Nigerian printmaker and painter Ojo Olaniyi creates works that reflect his interest in social justice, identity, and community. He often depicts his themes in group portraits and gatherings, especially catching the innocence and curiosity of children in their expressions and interactions.
“I highlight social justice,” says Olaniyi, “by showing equality and fairness in my community-focused pieces. Identity is pictured in individuality and self-expression through portraits and everyday scenes and community is showcased in the beauty of human connection and shared experiences.”
Olaniyi discovered his love for art during his primary school days (1967-1973) in Nigeria. During this period, he says, he developed an interest in drawing which was encouraged by his teachers. “My first drawing was around 1969 when I was 10 years old,” he remembers. “It was a chalk drawing on the wall inspired by the cultural heritage of Masquerade (Egun Egun), how they danced, how they were being celebrated.
“My first real artwork was a foil print created in 1987, featuring a Fulani milkmaid and water sellers. Notably, in 1989, I sold three pieces – two foil works and one relief work – at an exhibition in Abuja, Nigeria.”
Olaniyi studied general art and graduated from St. Andrews College of Education, Oyo State, in 1986. He obtained a Bachelor’s degree in Fine and Applied Art from Ado-Ekiti University in 2014.
In 1989 Olaniyi started working in his own studio in Lagos. His work then was low relief sculpture in clay and fiber glass before being introduced to metal foil. He later learned the art of printmaking through the Harmattan Workshop established by Professor Bruce Onobrakpeya. The Harmattan Workshop promotes art, culture, and creativity in Africa and has an annual art residency program in Nigeria that brings together artists from various disciplines to create, learn, and share ideas.
Olaniyi first attended the Harmattan Workshop in Delta State, Agbarha-Otor, in 2002, and since has gone annually. “The experience has been invaluable, allowing me to hone my printmaking skills and to learn from professor Onobrakpeya himself,” he says.
Professor Onobrakpeya initially inspired Olaniyi in 1990 at the Italian Culture Center in Victoria Island, Lagos. He says the professor’s innovations continue to influence his work including the use of araldite, a strong adhesive known as epoxy resin. This two-part adhesive consists of a resin and a hardener, which are mixed together to create a strong and durable bond. The mixture is then poured onto a plate’s surface and allowed to set. When set, he transfers the drawing onto it and starts engraving.
Today Olaniyi draws, paints and makes prints. “In making prints,” he says, “I start with an idea in my mind and then I make preliminary sketches before transferring them to the plate. The image is then moved onto a paper or any other surface by printing or an “embossing method.” I frequently use epoxy etching, engraving images on araldite.”
After producing an artist’s proof, Olaniyi decides on the number of prints – or an edition – to be drawn from the plate. ‘When you reuse the same plate and pass it through the press, you can achieve endless creative possibilities,” he says.
“I also use a unique technique where I create patterns on a board using rope, then prime the surface like a canvas. Once primed, I can draw and apply colors to design a distinctive piece of art.”
“I celebrate the beauty of everyday life through my art. I don’t work from models; instead, I create compositions based on my imaginative ideas. I feature women to celebrate their contributions to society, including their spiritual, economic, and cultural roles. Music and art are also interconnected for me and are often incorporated into my artwork,” he says.
In portraying children, Olaniyi is inspired by parents who introduce their children early to a trade or craft to make them self-reliant in the future. “Through my art,” he adds, “I aim to highlight the beauty and vulnerability of childhood, conveying the wonder and joy that defines this precious stage of life. My art is a celebration of childhood’s magic, and a testament to the resilience and hope that children embody.”
“As an artist, my philosophy is rooted in the belief that art has the power to inspire, educate, and uplift. I’m driven by a passion to capture the beauty and complexity of humanity. Through my art, I aim to spark meaningful conversations, challenge perspectives, and observe the diversity of human experience.”
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