‘Artists use their creations to communicate, beautify, and enlighten’

Visual artist, Abolore Sobayo, creates contemporary, thought-provoking art that generates robust debate and archives history. The Oshodi, Lagos State-based artist’s belief in art as a tool for social change made him establish the Je’losimi Art Centre and the Sobayo Abolore Art Foundation to engage minors and youths in creative endeavours. In this interview, he speaks about issues, including his art and using it to steer street children away from vices. Excerpts.

Why art?

Art gives me the ability to express myself beyond words. It has been a safe haven for me from social violence as a young lad who grew up in Oshodi, a volatile suburb in Lagos known for violence. Art gave me discipline and shaped my youthful years for the better. My mother wanted me to be a medical doctor, but I noticed I had a flair for art with time. On the last day of my school-leaving exam, someone asked if I would study art, but I said no because I looked at something more prestigious like law.

After this, I met someone who counselled me on the benefits of art, and I started reflecting on how art assisted me earlier. So, I agreed with him. But it was a bit difficult to convince my parents, especially my mum. I had little trouble with my dad because he always believed that your palm would never deceive you. Since he went along, she agreed but still thought art was for lazy people, but she let me be when she saw how rigorous art was during my training. I tried to run away from art, but it chose me while still young.

Where did you train?

I began training at home because one of my older brothers was also into art. He won the Best Award for Art in his secondary school, so I can say art runs in our genes. I often tried to compete with him, but he always dusted me. Later, he stopped art and became a science student. I then attended Yaba College of Technology for the Ordinary National Diploma in General Art and a Higher National Diploma in painting. I have been practising as an artist for over a decade now.

During my first three months SIWES break at YABATECH, I trained at the Universal Studios of Art, National Theatre, where you had Abiodun Olaku, the late Baba Fakeye and other notable artists. I had my one-year attachment at Kunle Adeyemi Studio in Mushin. I also did a lot of personal development and training.

What’s your favourite medium?

As a visual artist, I use diverse media depending on what I envision and how my visions look and feel. The mediums for my works range from acrylic paints to fibreglass, wood, or any medium that speaks to me really. I majored in painting, but I have done many sculptures and installations, expressing myself through other mediums.

What are your influences?

My immediate environment, Oshodi, easily influences my thought process and how my final creations eventually materialize.

The life experiences that my Yoruba cultural heritage has exposed me to, through a deep respect and appreciation for my language, our mode of dressing, festivals and beautiful folklores have allowed me to be able to imagine the past, present and possibilities of the future in terms of cultural knowledge and modifications. It provides an avenue for me to explore art as a tool to tell these stories. My fundamental influences are home, cultural background, exposure, and the art school I attended. And as I mentioned, one of my earlier influences was my brother.

Tell me your inspirations?

I think it is more of what inspires me than who inspires me. Nature, travel experiences, people and their lifestyles would be a good place to start for me.

What’s your best work so far?

I believe my best is yet to come because the more we live, the more we learn and grow. But one of my favourite works will be the ‘Endangered Species’. It talks about peace being a fragile concept and the evil of war, terrorism, conflict, and other factors that continue to affect humanity. It remains relevant even with the current war between Ukraine and Russia.

Another is the ‘Liberation Statue’, also called ‘Headless Fela’ at Allen Roundabout. It talks about Fela’s positive persona and philosophy and the various reactions to the work. It is my most talked about work. But my best work is yet to come.

Which is your least satisfying work so far?

I cannot produce art if I don’t fall in love with the process of its creation. Needless to say, I have no work that is not satisfactory to me. I took a leaf from one of my lecturers, Dr Kolade Osinowo. He always said if a piece is not cooperating, face it to the wall, then return. If you still don’t get the inspiration, face it back to the wall. Keep doing that until it becomes cooperative. Putting my name on a work implies a level of satisfaction. If I am not satisfied with the piece, I won’t complete it.

Why are you involved in children’s art advocacy?

The success of every society stems from the foundation and life experiences of its younger and upcoming generation. Suppose they are equipped with the right experiences and tools needed to believe in the possibility of a better future. In that case, they tend to view life positively, which would, in turn, invoke positive thinkers and leaders.

So, I want to give back to the kids some of the opportunities I never had because I firmly believe that the lessons and experiences stick with him or them for a lifetime.

You made ‘Community’ one of the public arts in Lagos. How did you feel about the removal of the work along Ile-Zik? Talk to me about the process of conceptualizing and executing the work?

The demolition, not the monument’s removal, is an emotionally upsetting topic for me; I think that’s all I would say about it. ‘Community’ was an installation inspired by my experiences of Lagosians’ communal lifestyle and an acknowledgement of the first settlers of Lagos who were fishermen (hence the use of canoes).

So, I decided to use the canoes to represent all the 20 local government councils and 37 LCDAs. Making a total of 57 canoes for this installation. I chose to add maps of each LGA and LCDA to use the installation as archival material. This monument took about three months of extensive work and research.

Has any official reached out to you after the removal? Would you be willing to make another monumental art for Lagos?

Yes, they did reach out, and we had a meeting to discuss the unavoidable incident. An artist does not give up on what he believes in. Artists simply continue to use their creations to communicate, beautify, and enlighten society. I would create monuments in every available space worthy of my creations if given the opportunity.

What are your ambitions?

To become a global artist, with my works impacting the world stage and inspiring positive change.