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The assembled sculptures are then powder coated in the brilliant hues he favors for lasting color. Using his precise specifications and scanned image files, a fabricator laser cuts the elements to create Ekpuk's work in steel.

No matter the medium, he says, 'The basis of my work is about lines, so I'm still drawing, but I started looking at my drawings as 3-dimensional objects.' Apart from the dimensionality of relief painting on canvas, he wanted to impart solid form. He's moved from earthen mark-making in childhood – his first medium, drawing lines in the sand – through the analog tools of graphite, ink, markers, paint, pastels, collage, and prints to digital drawing and computer-aided design. He eschews a purist standard as to what constitutes a viable medium for fine art. He thinks expansively about utilizing new technologies in art, embracing their plasticity. Not a reproduction of one his sought-after drawings or paintings, but rather a purpose-drawn composition created on his iPad for his limited-edition collection of wearable art and home goods. Gracious in speech, manner and with an easy laugh, he offers a seat and some chai – served in a mug emblazoned with his artwork. It will be an alcove where people can come and actually sit and read books, engulfed in my writing.' People used to travel around the world to get it.' He adds, 'My grotto at Somerset House will be that blue with the writing in white an Afrofuturist shrine for learning, for knowledge.

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Referencing artist Yves Klein's registration of the shade as International Klein Blue nearly sixty years ago, he asserts, 'They were able to reproduce that blue in a lab that would be stable, but the origin of this is the Tuaregs of Morocco.

Splashes of the hue, subtle variations of Ultramarine are tacked upon the wall. Yet, for the next in the suite of paintings and a site-specific mural, seemingly apropos, he is contemplating blue. Platt in January, curator Olabisi Silva in February, and both professor Pius Adesanmi and curator Okwui Enwezor during the second week of March.īold graphic symbols – vivid red and deep black – push forward from canvases in impasto relief for his planned solo exhibition, Marks & Objects –his first at New York's Aicon Gallery. On the first of a couple of studio visits in 2019, the artist had moved through a 'season of mournings,' the winter passings of peers who shared his artistic and intellectual curiosity. From drawings in chalk, destined for erasure to monuments of steel, galvanized to endure, the breadth of Victor Ekpuk's body of work encompasses both ephemerality and posterity the evocation of memory, elucidating the human condition.