AMG Projects is pleased to participate at Investec Cape Town Art Fair 2025. The gallery’s presentation this year will feature three artists in two sections of the fair- Joy Adeboye with a solo presentation in Tommorrows Today and Gbolahan Ayoola in dialogue with Nkechi Ebubedike in Generations.

Joy Adeboye (b.1998, Nigeria) is a contemporary artist who lives and works in Lagos,Nigeria. She received her BA (2019) in literature from the Obafemi Awolowo University, Ile Ife.
Joy Adeboye’s use of watercolor as her primary medium has been described as both bold and deeply inspiring. She is carving her own path within the contemporary revival of this technique; a medium with a history that stretches back to the origins of art itself and that only a few contemporary artists have reinterpreted as a means of navigating the ambiguous space between reality, the fantastic, and political utopia.
Adeboye’s practice extends this lineage while shaping a language of her own. In her previous works; she explored a more mystical interplay of color and form, for her solo project in Tommorows Today she has produced a new body of work that delves into the intimate realm of desire, religion and sexuality. Sometimes appearing as collages of different papers or as a single piece, these watercolor paintings evoke both the delicacy of petals and the softness of flesh, while avoiding explicit representation. They seem to wander through the inner self.. both physically and mentally, through a language of form and color that remains open, shifting and poetic. Following a very well received solo presentation at FNBartjoburg 2024 adeboye was invited to feature in the Tommorrows Today section at Investec cape town art fair this year.

Gbolahan Ayoola (b.1977) is a graduate of Obafemi Awolowo University, Ile ife Nigeria. Critically acclaimed and widely acknowledged as a young Nigerian master, his deeply compelling visual language and continuous exploration of spirituality and anthropology positions his work within a broader discourse on history and identity. Through series like "The Blue woman" "we are reagents" and "Cultural Foundations", Ayoola continues to examine the erosion of cultural narratives and the need for the revival and revision of African history. In his earlier work he engaged with traditional motifs in a more symbolic manner, employing materials such as acrylic, earth, charcoal, and wood to construct layered, almost archival compositions. This Recent body of work symbolises acts of excavation—unearthing history that has been buried, forgotten, or misrepresented.The works do not simply depict the past; they challenge its erasure, offering an alternative to dominant narratives that have long shaped perceptions of African identity. The use of earth and textured surfaces recalls ancient artifacts, while the dynamic layering suggests the constant motion of history—fluid, reinterpreted, and never static. Ayoola’s work raises both questions and a call to action—demanding that we confront truths buried beneath the surface.

Nkechi Ebubedike (b.1984, Baltimore, MD) is a Nigerian-American contemporary artist . She has an MA from Central Saint Martins College of Art & Design, London (2011), and a BFA from the Carnegie Mellon University, Pittsburgh, Pennsylvania, USA including stints at École Nationale Supérieure des Beaux-Arts, Paris, France. With a variety of International exhibitions in recent years and presentations at several key art fairs, Nkechi continues to justify her position as an artist with a solid practice and trajectory in the contemporary African art space.
In line with the theme of Investec Cape Town 2025, she reimagines the function of pegboard from something utilitarian into a meditation on image and body fragmentation. Holes in the images are reminiscent of screens with lost pixels, but also leave open the idea of being interpreted as pores, navels, bullet holes etc. The artist maintains her commitment to abstract representation of the female form imbued with emotional weight that contorts the figure to almost otherworldly composites. At the center of each composition is the desire to embrace deep vulnerability, grappling with unease and the type of anxiety in one’s own body that begs the question: Can we free ourselves? Nkechi lives and works in Brooklyn, New York.