Another Grace in Grease, 2024, African Print Fabric, 70 3/4" x 55" x 7 3/4"
Waiting Alone, 2025, African Wax Print Fabric, 48" x 48" x 7 3/4"
The Love Story, 2024, African Print Fabric, 100" x 47" x 9"
Ability to Multiple in Versions, 2025, African Wax Print Fabric, 36" x 32 1/2" x 9 3/4"
Attracting Opposite in Circle, 2024, African Print Fabric, 57" x 72" x 7 3/4"
Seasoned Partners, 2025, African Wax Print Fabric, 33" x 31" x 10"
Receiving Grace, 2024, African Print Fabric and suede cloth, 47" x 30" x 6 1/2"
The Crowd is not the Compass, 2025, African Wax Print Fabric
Layers of Applause, 2025, African Wax Print Fabric, 35" x 35" x 8 1/2"
Being Present, 2025, African Wax Print Fabric, 37" x 29 1/2" x 14"
Beauty Comes in Warm Touches, 2025, African Wax Print Fabric, 54" x 56" x 7 3/4"
Questions Unasked, 2025, African Wax Print Fabric, 67" x 48 3/4" x 9"
Getting Ripe and Ready, 2025, African Wax Print Fabric, 51" x 43" x 7"
Momentum of building a Life, 2025, African Wax Print Fabric, 43 3/4" x 64" x 14"
Dream Sparks in Blues, 2024, African Wax Print Fabric, 57 3/4" x 53 1/2" x 14 1/2"
Fruits within, 2024, African Print Fabric, 54" x 33 3/4" x 23 1/2
Ready Within, 2024, African Print Fabric, 57" x 23 1/2" x 27 1/2"
Steady Moves, 2024, African Print Fabric, 55" x 45" 19 1/2"
Samuel Nnorom
Ocean Rise
Exhibition Dates: September 20 - November 1, 2025
Artist Statement
My interest lies in the history, value, meaning, politics, consumption, power, and identity represented on the Dutch wax prints or African print fabric (Ankara) and the second-hand or used clothes (Okirika), which are predominantly consumed within my local community and West Africa. Fabrics evoke a sense of social structure or organization that interlaces humanity into society; however, when referring to the "fabric of society" or "social fabric," it is unique to different societies that inform my contemplation on socio-political structures, consumerism, industrialization, and colonial remnants. These themes are sometimes expressed through metaphors such as bubble forms, bindle forms, lines of fabric strips, exploded bubbles, and tied clothes on architectural structures or canvases using techniques such as cutting, rolling, stitching, tying, and installation. Such expressions respond to our daily lives and struggles while fostering commonality and social connection.
I hope for my works to inspire endless possibilities in the minds of audiences by promoting self- interrogation and critical thinking while appreciating artistry at its finest.
- Samuel Nnorom
Fabricated Images, Instrumental Messages The Art of Samuel Nnorom
By: Chuu Krydz Ikwuemesi
Some artists choose art; others are chosen by art. The difference between the two categories often lies in the level of passion that drives the artist’s vision and the uncanny commitment that seems to consume him/her. In his Anthills of the Savannah, arch novelist Chinua Achebe compares such creative passion to agwu, the poor but more positive cousin of madness. For agwu, in its creative essences, gives the eagle eye to the one it possesses to enable him/her dream dreams and see through the looking glass to the world behind the material world. For the creative artist – more than the agwu-possessed entity – he/she does not only see beyond the ordinary for the sake of doing so; the experience becomes an anvil on which reality is renegotiated and concretized in the form of art. In light of this, I should say that art chose Samuel Nnorom and that, so far, the romance has been fruitful.