Deborah Segun adopts a deconstructed, reductive, and almost Cubist approach to her paintings, incorporating fragmented and exaggerated shapes, faces, and forms that delineate the female figure in contemplation or repose. Segun’s work exaggerates the feminine silhouette and is perhaps as much a commentary on the representation of women in an art historical context, (and the omission of black women therein,) from the exaggerated proportions of The Venus of Willendorf or the multi-perspectival views of Picasso, who is an obvious inspiration to the young Lagos based artist. More contemporary depictions of the African female form similarly adopt a deconstructed and vibrant view where the black female form is a site for complex socio-political meaning. Segun’s work, however, is – at least for the time-being – slightly more internalized. There is an element of truth that many artists need to self-reflect before turning the lens outward. And while inspired by her personal experience, and her awareness of her mental and physical sense of self, Segun’s choice to focus on the individual becomes a reference point for a much larger schematic: transitions and phases in her life, including self-hate to self-acceptance, are undoubtedly issues that many women – African and otherwise – have experienced.