One Wednesday afternoon in May, mid-answer about the growing popularity of African art, Anthony Azekwoh ponders the effect he wants his art–an intergral part of the rising wave of African art globally– to have on people. “I just want people to always look at my work and be in awe,” he finally says after quietly conferring with himself for less than a nanosecond.  In a career spanning a decade of work, Azekwoh has found fresh ways to keep his audience engaged and enraptured, thanks to an engaging style that has seen him explore his interests in painting and sculpting. 

More impressively, he has garnered global recognition for paintings such as “The Red Man” and “Yasuke,” which present a vibrant vision of African art rooted in mythology and urban folklore. It’s all part of his plan to create a visual databank of Nigerian and African art.  “If I ask you who Thor is, there’s a mental image of him, but if I ask you who Sango is, it’s muddy,” he says. “It’s the same with Amadioha and other African folk heroes. I’m trying to add to the visual vocabulary that allows people to visualise our culture.”

Having turned 25 years old this year, Azekwoh’s focus is now on paying homage to the places, people, and experiences that have shaped his rise in the art world. A new exhibition, The Stars I Followed Home, details the history of his career faithfully, serving as a visual memoir of his journey. Divided into three sections, The Stars I Followed Home features pieces that offer a glimpse into the beginning of Azekwoh’s career, as well as portraits of a series of individuals who embody his interpretation of Lagos. The final section, aptly titled The Core, presents an intimate self-portrait. 

Our conversation, lightly edited, follows below. 

How did you get into art?

It started in December 2016. My laptop had broken, and my mind starts going wild if I’m not doing something creative, so I needed to find something to express myself. There were leftover A4 papers and pencils in the house, so I just started drawing designs and other things. A couple of months later, I was looking at the work of Duro Arts, Duks Art, and people like that, and I was like, “I’m trying to do this.” I started teaching myself how to draw with a mouse. From there, an American artist said he’d pay me $50 to do the cover art for his song. I did the cover, and I’ve just gone down this road since then. 

You left university at some point. Did that in any way shape your artistic journey?

At some point, I found myself in a tough spot with school. I was at Covenant University, and the place didn’t make sense. I thought about it and came to a realization that this thing was bad and depressing me, and on the other hand, I’m making actual waves in this other field, and I can go the distance. So, I decided to pursue art and see if it’s a good fit. 

You mentioned Duks Art and Duro Arts. Were there other people that you admired?

There were artists like Renike, Chigozie Obi, and Niyi Okeowo. They are people whom I liked, and I’ve disturbed them when I was around 17 years old. I would tell them what I wanted to do and ask for their advice. All of these people are now my friends, and they were always very helpful. 

You started drawing on A4 paper, but now draw digitally. What do you think is the biggest difference between drawing digitally and manually?

What I did on paper was very brief. I taught myself to draw on my computer; that’s where I honed my skill. So, I didn’t have that transition because all I know is drawing on Photoshop and Procreate. 

How did you settle on a style that works for you?

For me, finding a style has been the byproduct of experimenting and figuring out what I enjoy. I try not to concentrate on what I think people might like or what I think might sell; I concentrate on work that I fuck with. 

“Yasuke” is one of your most famous paintings. How did you approach making that? How did you react to the acclaim it received?

For context, I had made the “Red Man,” and that had gone super viral. It was kind of fucked because I’d just turned 20 and I didn’t have a strong sense of self. I kept trying to get another hit because, using music terms, you just want to have another hit because everyone is asking you for it, but that’s just not how it works. I kept on thinking, “Damn, am I a one painting wonder?” At some point, I sat down and just told myself to do what I know. So, I painted this story I’d heard of this Japanese samurai who came from Africa. It seemed very interesting to me, so I did something in that style. It was just one of those things where you’re like, “Let me just see,” and it went viral again. At this time, I was more ready and secure. I didn’t panic and I was just chill 

You’ve been learning how to sculpt digitally, how much effort does it require of you to lean into another medium?

I’ve always wanted to sculpt. I just didn’t have the money for the tools, but two years ago, I was at a point where I could start it. I was able to get the tools for it, and nothing was stopping me. It was very frustrating at first, but over time, I’ve been able to get to a point where it’s like this is what I want to do. Right now, I’m working on a big project, there’s a lot that I’m trying to say and tell in terms of African storytelling. 

You mentioned your work being inspired by African folklore and mythology. Where did that influence come from?

As a child, I was always fascinated by our stories and culture and how they interplay with who we are and how we relate with one another. So, I’ve just grown into it. For example, if I ask you who Thor is, there’s a mental image of him, but if I ask you who Sango is, it’s muddy. It’s the same with Amadioha and other African folk heroes. I’m trying to add to the visual vocabulary that allows people to visualise our culture. With the Owambe series, sculpting the Nigerian culture in marble is something that nobody has ever seen. The minute you see that, you can recognize that there’s something here. 

Transformation is a theme that is regularly referenced in your work. Is it deliberate, or is it just something that comes up?

I feel like, as a human being, as you grow up, you experience transformation. When you also get the chance to represent your community or something huge, you have to transform into something bigger, and that plays into my work. For my journey, I’ve had to transform into something stronger than who I normally am. I’ve become more focused, disciplined, and wiser than I was before. 

You recently turned 25. How does that feel with the knowledge of where you started from?

I’m just happy to be here.  It’s been a very crazy and long journey, so I’ve just been resting and preparing for the show. I’m just content with where life has been. 

What inspired The Stars I Followed Home?

It came from a need to showcase how I’m feeling artistically. I want people to see where all these influences have led me. I wanted people to be able to step into that, and at the heart of the exhibition is my new collection, Children of the Sun. It’s 25 new paintings, 25 editions, all priced at 25,000 naira. As an artist, I feel like if Nigerians don’t own my paintings then I’ve fucked up. 

What did working on The Stars I Followed Home show you about yourself?

Back in 2020, I used to be very militant. I would just wake up and be like, “This month, I want to write a book,” and I’d be able to see it through. I’d write 3,000 words every day, and if I failed on one day, I’d pass it on to the next day. I used to be very militant when I started drawing, too. I’d draw different studies to fix my art. It was a very disciplined approach, but over the years, my life got more complicated. There was family and salaries to think of, and I felt like I didn’t have that edge anymore. Working on The Stars I Followed Home made me realise that I still had that edge because I was working on many projects from January to April. By the time I locked in to work on this series, it was the last week of April, and I essentially had 10 days to pull off the paintings. It was insane, but I learned that I still had that edge and it hadn’t gone anywhere. It was really beautiful to bring forth beautiful work again. 

You reference Lagos a lot in your work. How central to your artistic vision is the city?

Lagos is in everything that I’ve done. I was born and raised in Lagos. It’s rough, dangerous, and it can be insane sometimes, but when you look at the people of Lagos, it amazes you. Despite the city’s madness, there are still people pushing, and that’s the resilience that I want to showcase. My parents are resilient, my siblings are resilient, and my friends are resilient. That strength is something that I always want to showcase in my work. 

What’s happening next for you?

We have a plan to release a drop of new prints. We are working on a sculpture show that I’m trying to push and that I’m excited about.