Rotimi Fani-Kayodé (1955-1989), a Nigerian artist, explores themes of spirituality, sexuality, fantasy, and mortality in his work, with a focus on the black male body. As a leading figure among black British artists and an activist during the 1980s HIV/AIDS crisis, Fani-Kayodé used his studio to stage and photograph performances that challenged traditional ideas of homosexuality and the male body. Fani-Kayodé's family, who were refugees of the Yoruba tribe in Nigeria, migrated to Great Britain in 1966, where he grew up. He attended Georgetown University in Washington, D.C., and the Pratt Institute in New York before returning to London in 1983. His work is heavily influenced by his experiences as an outsider, both in terms of his sexual orientation and lifestyle and his cultural and geographical displacement as a child leaving Nigeria. Fani-Kayodé's large-scale photographs use bold colors and black and white imagery, often drawing on spiritual symbolism and Yoruba traditions. His photographs have been exhibited globally since 1985 and are now part of the permanent collections of the Victoria and Albert Museum in London, UK, the Artur Walther Foundation, Neu-Ulm/Burlafingen, and numerous public and private collections. Fani-Kayodé's life was tragically cut short when he died in London in 1989 at the age of 34, but his partner and collaborator, Alex Hirst, continues to carry on his legacy.
 

"Untitled" and "In Gods We Trust":

These two pieces are gelatin silver print photographs that are each 9 ⅞ x 9 ⅞ inches in size. The first untitled photograph was taken in 1985 and depicts a nude black man crouching down with his arms crossed in front of his body. The man’s curly hair covers his eyes so that only his nose and mouth are visible. The figure is centered posing in front of a blank white background. The photo is taken in black and white and uses strong contrasts, with striking highlights and shadows on the figure. The second photograph taken in 1980 is also black and white and depicts a nude black man, however in this photo his eyes and nose are being covered by the hands of a white figure. The black man has his head tipped upwards and his hand in fists together in front of him. The white figure is unidentifiable as the only feature visible are the hands and parts of their arms. Lastly, in this piece the subject is in the center in front of a plain black background as opposed to the first photo. These two pieces are part of a larger body of work interrogating the political environment of the time and engaging with themes of black queerness and cultural identity during the height of the AIDS crisis.

How We See Black Bodies: 

Rotimi Fani-Kayode’s photographs are notable for their powerful visual impact and their exploration of complex social and political issues. The piece "In Gods We Trust," is a striking and unsettling image. The central figure, a young Black man, is depicted in a state of vulnerability and helplessness, with his eyes covered by the white hands that loom over him. The figure's wrists are joined in front of his chest as if he were handcuffed, further emphasizing his powerlessness. The white figure, whose face is obscured, appears to be in a position of authority and control, imposing its will on the Black man below.

The photograph's title, "In Gods We Trust," adds another layer of meaning to the image. The phrase is often associated with the United States and its currency, which bears the inscription "In God We Trust." However, in Fani-Kayode's hands, the phrase takes on a different, more ambiguous meaning. The use of the plural "Gods'' suggests a multiplicity of belief systems and a recognition of the diversity of human experience.
At first glance, the untitled photograph is a striking and intimate portrait of a Black man. The figure's body is prominently displayed, drawing the viewer's attention. His eyes are obscured by his hair, which spills down over his face like a veil. The overall effect is one of vulnerability and intimacy, as if the viewer has stumbled upon a private moment.
However, the photograph is also a provocative and subversive work that challenges traditional notions of masculinity and sexuality. Fani-Kayode poses the figure in a way that highlights his vulnerability and openness, defying the stereotype of the stoic, unemotional Black man. By presenting his subject as both strong and vulnerable, Fani-Kayode challenges viewers to rethink their assumptions about Black male sexuality and agency.
Fani-Kayode's use of hair as a symbolic element is also significant. In many African cultures, hair is considered a powerful symbol of identity and heritage. By using hair to obscure the figure's eyes, Fani-Kayode subverts the traditional Western notion of the "gaze," in which the subject is typically seen as an object to be viewed and controlled. Instead, the figure in the photograph is in control of his own gaze, and his hair becomes a symbol of his resistance to being objectified or commodified.
Taken together, this work is a powerful commentary on the relationship between power, race, and sexuality. The Black male body has long been subject to fetishization, objectification, and exploitation, particularly in the context of Western art and culture. Fani-Kayode's photographs challenge this tradition by placing the Black man at the center of the image, but also in some cases subjecting him to the control of a faceless, white figure.
Fani-Kayode's use of black and white photography is also significant. The stark contrast between light and dark emphasizes the visual impact of the image, while also creating a sense of emotional intensity. The use of black and white also speaks to the historical context of racial oppression and struggle, evoking images of the civil rights movement and other moments of social and political upheaval.
Ultimately, Fani-Kayode creates powerful and provocative work that challenges viewers to confront uncomfortable truths about power, race, and sexuality. Fani-Kayode's use of imagery and symbolism creates a work that is both visually striking and intellectually complex, inviting viewers to engage with its multiple layers of meaning. It is a testament to Fani-Kayode's skill as an artist and his commitment to exploring the complex and often painful intersections of identity and politics.