Abstract

This paper examines the challenges and prospects encountered in transforming a planned physical exhibition, Iwo Awolo, into a digital one using photos and videos. The art exhibition was a solo event held at the peak of the COVID-19 lockdown protocols in South Africa, featuring mainly installations comprised of ceramics. Tactility, three-dimensional viewership, and the construction and deconstruction of disparate art pieces are central aspects of such compositions. The study employs a first-person research method to present a collection of reflections, experiences, and studio notes from curating the project. Secondary data were further sourced from existing literature. Together, the data were analyzed using narrative and explanatory methods. The findings highlight emerging issues in visual arts as more galleries and artists continue to explore virtual exhibitions in acceptance of the ‘new normal’ facilitated by the pandemic.

Key words: COVID-19, digital, art exhibition, ceramics, installation, Iwo Awolo.