Self-healing and magic crystallize in ‘SALT to CATCH GHOSTS’

48 hills
Against the stark white walls in the main gallery, Gbadebo presents two works using black dreadlocks: “Dada” (2015) and “Magic Johnson has the cure to AIDS” (2017). In the former, a tall column of dreadlocks protrude from wall-like spikes, perhaps a spine; in the latter, Gbadebo transforms the hair into a biomorphic shape, where a strategically placed void suggests a vaginal opening or open mouth. 
September 30, 2022