A recurring motif, highlighting cultural appropriation, resounds through the works featured in Jacqueline Suowari’s first exhibition in Paris like a theme song playing in the background, Okechukwu Uwaezuoke writes Really, should anyone have any reason to doubt that Jacqueline Suowari’s solo exhibition, Adorn, was a huge hit among the gaggle of art enthusiasts who converged at the art space along Rue de Verneuil—one of those Parisian narrow thoroughfares within shouting distance from the Seine River—that Thursday, May 30 evening, when it officially opened? About that exhibition, which was her first in the French capital city and indeed in continental Europe, Suowari enthuses about the fact that collectors flew in from both the UK and US to view her new body of work. “Many people took the time to familiarise themselves with my previous work, and the feedback was that this body of work was more impressive,” she adds. Interestingly, her ever-evolving experimental trademark style—a style that sees her blending ballpoint pen, paint, fabric, and ornamentation to produce visually spectacular collages—appears to have elicited enough interest to garner the attention of some international gallery owners.
Put it down to her apparent exploration of cross-cultural connections, which should resonate with her growing worldwide following. “By joining together various materials, patterns, and cultural influences, the works become a collage of various fashion trends and cross-.