Against the salmon-red background of the pigment print, Jadé Fadojutimi lets the vege­tation grow, again and again. The patches of grass sprout up in slightly different places, the oil pastel giving them varying shades of green and aubergine. ­Occasionally, a flower shoots up, a calyx bends down. Sometimes, a purple- or peach-colored cloud drifts over them, under the yellow sun or the blue moon. In some of the 35 unique works, little figures appear, like the light-pink butterfly with its dark-green contours. “Our ­Garden of Thought” (2025), Fadojutimi’s first edition for TEXTE ZUR KUNST, bears a title characteristic of her oeuvre, underscoring the connection between nature and internal experience.Usually, the artist’s emotive environments, as she calls them, unfold in bold, expressive brushstrokes on large canvases. The paintings often exceed the human scale; the most expansive – her 2022 “The Empress of the Plants,” which she showed in her exhibition at Hepworth Wakefield the same year – spans eight meters. With its modest dimensions, the edition seems to belong to domestic spaces rather than to the white cube. It is in fact her childhood bedroom that Fadojutimi understands as her first studio. In its enclosure, she discovered her love of anime and the compositional ­potential of cozy clutter, which runs through her practice to this day. While they have been part of this practice for a long time – she keeps “visual diaries” in notebooks – she has only recently started to show drawings as works in their own right. As her ­edition highlights, this enables the artist to invite her viewers into a more intimate ­experience of her ­emotionally imbued engagements with nature.