrayals manifest, such as discrimination, violence, and misrecognition. As noted by Ej Gonzales-Polledo, ‘Through juxtaposition, gender produces effects in manners of being, affecting rates, degrees and intensities which draw upon, yet are not reducible to, the relation between identity narratives and state discourses’ (p 105). In 2017, Ifekoya undertook an artist's residency at Somerset House, researching archives related to blackness, sound, politics, and social life.
In 2018, Gasworks London presented Ifekoya's debut solo exhibition, Ritual Without Belief. The show created a nexus for 'polyphonic' concepts, anchored by a six-hour sound piece (now part of the Arts Council Collection) which the artist characterised as ‘a black queer algorithm across generations, locations, and political affiliations’ (Gasworks' website). A profound exploration of abundance, history, and community, the show explored the rich tapestry of Black queer history by drawing on archival fragments relating to artists whom Ifekoya admired. At its core, the exhibit sought to connect past lived experiences with the present, emphasising the value of history, even when faced with erasure. The physical installation consisted of an image of sunlit water that stretched across the floor and ascended the gallery walls, symbolising Ifekoya's alter ego, Oceanic Sage – described as a ‘watery’ entity. The soundscape, a harmonious blend of Ifekoya's voice, music, and pop culture audio clips, served as an auditory reflection on race and gender. The artist’s concept of ‘polyvocality’ underscored their complex identity as a queer Black individual who often found themselves representing broader communities and histories. Key verbal references to the theme of abundance were often layered with echoing commentaries in the soundtrack, challenging the limits of clear audibility. The words harmonised with artist and queer activist Ajamu X's photograph Bodybuilder with Bra (1990) – the only portrayal of a human body in the exhibition – displayed for the first time since its creation.
Ifekoya's contribution to the exhibition Body Poetics at GIANT, Bournemouth (2023) was the sound work titled 222: Oceanic Sage (2022), which was paired with the Guerrilla Girls' poster Birth of Feminism, 2001. Ifekoya’s work provided a profound auditory experience that contrasted and complemented the visual activism of the poster. While the latter directly addressed societal issues, Ifekoya offered an introspective avenue for listeners. Through the voice of Oceanic Sage, Ifekoya guided audiences towards introspection and self-awareness, emphasising the idea of inner tranquility and empowerment. The transcendent nature of Ifekoya's piece encouraged individuals to recognise their intrinsic worth and capabilities. It not only invited self-reflection but also posited that genuine change can emerge from personal realisation and empowerment. Ifekoya’s ongoing project, A Score, A Groove, A Phantom explores archives of blackness, community, and legacy, reflecting on how they intersect with contemporary queer nightlife and trauma.
Ifekoya's recent performances have featured collaborations with Victoria Sin at Block Universe, and appearances at the ICA and Camden Arts Centre in London (2017 and 2018 respectively). Their work recently featured in An Infinity of Traces, curated by Ekow Eshun at the Lisson Gallery and in Untitled: Art on the Conditions of our Time, at Kettle’s Yard, Cambridge (both 2021). In 2018, Ifekoya founded the Black Obsidian Sound System (B.O.S.S.), a collective run by and for QTIBPOC (queer, trans, intersex, black, and people of colour). Ifekoya lectured at Goldsmiths College London before moving to Falmouth University. Current research projects include Transforming Collections with UAL’s Decolonising Art Institute. In the UK public domain, their work is represented in the Arts Council Collection.
Consult items in the Ben Uri archive related to [Evan Ifekoya ]
Publications related to [Evan Ifekoya ] in the Ben Uri Library