Chris Ofili at the Tate Britain

I love Chris Ofili. I have always loved Chris Ofili. YES!

When I first started thinking about surface design and textiles he was an artist I was really interested in. The layers of intricate and beautiful marks on his canvases create an incredibly unique, tactile surface and to weirdos like me so delicous it actually makes me salavate. I don't think I'm going too far.

I never went to the upper room last time, and I loved it. I felt like I couldn't talk in there, the air was a bit heavier and it felt special. Twelve individually coloured rainbow paintings (blanco, rojo...) glow against the dark walnut walls of the rectangle small room, leading down to the daddy painting in multi-colour and decadent gold. The paintings are exuberant and magical.

But the upper room was not all there was on offer. Other paintings with wide influences from Zimbabwean cave paintings to funk and hip hop icons to vaginas stuck onto his paintings cut from porn magazines. It was interesting to see how as an artist he has developed, but for me his innovative use of materials excited me the most. Glitter, poo, resin, map pins.... a little bit of everything. With the use of weird materials and rather graphic painting, some of the paintings like 1997's Blossom below still looks pretty, with fresh colours and a flirty expression in the ladies eyes. Its this healthy mixture not necassarily in every painting, but in the collection over all at least of shocking dung with vivid lady bits and admornment and flowers that make this exhibition so glorious.

Despite my obsession with bumpy lovely bits, my favourite paintings are infact a collection of rather flat water colour paintings. They are lyrical and mesmirizing and really beautiful. I have two of them on my wall. I think these are more subtle but have alot of character.