Art — funto

^{ono ile da/the way of the house is good ︎}
^{Dia Chelsea, New York
October 2025}

^{Screening as part of It’s an honor to be here, here I am an honor to be: a mad man (2025).}

^{Ono ile da/The way of the home is good, single-channel video, Dia Chelsea, 2025.}
--

︎︎ ︎^{this my whole hole whole hole this still little me me me ︎}
^{A.I.R Gallery, New York

May 25 - June 23, 2024

All images: Mathew Sherman}

^{A.I.R Gallery is pleased to announce this my whole hole whole hole this still little me me me, a multimedia exhibition by 2023–2024 Fellow Funto Omojola. In the exhibition, photographic portraits are collected alongside bodily artifacts, like the artist’s hair, to create a reliquary for a pillaged body. Black-and-white self-portraits, in which the artist often appears blurred and distorted, are shown alongside photo album-sized images of the artist’s family in their home space. Informed both by Yoruba understandings of illness as well as violent, colonial medical understandings of disease, Omojola considers what is left after a marked body has been despoiled or wounded, as well as what emerges when their family’s histories of ailment and indisposition are processed through Western belief systems, and arrive at Western institutions as artifacts framed for intimate review and revisit.}

^{Installation View. A.I.R. Gallery, 2024.}

]
^{Installation View, A.I.R. Gallery, 2024.}

^{Installation View, A.I.R. Gallery, 2024.}

^{Installation View, A.I.R. Gallery, 2024.}
--

^{Tend ︎}
^{Parent Company Gallery, New York
2024}

^{Parent Company is pleased to announce the inaugural show in our new location in the basement of 154 East Broadway. The group exhibition entitled Tend, features works by Nora Chellew, beck haberstroh, Carly Mandel, Sara Murphy, Funto Omojola, and Mierle Laderman Ukeles. The exhibition is about care, or the lack of care, shown towards our bodies. It is about the love and violence that is inflicted on our bodies and about the time spent enacting care and bodily labor.

The subjects in Funto Omojola’s photographs are almost painfully contained. In mother of the priest i come to beg i the subject's head is tucked under their shirt. The resulting image alludes to a decapitated form, lying prone in a field. Informed by both Yoruba understandings of illness as well as violent, colonial medical conceptions of disease, Omojola considers what is left after a marked body has been despoiled or wounded.}

^{Installation View, Parent Company Gallery, 2024.}

^{Installation View: (L) Untitled, Archival inkjet print, 24 x 20 inches, 2022. (R) Untitled, Archival inkjet print, 24 x 20 inches, 2022. Parent Company Gallery, 2024.}
--

^{mother of the priest, i come to beg ︎}
^{UBS Gallery, Red Hook
2022
All images: Stephen Joyce}

^{Installation View. Archival inkjet prints, found frames, Kanekalon hair, artist’s hair, artist’s mother’s hair, industrial carpet, canola oil, mud, and shoe. UBS, Red Hook, 2022.}

this is a reminder for sureeeeeeeeee

^{Installation View. Archival inkjet prints, found frames, Kanekalon hair, artist’s hair, artist’s mother’s hair, industrial carpet, canola oil, mud, and shoe. UBS, Red Hook, 2022.}

^{Untitled, Archival inkjet print in found wooden frame, 20 x 24 inches, 2022.}

^{Installation View (from left to right): Untitled, 30 x 24 inches, Untitled, 20 x 16 inches, Untitled, 24 x 20 inches. Archival inkjet prints, 2022.}

^{Installation View. Untitled, archival inkjet print (14 x 11 inches), Kanekalon hair, artist’s hair, artist’s mother’s hair, industrial carpet, canola oil, mud, and shoe, 2022.}

^{Detail. Kanekalon hair, artist’s hair, artist’s mother’s hair, industrial carpet, canola oil, mud, and shoe. UBS, Red Hook, 2022.}

^{Installation view. Bard Chapel, Red Hook, 2022.}