Feyiartistery

24/01/2026

03/10/2025

Title: Why Are We Still Here? Part 2, 2025



Description
My artistic practice is driven by a desire to combat textile waste pollution, which harms our environment. I am dedicated to doing everything I can to address this.

The fashion industry has a catastrophic impact on the environment. It is the second-largest polluter globally, after the oil industry. As the industry expands, the environmental damage worsens alongside its growth.
This devastating impact also significantly sustains ongoing colonial practices within the industry.

Visit www.feyiartistry.com/work to view the full documentary.

30/09/2025

Title: Why Are We Still Here? Part 1, 2025.

Visit www.feyiartistery.com/work for the full documentary.

Kantamanto is one of the world’s biggest secondhand clothing markets, recently destroyed by a fire outbreak. However, the question remains: Why is waste colonialism still prevalent in today’s society?

thank you for making this project seamless

26/09/2025

Title: Why Are We Still Here? Part 2, 2025
Medium: Container, Textile ( Second-hand Clothes), whiteboard and a Performance Art documentary
Size: 10-foot container

Description
My artistic practice is driven by a desire to combat textile waste pollution, which harms our environment. I am dedicated to doing everything I can to address this.

The fashion industry has a catastrophic impact on the environment. It is the second-largest polluter globally, after the oil industry. As the industry expands, the environmental damage worsens alongside its growth.
This devastating impact also significantly sustains ongoing colonial practices within the industry.

Visit www.feyiartistry.com/work to view the full documentary.

24/09/2025

Title: Why Are We Still Here? Part 1
Medium: Eco-friendly mannequin, textiles ( discarded clothes), and a performance art documentary.
Size: Male head-mannequin ( 42cm x 18cm)
Female half-body mannequin ( 82cm x 56cm)
Bale: 102cm x 49cm

Artist’s Statement:

Feyisola Adeyemi is a Nigerian-Irish multidisciplinary artist, environmentalist and surrealist fashion designer based in the UK. Feyi’s practices centre on sculpture and the integration of textile waste upcycling. Feyi also enjoys experimenting with printmaking, hand-crafting, painting, installation, body and performance art.

Feyi’s fashion design background led to her art practice, which she pursued in the quest for perfection for her self-taught design career. She aimed to use her craft to impact the community at large positively. Her work draws inspiration from nature, societal issues, and the surrounding environment. Hence, she is interested in tackling textile landfill waste by repurposing discarded clothing in her work.

Feyi’s work explores Black cultural history, colonialism, Black joy, social change and climate action. Feyi is also an advocate for fighting against animal testing.

Artwork Description:

Kantamanto is one of the world’s biggest secondhand clothing markets, recently destroyed by a fire outbreak. However, the question remains: Why is waste colonialism still prevalent in today’s society?

This body of work reflects my distasteful view of the fashion world’s Overproduction and overconsumption, which results in unbelievable volumes of waste, causing severe damage to our environment. It simultaneously showcases the value of textile waste upcycling as one of the alternative solutions to textile waste colonialism.

Visit www.feyiartistery.com for full video

20/09/2025

Title: Solace, 2024
Size: 164 cm x 164 cm
Medium: Acrylic, textile (discarded clothes), Banjo goat skin head and string on canvas. Supported with a performance art documentary.

Description:
“Solace” explores how banjo music served as a coping mechanism for enslaved Blacks, helping them endure the profound pain of slavery, and how it continues to provide comfort in today’s world.

The banjo was a primary instrument for plantation musicians. It became a symbol of transformation and transition, representing the journey from Africa to the New World and the passage from present suffering to future relief and redemption. The banjo was a powerful symbol for enslaved Africans, vital in transmitting cultural and spiritual memory, lineage, and history (Dubois, 2016). This connection offered them comfort and a surreal sense of survival.

Regrettably, the African origins of the banjo are often unknown to many today, as the instrument has been closely associated with Jim Crow and white supremacist culture since the early 20th century. This association has led some to view it as a symbol of oppression (Black Music Project, 2023).

This situation illustrates how capitalism has utilised systematic exploitation to create racial divisions. Race is central to any discussion about the banjo, as it is essential to the conversation about textiles. We must acknowledge how capitalism exploited the Atlantic slave trade to significantly boost cotton textile production, which now plays a critical role in the environmental crisis.

Note! For the full performance art video, visit www.feyiartistery.com

07/09/2025

05/09/2025

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Please remember that the exhibition is now open to the public until September 7, 2025.