2026

Kemi Adebari

Hello! I’m a London-based creative skilled in design, illustration and motion graphics. I like tying in elements to form dynamic, cohesive and colourful layouts, and experimenting with noisy textures to add grit and life to my work. Depth is what I operate with when I create; how do the little things add up to make a whole that is both aesthetic and functional?

Timeline

An abstract reinterpretation of time through the lens of objects I have interacted with, Timeline centres interaction, space and routine. The system works within the boundaries of morning to evening, where I must record what object I am touching twice an hour. From this expansive list, I pick two objects that best represent their part of the day and animate them in a multidimensional workspace, filtered through collage, grain and playful texture.

Go to linked website

Rust

‘An exploration of rust in Greenland Dock, Rotherhithe.’ This research project, split into two books, documents the varying levels of corrosion within my local area. My journey loops around the marina, consisting of 5 areas: Greenland Quay, Brunswick Quay, Finland Street, Queen of Denmark Court / Princes Court, and Rope Street / Cunard Walk.

Book 1, Project Overview, comprises photography, narration and experiments wherein I create my own rust. This feeds into Book 2, Mapping Greenland Dock, a series of spreads containing spliced prints and plates. The system behind each layout recreates the surface condition of metals per location, using the scale of each ‘block’ to represent light, moderate and severe corrosion.

Book 1: Project Overview

Book 2: Mapping Greenland Dock. Enter full-screen to see page grid.

Voxel

563 x 430 x 54 mm (length x width x height)

Voxel is a 3D manifestation of light, generated from a system that maps brightness to height. The chosen subject, picked from a dataset of ceiling lights across LCC, is a hanging spotlight; a combination of curves, contrast and crooked installation.

Taking inspiration from image recognition processes, which break objects down into simple shapes and edges, the system collects the grayscale values of pixels within a 20x20 grid. The 0-255 range of colour is then split into 4 smaller ones. Range 1 (black, low numbers) > Range 2 > Range 3 > Range 4 (white, high numbers). If a value falls within any of these, its physical height is changed:

‘The darker the colour, the taller the stack.’

From a selection of wood, mirror and glass, materials are placed in order of density. Black (densest) > mirror > wood > hollow area (least dense):

‘The darker the colour, the denser the material.’

The complete system is as follows:

‘The darker the colour, the taller the stack, the denser the material.’

Inversely:

‘The lighter the colour, the shorter the stack, the sparser the material.’

Kemi Adebari

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