Sole to Soul: Adewuyi's Transformative Solo Exhibition on Human Resilience and Spirituality

On a first observation, works by renowned Nigerian sculptor Adewuyi Kehinde Ken, professionally known as Kenny Adewuyi seem like antiques, but they are actually contemporary pieces.

The unique form which characterises his works- small heads and big feet, was developed over three decades ago during his Master’s Degree program. It was powered by his strong foundation on anatomy.

Adewuyi actually wanted to work on live figures but, lack of funds to pay the models, shattered that dream. The failed dream however, paved the way for an experiment that birthed a unique style that stands him out till date.

These sculptural pieces which are instantly recognizable due to their elongated forms with oversized feet and diminished heads, are up for public viewing at Temple Muse, Victoria Island, Lagos.

The powerful and long-anticipated body of work which are metaphors for grounded resilience and the weight of lived experience, is titled “Sole to Soul” and is curated by SMO Contemporary Art.

From his early days studying sculpture at Ahmadu Bello University in Zaria, where he earned distinction with awards for Best Sculpture and Best General Drawing, to his present-day studio practice between France and Nigeria, Adewuyi has cultivated an art practice deeply rooted in discipline, process, and soul. He has remained committed to the painstaking art of lost wax bronze casting; a process he executes entirely by hand.

“My work reflects what I see around me — the unspoken stories of hardship, hope, and spiritual transformation. Art for me is not decoration; it’s dialogue. Each piece invites the viewer to reflect, question, and connect,” the artist explained. The title ‘Sole to Soul’, he hinted, comes from “the poetic interpretation of playing with words. Because my works are often associated with small heads and big feet. So, every foot has a soul; coordinating the sole of the leg to the soul of the body or mind.”

The exhibition, which is supported by The Macallan, opened June 21, at Temple Muse by Mr. Laurent Favier, Consul General of France in Lagos (Nigeria). The retrospective solo show runs till July 22, 2025.

“Sole to Soul” is more than an exhibition; it is an immersive testament to the philosophy that process is divine. It is the story of a man who builds his art from the ground up–literally and metaphorically–infusing each piece with spirit, memory, and a profound reverence for the human condition.

The latest outing marks Kenny’s return to the Nigerian art scene with a stunning body of work that spans from 1993 to 2024. Curated over a decade since his last solo outing, the exhibition is a rare and intimate invitation into the mind, methods, and spiritual essence of a true master. This retrospective is more than an artistic showcase; it is a profound reflection on the human experience. With bronze sculptures that are both emotionally raw and technically masterful, Adewuyi Kenny explores themes of suffering, resilience, societal decay, and the silent strength within human fragility.

Featuring seven drawings and 25 sculptures, the exhibition also showcases rare works from Adewuyi’s student years and select pieces never before shown to the public. Some are life-sized sculptures standing over one and a half meters tall. These towering figures, shaped with exaggerated anatomy and textured patinas, tell stories of human endurance and spiritual journeying. Titles such as “Don’t Lose Hope,” “Why Me,” “Come to My Aid,” and “It’s Not Over Until It’s Over”, ignite emotional reflection.” Works such as “Poor Boy” and “The Other Side of Life” cast light on issues like displacement, migration politics, and psychological struggle, grounding each piece in deeply rooted African symbolism and personal spirituality.

Kenny’s sculptures carry not only the physical weight of the material but the emotional and spiritual journeys of humanity. The artist’s reverence for process–building kilns from scratch, sourcing found metal, and mastering the lost-wax method–is central to the meaning of his work. Each sculpture is not merely a product, but the culmination of prayer, fire, and transformation.

“The reward for creating a work is not the outcome, but the experiences undergone by the artist. Adewuyi’s bronzes embody this ethos. The small heads and large feet speak of resilience, hardship, and quiet strength–the fulfilment of life’s stipulations through process, not product,” Professor Jacob Jari reflects.

Adewuyi’s exposure to international workshops, particularly his ongoing relationship with France’s CPI-FAC (Centre de Potiers et Initiation à la Faïence et à la Céramique), has significantly enriched his practice. He has mentored and taught generations of artists. As French ceramicist Céline Laurent Desor puts it: “Kenny’s bronzes are born from techniques both raw and delicate. His vision of the world is carved into bodies rooted in earth, carrying burdens that neither release nor grow–but remain–resilient and unmoving. He is an artist of rigorous honesty.”

The pieces on display at Temple Muse stand as testaments to the artist’s ongoing evolution and relentless pursuit of craftsmanship. And according to curator Sandra Mbanefo Obiago, “Adewuyi’s sculptures remind us that life is experienced through the feet, not the head. His rough and smooth surfaces speak a universal language– one of faith, love, despair, and renewal. The feet are exaggerated, not for drama, but because they carry us through all that is seen and unseen.”

For French academic and ceramist Olivia Lefevre, “Before the heavy flow of molten bronze fills the mould, Kenny prays–and those prayers travel far. His creative process radiates a vibration that is as human as it is cosmic. It connects us all, in respect of the mystery and the breath of life.”

Delighted to host Kenny’s second exhibition as one of Nigeria’s foremost contemporary sculptors, Avinash Wadhwani, Executive Director of Temple Muse stated, “Kenny Adewuyi’s work stands out in the local and global art space. He is a master artist whose celebrated works are a part of important art collections.”

Adewuyi Kenny, whose practice spans over three decades, is a master of bronze casting who uses the lost wax technique. His works are noted for their expressive forms and socio-spiritual depth. Born in 1959, Kenny earned his B.A. (Hons) in Sculpture in 1985 and M.F.A. in 1996 from Ahmadu Bello University (A.B.U.), Zaria. He lectured at the College of Education, Sokoto from 1986 to 1992 before transitioning to full-time studio practice. His work focuses on exploring and exaggerating figurative forms in bronze sculpture.

Kenny has exhibited widely in national and international venues, including the Africa Now auction at Bonhams (London), Drouot (Paris), ART HOUSE Contemporary (Nigeria), and the 1:54 Art Fair (London). His art is held in both private and public collections worldwide.

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