Agboke’s work envelops viewers, inviting them into immersive environments where they traverse mountains, climb foothills, and descend waterfalls. His paintings conjure the rush of gale-force winds and the crash of torrential rain. In these works, nature is not a backdrop but an active force.

The title - and the exhibition’s centrepiece - signals Agboke’s blending of references: from poetry and literature to a range of musical genres. Sometimes these influences surface overtly, in titles or visual motifs; other times, they are embedded in the layered pigments and luminous textures of his surfaces.

Agboke’s use of colour feels both intentional and instinctive. His canvases are grounded in earthy greens, sun-washed yellows, and deep browns, but it's the sudden bursts of orange and sharp acidic tones that animate the landscapes. This interplay between warmth and intensity reflects the shifting moods of the natural world.

The waterfall emerges as a central motif in this new body of work - its rhythmic cascade guiding the viewer’s eyes through each painting. In Peekaboo, Tuh-dah, and Don’t go chasing waterfalls, flowing water disrupts otherwise tranquil scenes, injecting vitality while maintaining a sense of grace. In Peekaboo and Tuh-dah, waterfalls plunge over ledges, cleaving the landscape with powerful motion. In contrast, Don’t go chasing waterfalls has water winding its way down the hillside, carving a precise path through the terrain.

Throughout Agboke’s lush natural worlds, there is always a lyrical disruption. Whether it’s the dynamic arc of a tree trunk or branches swaying in psychedelic rhythm, the unexpected is ever-present. His works honour tradition, evident in pieces incorporating silver plates, yet they also deliberately disrupt it, offering a fresh, multidisciplinary approach to the storied lineage of nature painting.