One body of Dzegede’s work in her show Ballast consists of cotton cloth printed with Batik and screened dye, creating beautiful patterns that encode often disturbing messages. One piece has a pattern of arch shapes, sometimes looped and sometimes upside down, creating a kind of fence through repetition of St. Louis’ defining architectural symbol. The title – Loving/Killing (Divided City) – does away with the subtlety of the image, as do the images of Ku Klux Klansmen embedded in the background of another local meditation from this series, Veiled Prophet/Profit . . . Dzegede’s show includes very different, yet compatible, work in three other genres.

Amy Sherald opens at CAM with impressive local artists in 2018 Great Rivers Biennial, Chris King, The St Louis American, May 11, 2018

 

For “In Site” Addoley Dzegede curated building artifacts, clay tiles, steel columns, stone column capitals, and ornamentation elements from the deconstructed or destroyed buildings in St. Louis, exhibited in .ZACK . . . The artifacts were selected from The National Building Arts Center, which is an archive of building materials and components representing the urban culture throughout the history of US, based just across the Mississippi River from St. Louis. Investigating notions of moving bodies, belonging, place, and hybrid identities, Dzegede explored the artifacts as metaphors of these notions . . .

Moving together, in St. Louis: Dwell in Other FuturesMerve Bedir, Temporary Art Review, June 13, 2018

 

It’s not every day you learn about interesting, inspiring, brave new Art and meet the artist shortly after that. And then find out you connect on so many levels.

A Quest Through Wax - Meet Addoley Dzegede, Sabine Bolk, Dereisnaarbatik, March 27, 2018

 

Addoley Dzegede’s pieces incorporate cloth and pattern, including kente, a brightly colored cloth traditionally made in Ghana, where her father is from. Dzegede’s work unpacks the diverging histories of her parents and relatives. . .

10 Emerging Female Artists to Know in the Middle of America, Jorie Jacobi, Alive Magazine,  February 28, 2018

. . . using natural dyes from plants found in Iceland to weave a kente cloth typically found in Ghana; binding a house-shaped book called “neighbor hood” and filling it with racially charged comments she found on local blogs; creating an American flag using cotton cloth stained with tobacco and dyed with indigo, products cultivated by slaves.

2017 Rising Stars: University City artist Addoley Dzegede explores race, identity, home, Valerie Schremp Hahn, St Louis Post-Dispatch, July 27, 2017

 

The exhibit aims to disrupt a common perception in the arts — that works by artists of color are solely reflections on their race. The artists first exhibited together this past year as part of a show titled “Encoded” at St. Louis Community College at Forest Park. The show was written up in leading arts publications and took more direct aim at representations of race in visual arts. For “Almost Now,” the artists wanted to draw attention to the skill, craft and concept behind their work.

Rising artists want viewers to focus on art, not only their race, Willis Ryder Arnold, St Louis Public Radio, June 8, 2017

 

The current display, a collaborative effort, fittingly titled Nobody’s Home, is the work of four St. Louis based artists: Lyndon Barrois Jr., Addoley Dzegede, Cole Lu, and Catalina Ouyang. All that separates the artists’ home city and the DEMO Project venue is 100 miles and a single state line, but they bring with them a collective inspiration with roots far beyond the Midwestern region. Accompanying their work is an excerpt taken from Finnish illustrator and writer Tove Jansson’s children’s book The Exploits of Moominpappa (published in 1950). . .

Nobody's Home at DEMO Project, Maggie Kunze, Sixty Inches from Center, May 25, 2017

 

Addoley Dzegede’s beautiful alabaster sculpture Strange Fruit(2003), its evocative organic form more ambiguous than its title might suggest, is pregnant with suggestions of burgeoning life, physical trauma, and decomposition.

Encoded [review], Gavin Kroeber, Art in America, March 24, 2017

 

On exhibit at gondo proper is "Fare Well," the first solo show for multidisciplinary artist Addoley Dzegede, a Florida native who earned her MFA from the Sam Fox School of Design + Visual Art in 2015. The title of the exhibit, she says, was a gesture of goodbye to gondo, but also touches on "doing well, and how sometimes, in order to do well, you have to say goodbye, and leave." Dzegede did her own temporary leaving last summer when she spent June and July in Skagaströnd, Iceland for the Nes Artist Residency. Because much of the work at gondo was produced during that trip, it has a natural coherence, but there is also a wonderful variation in materials, concept, and execution, which gives the show a satisfying sense of depth and breadth. 

"Fare Well" at fort gondo and "Wig Heavier Than a Boot" at beverly, Stefene Russell, St Louis Magazine, January 4, 2017

 

the still, strong voice here is Addoley Dzegede’s group of work originating from her time in Iceland in Fare Well, the last exhibition at fort gondo compound for the arts.

Addoley Dzegede at Fort Gondo, Amelia-Colette Jones, Temporary Art Review, January 3, 2017