IPHRI STUDIO
What’s your name and where are you based?
Laolu Numa, Currently based in London, UK
Can you describe your practice in a few words?
Using metal to imagine worlds outside of western humanist confines.
Your work sets out to problematize the phantasy of the self contained individual. What is it about this idea that interests you, and what are you reaching for instead?
I find the idea of “self-contained individual” to be very detrimental to the planet and everything on it. Its a framework of thinking of the “self” that supports the current capitalist exploitation of the planet and everyone. My work is greatly inspired by writers like Sylvia Wynter and Zakkiyah Iman Jackson, and something central to both their intellectual production is a critique of the western mode of being human which has forcefully become a global standard. So I’d say that’s what led me to that as my central inquiry.
Your collection is titled BLACK RUPTURES: Archaeology of a pluriversal future, what does that mean to you?
A world where many worlds exist; multiple modes of being human exist simultaneously with relationality.
For your graduation display you built a large mound of raw earth with body parts emerging from it, drawing on a speculative representation of ancient Yoruba burial practices. Can you tell us more about this piece?
This all was drawn from research into west African archaeology. Burial because historically in the context of west Africa precious artefacts are found at burial sites because they tend to be buried with the owners, the installation recreates this practice but with a futuristic tilt. Body parts were used to showcase all the pieces on the body. It was circular so people just walked around it to take a look at the earth sculpture and the pieces on the 3D printed body parts.
The pieces are named AMPHIBIA, MAMIWATA, ECHOLOCATE, ARO, ILA, FULA, MANILLAYE. Where do the names come from?
A mix of sources. Some western scientific, others African oral traditions, Yoruba names for the type of piece and the rest I made up based on the references involved to make the piece.
Can you walk us through how one of these actually gets made?
It starts with a sketch or a collage of the visual references/ideas I want to bring together to make a piece. I make a prototype in a non-metal material to estimate the dimensions of metal I need etc (if necessary) Make a metal prototype in a non-precious metal like copper, in this stage I tend to discover which elements I want to add or remove because in the process of working the metal you always discover new ideas as the metal is transforming that change the initial idea you had on what you want to make. My favorite part of working with metal really. Make a final prototype in silver as that is the material of choice for my practice because its properties let it be situated as excavated future antiquity. (It can survive for millennia without corrosion and its oxidation allows it to record its interaction with the environment and wearer)
What do you hope someone who wears one of your pieces feels?
Empowered sense of self, psychological armor basically.
What’s currently inspiring you outside of your work?
Sci-fi, fantasy, surrealist films, Archaeology of west Africa and Atlantic Africa in general, Orisas of the ifa pantheon
Where can people find you?
Website: www.iphri.studio
Instagram: iphri.studio
Exhibition: “After the Haunting” at Broncko Bianchi, 458 Hackney Road.
