The exhibition title, inspired by a biblical scripture, echoes the words of a man whose vision, upon being healed, transformed: “I see men like trees, walking.” This verse affirms Taiye’s exploration of how women stand as enduring figures of strength and continuity, rooted deeply in their pasts while ever-growing towards the future.
I See (Wo)men As Trees is Taiye Idahor’s first solo exhibition in Nigeria in a decade. This highly anticipated exhibition is a multifaceted exploration of ownership, freedom, identity, and the rich legacies women inherit across generations. At its core, the exhibition examines women’s resilience and deep-rooted connection to their histories, lands, and communities. The exhibition title, inspired by a biblical scripture, echoes the words of a man whose vision, upon being healed, transformed: “I see men like trees, walking.” This verse affirms Taiye’s exploration of how women stand as enduring figures of strength and continuity, rooted deeply in their pasts while ever-growing towards the future.
The catalyst for I See (Wo)men As Trees began in 2020 during the post-lockdown period of COVID-19 when Taiye found herself working on a plot of land she had acquired two years prior. During this time, she observed two other women working on their lands, constructing their individual spaces amidst the vast, undeveloped landscape. This shared yet deeply personal experience of creation sparked Taiye’s reflections on women’s connections to the land and their evolving sense of autonomy.
These ideas permeate the exhibition, inviting viewers to explore these layers of identity, resilience, and uncertainty embedded in women’s experiences.
The exhibition is composed of four distinct series, Wade in the Water, I See (Wo)men As Trees, Emancipated but Not Free, and Hairhythm. Each series draws on Taiye’s personal reflections and broader cultural narratives, forming a cohesive yet complex narrative centred around the metaphors of trees, water, and hair. These natural elements symbolise continuity, growth, and the cyclical nature of life, as well as the intricate bonds women share with the land and their ancestral legacies. The harmonious blending of the women’s soft brown skin with the reddish ground and wooden beams, their earthy tones evoke stability and inner strength, deepening their connection to nature and ancestral roots. Throughout the exhibition, the women appear almost translucent, capturing the paradox of their existence, present yet intertwined with something intangible, expressing the tension between emancipation and lingering confinement. Though visibly free, their presence remains subtly tethered to unseen forces, representing how freedom, despite its visibility, is often bound by cultural, historical, or personal constraints.
