Vanishing Lines, asks us to consider that which we render invisible. The large-scale sculpture blurs the parameters we delineate and the omissions that we maintain. Whether it is the history of an island and a people forgotten or the invisible borders that we call home. The sculpture is a take on the utilitarian form of a “dolphin“ which are common in ports and surround the sculpture's plinth. Olujimi implores an 18-century Japanese building technique called Yukisugi in which he scorches and sands the surfaces of the pylons accentuating the charred wood grain. Each pylon was cut into hexagonal pillars that interlock. At a distance to work camouflages with the “dolphins” that surround the work and upon closer inspection, it reveals the deviation of the artist's intervention.
Vanishing Lines, 2019
Wood, rope, brass, cooper, and mother of pearl
15 x 8 x 8 feet
Vanishing Lines, 2019
Wood, rope, brass, cooper, and mother of pearl
15 x 8 x 8 feet
Vanishing Lines, 2019
Wood, rope, brass, cooper, and mother of pearl
15 x 8 x 8 feet
Vanishing Lines, 2019
Wood, rope, brass, cooper, and mother of pearl
15 x 8 x 8 feet
Vanishing Lines, 2019
Wood, rope, brass, cooper, and mother of pearl
15 x 8 x 8 feet
Vanishing Lines, 2019
Wood, rope, brass, cooper, and mother of pearl
15 x 8 x 8 feet