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An exhibition titled ‘The Shape of Memory’ is currently on display at Terra Kulture, bringing together a collection of works that reflect on identity, resilience and the lived experiences of women.
The exhibition also forms part of activities marking International Women’s Day, offering visitors a contemplative space to engage with themes of self-love, empowerment and personal growth.
Created by artist Jessica Ajuyah, the exhibition explores how memories shape identity and influence the ways women navigate societal expectations while remaining grounded in their own aspirations. Through a series of layered digital paintings, Ajuyah invites viewers to reflect on how life experiences accumulate over time and leave lasting imprints on the self.
According to Ajuyah, the exhibition represents a deeply personal and conceptual exploration of memory and identity.
“The Shape of Memory is a cohesive body of work exploring memory, materiality and the lived experiences of women. The series examines how memory shapes identity over time and how those experiences are carried within the body and expressed through surface,” she said.
She explained that her creative process involves building complex visual layers that mimic the way memories overlap, fade and resurface.
“Through digital painting, I build layered compositions that reflect the way memories overlap, fade and resurface. Texture, repetition and visible brushwork are integral to the work, allowing the material itself to mirror the instability of recall. What remains clear, what becomes blurred, and what is consciously held onto are all part of the visual language of the series.
“The paintings explore the importance of a woman taking time to fully understand herself, her desires, her boundaries and her voice. They reflect the reality of navigating expectations from family, society and relationships while choosing to remain grounded in one’s own growth,” she said.
She noted that the title reflects how experiences accumulate and shape the way we see ourselves and the world around us.
Her words: “Memory is not fixed or linear. It is layered, emotional, and often abstract. The way we remember things is rarely exact.
“The Shape of Memory speaks to the idea that who we become is rarely formed in a single moment. It is shaped gradually through experiences, relationships, and reflections that accumulate across our lives. Memory does not simply record the past; it actively shapes how we understand ourselves, the paths we choose, and the strength we carry forward.
Beyond its visual appeal, the exhibition also seeks to spark conversations about empowerment and self-acceptance.
“The exhibition contributes by creating space for reflection and conversation around what empowerment and self love actually look like in everyday life,” Ajuyah said, adding that such ideals are built through personal decisions rather than abstract concepts.
Curator at the Terra Kulture Gallery, Barrister Yakubu Yahaya, described the exhibition as an important addition to contemporary African art discourse.
“The Shape of Memory positions Jessica within a lineage of African artists who treat memory as both fragile and resilient. Her work is not only aesthetically compelling but also socially urgent, reminding us that memory is the raw material from which identity and culture are continuously edited,” Yahaya said.
He likened Ajuyah’s artistic process to film editing, noting that her technique reflects the fluid nature of memory.
Yahaya further explained that Ajuyah’s work is informed by conversations with women about their lived realities.
“Her conversations with women about growth, pressure, softness and strength inform the works, situating memory as embodied experience rather than an abstract concept,” he said.
He also noted the exhibition’s broader cultural significance within Lagos.
One of the visitors and cultural figure, Dede Mabiaku, who attended the showcase, described the experience as both visually striking and spiritually uplifting.
“The Shape of Memory is first of all a classic title for an art exhibition of that nature. The experience I had was a spiritually uplifting feeling of a rare format of art expression,” Mabiaku said.
He noted the uniqueness of the artist’s digital painting technique, which mimics traditional painting styles despite not using physical brushes.
“It is very rare to find people who do not paint with the traditional brush and yet it looks so real, like a watercolour expression, and in some works it even looks like acrylic, as though a brush was used. Who would believe that no brush was used in that project?” he questioned.
Mabiaku therefore applauded the artist’s creativity and innovation.
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