Reflecting on your artistic journey, what critical influences – whether artists, experiences, or ideas – have shaped your unique vision and ultimately led you to pursue the artistic path you're on today?

Growing up in Nigeria, I was deeply influenced by the ingenuity and resourcefulness of people navigating daily life. Witnessing the innocent creativity with which discarded materials were repurposed, often out of necessity and a lack of appropriate tools, left a lasting impression. This inherent resourcefulness, a means of improvisation in the face of limitations, has been a defining influence on my creative surge. Seeing how people effortlessly upcycled materials to create essential equipment for their professions revealed a powerful synergy between practicality and invention, fostering sustainability as a natural by-product of daily life.

This inherent resourcefulness was coupled with the dynamic energy and often surreal juxtapositions of urban life in Nigeria. The unexpected encounters, the vibrant chaos, the seamless blend of tradition and modernity – these elements subtly drew me towards surrealism as a lens through which to explore the complexities of the human experience and the often illogical nature of reality.

Furthermore, as I grew and deepened my understanding of my language, I became increasingly fascinated by the richness of Yoruba mythology and the symbolic language embedded in traditional art forms. The intricate carvings, the bold textiles, and the masks demonstrated the potent role of art in visual storytelling and social commentary. This, combined with the strong Nigerian tradition of oral storytelling and the insightful use of proverbs for concise, metaphorical communication, instilled in me a deep appreciation for conveying complex ideas through potent visual symbols.

These formative experiences in Nigeria – the vibrant visual culture, the resourceful spirit born of necessity, the surreal urban landscape, and the power of metaphorical communication – laid the essential foundation for my artistic sensibilities. They ultimately guided me towards the path of creating evocative sculptures from discarded materials, imbued with layers of meaning and designed to provoke introspection.

In your artist statement, you mentioned that your sculptures invite the viewer to explore the depths of the human psyche. Could you elaborate on the specific techniques or visual cues you employ to evoke this sense of introspection and wonder?

My artistic aim is to create sculptures that function as portals, inviting viewers to transcend surface appearances and engage with the profound depths of their own consciousness. Within this introspective space, I encourage an exploration of the human psyche, conveying stories and engaging with themes of identity and emotion through the deliberate use of materials, forms, and expressions.

I predominantly work with scrap metal to communicate my ideas and emotions. This choice of material often evokes a sense of memory and relativity in viewers, as these found objects carry a pre-existing history and associations for each viewer. Consequently, each sculpture develops its own identity and cultural interpretation, shaped by the viewer's personal experiences and cultural background. Encountering these familiar components within a new narrative allows for a deeply personal and resonant interpretation. The very texture of the materials – the smooth surfaces of some found metals or the rough dents and scratches from industrial use and human interaction, along with the imbued patina of rust – can evoke distinct feelings and associations, further facilitating an emotional connection with the viewer's inner world.

To represent abstract concepts and further engage the subconscious, I also infuse symbolic elements, including paronomasia and metaphors, within my sculptures. This creates an accessible entry point, simultaneously inviting viewers to engage with these metaphors within a novel, three-dimensional context, potentially unlocking deeper or alternative interpretations. This approach is often coupled with surreal juxtapositions, placing unexpected forms together and defying conventional logic. This deliberate disruption aims to bypass the logical mind, tap into the realm of dreams and the subconscious, and create a sense of unease or wonder, prompting viewers to question their assumptions and delve into the less rational aspects of their own inner world – a sudden, poetic leap in thought that can unlock deeper associations.

Furthermore, storytelling is integral to my work, often embodied in proverbs to convey a sense of mood and emotions buttressed by the sculpture's pose, position, or movement. This layering of narrative elements further encourages viewers to engage with the deeper currents of their own consciousness

How do you see the interplay between surrealism, paronomasia, and proverbs in your sculptures, and how do these elements contribute to challenging traditional notions of form and meaning?

The interplay of surrealism, paronomasia, and proverbs in my sculptures creates a multi-layered challenge to traditional form and meaning. Surrealism disrupts conventional expectations by juxtaposing disparate elements, prompting viewers to question established realities and tap into their subconscious. Paronomasia, through visual puns and equivocality, playfully subverts singular interpretations, encouraging a more fluid and multifaceted understanding of form. Proverbs, embodied in unexpected ways, offer familiar wisdom in unfamiliar contexts, prompting a re-evaluation of ingrained meanings. Together, these elements create a visual language that resists easy categorization. The dreamlike logic of surrealism undermines predictable forms, while paronomasia introduces ambiguity and humour, fracturing fixed meanings. Proverbs, stripped of their usual linguistic context, gain new and often unsettling resonance in sculptural form. This deliberate disruption encourages viewers to move beyond conventional aesthetics and engage in a more active, introspective process of meaning-making, ultimately challenging traditional notions of what sculpture can represent and how it communicates.

You describe your work as a "visual language." What are some of the key "words" or "phrases" in this language, and how do you use them to communicate your ideas and emotions?

My sculpture operates as a "visual language," employing three-dimensional form, shape, texture, and other visual elements to communicate ideas, emotions, and narratives in ways that transcend the limitations of spoken or written language. Just as artists utilize vocabulary and grammar in linguistic forms, I harness visual elements and design principles – such as form, shape, texture, line, colour, light, scale, and proportion – to construct a visual narrative.

My work often incorporates figurative language, akin to metaphorical words embodied in proverbs. This familiar entry point simultaneously invites viewers to engage with these metaphors within a new, three-dimensional context, potentially unlocking deeper or alternative interpretations.

Furthermore, my sculptures embody the rhetorical device of paronomasia, a linguistic tool where the sound, structure, or meaning of a word is manipulated to create a specific effect. In my work, a shape might subtly suggest one thing while simultaneously hinting at another, directly transferring this linguistic playfulness into solid form. This evokes emotions, creates vivid imagery, emphasizes points, and ultimately aims to persuade the audience to consider a particular viewpoint or take a specific action. This visual pun engages the intellect and sparks curiosity, adding a layer of wit and intellectual depth to the emotional resonance of the pieces.

Underpinning this is the use of surreal juxtapositions. By placing unexpected elements together and defying conventional logic, I challenge the viewer's expectations and open a doorway to the subconscious, much like a surprising metaphor in spoken language can jolt us into a new understanding.

What can you tell us about your submitted work, Identity? Could you walk us through the creative journey of this piece, highlighting the challenges and discoveries you encountered while bringing it to life?

My sculpture process with discarded metals is a dialogue between my initial ideas and the inherent qualities of the materials I find. It begins with conceptualization, where ideas take root in my imagination. These are then translated into a sketch, a two-dimensional blueprint. Next, I often create a three-dimensional maquette, typically using clay, to further refine the form and spatial relationships.

With a clearer vision in mind, I embark on sourcing materials. My "libraries" are scrap yards, demolition sites, automobile garages, and forgotten industrial spaces. I'm not just looking for metal; I seek pieces with character – marked by dents, rust, and the history of their shaping or breakage. Sometimes, I even explore integrating other mediums to fully realize a specific concept.

Once I've gathered suitable materials, the transformation begins. This often involves deconstruction – cutting, bending, or separating components to reveal the metal's core form. Thorough cleaning follows, removing debris and contaminants to unveil the material's true character and prepare it for manipulation. This stage isn't about destruction but about revealing the inherent elements within.

Next, using appropriate shaping techniques, I mold the metal according to the envisioned form. Finally, the sculpture undergoes thorough cleaning and finishing. Throughout this entire process, there's a constant interplay between my initial vision and the inherent qualities of the materials, a dynamic conversation that shapes the final artwork. 

The sculpture “Identity’ is not just about a broken instrument, but rather a meditation on absence, suggestion, and the evocative power of form. My initial concept was to capture this tension between potential and absence. The construction process involved a delicate balance of adhering to the recognizable silhouette of a guitar while allowing the inherent qualities of the found materials to guide the aesthetic.

The stringless guitar becomes a symbol of un-played melodies, of stories waiting to be told. This resonated with my broader interest in the potential narratives held within discarded objects and the way absence can sometimes speak volumes.

The challenges weren't just technical. There was also the conceptual hurdle of ensuring the piece wasn't simply a broken instrument but a deliberate artistic statement. I focused on the intentionality of the form, the careful arrangement of the components, and the overall aesthetic to elevate it beyond mere representation.

Could you describe your process of transforming discarded metals into sculptures, and how you select the specific materials for each piece?

As described in the earlier answer. Following the maquette stage, which translates my sketches into three dimensions to refine form and spatial relationships, I then scale the intended sculpture using the maquette as a reference. This process clarifies the specific material requirements for the final piece.

The scale and intended environment of the sculpture largely dictate my material sourcing priorities. For instance, when creating a large outdoor work, structural integrity takes precedence over aesthetics. Given the metal medium's susceptibility to environmental corrosion, I prioritize materials known for their robust structural properties. This consideration sets the tone for the kind of metal I seek.

The approach differs for small to medium-sized indoor pieces. In these cases, aesthetics often become the primary focus, allowing for a wider range of materials where visual qualities can be prioritized over extreme structural resilience. 

Furthermore, the specific story and emotions I aim to convey often influence my material selection. This connection can be evident in the intended sculpture's pose, position, and movement, which may lead to the incorporation of specific mediums to accurately articulate the desired emotions and ideas.

What kind of dialogue or engagement do you hope to foster with viewers of your work, particularly in relation to their understanding of waste, sustainability, and societal issues?

When viewers encounter my sculptures crafted from discarded metals, I hope to foster a dialogue that moves beyond simply appreciating the aesthetic transformation. I aspire to cultivate a deeper understanding of sustainability. The very act of transforming waste into art serves as a tangible example of resourcefulness and the possibility of a circular economy. I hope my work subtly prompts reflection on our consumption habits and the environmental consequences of a linear "take-make-dispose" model. It's an invitation to consider how we might creatively reimagine our relationship with materials and extend their lifecycle. Beyond the environmental aspects, I often weave in subtle social commentaries. The specific types of discarded metal I choose can allude to particular industries, societal practices, or historical periods.

Ultimately, the dialogue I seek is one of wonder and introspection. I want viewers to be drawn in by the aesthetic transformation, and then, upon closer reflection, to engage with the underlying themes of waste, sustainability, and our place within the larger social and environmental landscape. I don't aim to provide definitive answers, but rather to create a space for personal connection and critical thinking.

How do you approach the presentation of your work in exhibitions to effectively communicate the complex ideas and emotions underpinning your practice?

Presenting my work in exhibitions to effectively communicate the intricate ideas and profound emotions inherent in my practice is significantly influenced by the exhibition space itself, particularly its architectural design. In solo exhibitions or two-person shows, I find it easier to orchestrate a cohesive narrative. The strategic placement of individual sculptures becomes a deliberate act of choreography, creating visual dialogues between the pieces. This arrangement guides the viewer's gaze, suggesting thematic connections and fostering a deeper understanding of the interconnectedness of my concepts. The space becomes an extension of the artwork, enhancing its voice.

However, the dynamic shifts considerably in group exhibitions. Here, I relinquish a degree of control over the placement of my sculptures, as the overall arrangement is dictated by the curator's vision and the architectural constraints of the gallery. The curator's intent to weave a specific narrative with the collective works of multiple artists, coupled with the inherent characteristics of the exhibition space, ultimately determines where each piece resides.

Despite this shared context, I prioritize the creation of distinct focal points within each individual sculpture. These focal points serve as magnetic centres, drawing the viewer's attention and acting as a lens through which the stories and emotions embedded within the piece are conveyed. At times, I strategically infuse the medium itself within these focal points to create a more direct interface between the artwork and the observer, inviting closer scrutiny and a more intimate connection. This might involve a specific texture, a contrasting material, or a concentrated area of intricate detail.

Ultimately, regardless of the exhibition format, my overarching approach to presentation remains consistent. I strive to cultivate a holistic experience that resonates on both an aesthetic and intellectual level. My aim is to create an environment where viewers are not merely passive observers but active participants, invited to embark on their own personal journey of discovery and forge a meaningful connection with the complex ideas and deeply felt emotions that are interwoven into the fabric of my sculptural practice. The space, whether controlled or shared, becomes a stage for this encounter, and the focal points within each piece serve as anchors for individual exploration within the larger narrative.

Art and artists play various roles in the fabric of contemporary society. How do you see artistic practices advancing sustainability and social consciousness?

Artists are undeniably central to society, their influence permeating various facets from architecture and design to advertising. Crucially, artists also serve as critical mirrors, reflecting the urgent realities of environmental degradation and social inequalities in ways that bypass purely intellectual understanding and resonate deeply with our emotions.

Furthermore, artists act as imaginative innovators, proposing alternative ways of living and interacting with the world. By creatively repurposing discarded materials, as I often do, or by highlighting the beauty and fragility of nature, we can inspire a re-evaluation of our relationship with the environment and challenge ingrained consumerist habits. Socially, art can amplify marginalized voices, foster empathy across different experiences, and provoke critical dialogue about power structures and societal norms.

Ultimately, art's unique ability to transcend linguistic barriers and engage with our senses and emotions makes it a potent tool for fostering awareness, prompting reflection, and ultimately inspiring action towards a more sustainable and socially just future. We create a visual language that shapes understanding and motivates change. Moreover, artists can adopt eco-conscious practices, using recycled materials (as I do), minimizing waste, and engaging in community-based initiatives. This tangible commitment embodies the very principles of sustainability.

What message or call to action would you like to share with our readers?

Let art be a catalyst for questioning, for feeling, and for sparking conversations about our impact on the environment and our responsibilities within society. Embrace the beauty in transformation, both in art and in our own lives. Consider how small shifts in perception and action can contribute to a more sustainable and equitable future for all. Engage with the world with open eyes and an empathetic heart.

Read more about the artist here.

Cover image:

Hang On Deer by Ayodeji Kingsley.

All images courtesy of Ayodeji Kingsley.