Azinge presents a modern Nymph in ‘Ijeoma’ (2022), translated from Igbo meaning ‘safe journey’. The figure is shrouded in nostalgia through a collage of memories, in a room basked with light. The figure is reminiscent of Titian’s Venus of Urbino. She is its reflection; her commanding, territorial regard emphasises reclamation from historically vulnerable and nude portraits.

Through the expertly painted window slats are collages of photographs and memories, transferred with a technique that Azinge has perfected over five years of practice. The seamless stories blend to produce a work ruminating in the balance and dichotomy between memory and presence. The shadow of a cheese plant leaf, famous for thriving under challenging conditions, speaks to the cycle of nature, its eagerness to not only survive but thrive, long after we are gone.

Azinge invites a connection between the Nymph and her visitors. The perspective of the piece, rooted in the artist’s photographic practice, calls the audience to the room, to be looked upon by the sitter. The interior, inspired by Azinge’s grandparent’s living room in Nigeria, speaks to the artist’s fascination for Nigerian architecture, and childhood recollections. ‘Ijeoma’ is a dreamlike work, created from a snapshot of the artist’s memories.