Two weeks before the opening for ko Gallery’s first ever group show, Stephen
Tayo completely revised all the works intended for the exhibition. One major
change was the identity of his subjects from single image portraits to obscured
multiples of each. “Dealing with such sensitive topics,” said Tayo “I thought it
would be really, really nice to show the work in a careful way. To show the work
with some sort of diligence”.
“Diligence” as a watchword is sustained throughout What If?, Tayo’s examination
of drag culture in Nigeria. His decision to obscure the faces of his subjects,
willing participants with whom he had developed a trusting relationship over
months, would seem necessary — and paramount considering prevailing beliefs
and attitudes in Nigeria. This is also true for any sex or genre norms which do not
conform to paradigms of man and woman, husband and wife or husband and
several wives.
In all cases, patriarchy is centered and championed but the opposition to drag
culture is most formidable along Islamic and Christian grounds of sanctity. In all
cases, these beliefs are not only misguided but wrong and deluded: “there are
comedians and actors who actually crossdress to make millions” said Tayo over a
Zoom call from his base in Lagos “what then is wrong with crossdressers, when
this is the way for them to derive happiness?” As with expressions of it, civil
liberty must remain inalienable.
In all versions of What If?, confidence and self-possession is exuded by each
subject. A set of five individual portraits reveal studied poise, two of which — I
Dey Low Key and Call Me Boogie — have each subject in elegant ballroom
costume and their faces shaded by the ring and frills of their hats respectively.
Lagos Diva cuts a dash in her half-cut dress and swinging blonde hair whoseplacement left of the frame activates the plain beige colour field that takes up
6o% of the inkjet print.
The last two: Leopard Babe and Miss World are studies of the same drag queen in
leopard print and swim suit respectively. While the former takes on allusions of
feistiness, the pageantry of beauty contests adds to the range of empowering and
celebratory personalities favoured by Tayo’s choice of drag queens.
Bend Down Select is a triptych of inkjet print on a canvas. On the left flank are 11
mannequins seven of which are naked by the roadside, in the middle are heeled
shoes stringed on a metal hanger and in the left-flank is a cluster of bras. One
narrative they combine to tell is the fascination with womanhood. Another is
possibly about uncare. Male mannequins rarely come with penises and when
stripped of clothes, they have no private parts to be exposed in the way female
mannequins are left bare-breasted. Even when unintentional, the neglect –
whenever it happens – comes from a larger episteme of uncare for the female
form.
The real pizzaz is saved for four composites titled Na Lagos We Dey 1-4 on
account of the dashing hairs and theatrical struts caught in mid-stride. Did Tayo
stage or suggest poses for his subjects to achieve a direct result? “The uniqueness
was what i was looking for and this really revolves around them being themselves.
I was looking at the person, the carriage and the courage to be in a society where
even this is foreign”.
He explains further: “To be is one of the most ridiculous things right now because
of people’s insecurity”. The photographer is referring to civil liberties in general
and especially in Lagos where the nationwide protests againsts police brutality, in
October, was quelled by yet more state-sanctioned violence. He could also be
referring to growing cases of kidnappings for ransom and new levels of
watchfulness/self-awareness that is pervasive in Nigeria.
The hefty concerns addressed in What If? are impressive for a first-timer at digital
collage. His considerable reputation is built on work as a fashion and culture
photographer but in What If?, he has made the transition from outrightcelebration of cultures to outright critique of it. “For me it’s really about how I
can evolve as a person?” says Tayo “there’s always a new conclusion, a fresh
thought, a new way of looking at things”.