UPRISING INTERVIEW: 'Beyond The Black Skin'- Meet the Enigmatic Artist, Olamide Jasanya

 Olamide Jasanya is one of the finest visual artists to emerge from Nigeria. In this interview with the leading documentation channel, the Uprising Platform, Olamide Jasanya will be talking about his journey through the years and how he has been able to impact his generation through his creativity and ideology.

Background and Inspiration

Can you tell us a bit about your journey as a visual artist? How did it all begin?
My journey into visual art wasn’t a straight path — it was more like a gentle unfolding of self. I’ve always had a creative soul, but for years, I channelled that energy into performing arts, which was what I studied for my Bachelor's, communication and storytelling through words, which was what I did for my 9-5.

Olumide Jasanya

 It wasn't until a period of personal stillness during the pandemic that I truly reconnected with painting. What began as therapy became expression, and expression soon evolved into passion. My early works were raw and intuitive, mostly painted late at night after long workdays.

I would never have thought that those moments would result in works that have now earned some love at local and international exhibitions.

What or who are your biggest artistic influences?

I’m inspired by artists who tell stories with soul.

And there are loads of them, but I think my biggest artistic influence is my father. Although he is more of a sculptor, his paintings always leave me in awe.

I guess I owe that flair to him. Outside of him would be Jean-Michel Basquiat, and this is for many reasons, but more importantly, how he used his art to point the world's attention towards the imbalance that exists in the world.

I also absolutely love what Toyin Ojih Odutola is doing with the black skin.

There are a lot of stories to be told about black skin, and that’s why I feature it in most of my works. I am in awe of the black skin, black culture, and everything African. But beyond these giants, I draw daily inspiration from lived experiences — the laughter of children I taught how to paint in Mushin, the quiet resilience of migrants I meet in Manchester, and the complexity of my own identity as a Nigerian in diaspora.
 
Was there a specific moment when you realized you wanted to pursue art professionally?

Yes — it was during my first exhibition in Lagos in 2021. I watched strangers stand in front of my painting, and then ask me questions about the story behind it. It was in that moment that I realized I wasn’t just making art for myself anymore. I had tapped into something universal — a shared humanity. That night, I walked away not just as a painter, but as an artist with a calling.
 
CREATIVE PROCESS

How do you approach a new project or artwork? Do you start with a clear concept or let it evolve?

It depends on what’s stirring in me. Sometimes, I start with a single word or emotion — “displacement,” “joy,” “strength.”

Other times, I sketch without thinking, and I just let my subconscious guide the brush. I am unsure how this may sound, but I rarely finish a piece the way I started it. At the start, I thought something was wrong with me, but I have since realized I am not the only one with the same 'struggle'. I think it is because for me, painting is somewhat spiritual. It's like a dialogue between my inner world and the canvas.
 
What themes or messages do you often explore in your work?

I explore themes of identity, migration, belonging, mental health, and spirituality. One recurring symbol in my work is the silhouette. I deliberately use it to represent how we’re often seen in pieces before we’re seen in full. I also use vibrant colour blocking as a metaphor for how we mask our vulnerability with a type of confidence that is rehearsed and curated.

How do you deal with creative blocks?

At the beginning, I was privileged to not have experienced it. Then it always felt like there was something to paint, and I didn't even have to sit before I got inspired. It came easily, but I suppose it was so that I could refine my skills, because shortly after I became much better, I started having creative blocks, but I have hacked it anyway.

These days, I just lean into stillness. I journal a lot too, and I go on long walks. But my greatest hack is volunteering. I like to see and hear the kids ask questions about painting, about imagining, about dreaming, and about aspiring.

Their innocence is priceless. It's why I have committed to volunteering to teach as many kids as possible. And I do this every year. In 2024, I volunteered to teach kids painting at the Hulme is Where the Art is event in Manchester. I did a similar thing with approval from the Lagos State Government in my home country, Nigeria. With their approval, I conducted training for less privileged kids and taught them the rudiments of painting, amongst other life skills. Being around their unfiltered creativity reminds me why I started. I’ve come to realize that blocks are not walls — they are doors disguised as doubt.
 
STYLE & TECHNIQUES

How would you describe your artistic style?

I would put it simply as abstract storytelling. My background in drama and theatre, plus my experience in Marketing communications, makes it super easy, really. My works are a mix of Afro-expressionism and modern minimalism. My style blends bold colour palettes, repetitive motifs, and textured layers. It’s emotional and layered — like memory.
 
What mediums do you prefer to work with, and why?

Acrylics are my go-to because they dry fast, which suits my spontaneous bursts of inspiration. But lately, I have been pushing myself to experiment more. I have been playing with paper, sand, and thread. I am not under any reassure, just want to keep creating memories with things and people.
 
Do you experiment with digital art or mixed media? How has technology influenced your work?
In a great deal, technology has helped, and I dare say I haven’t even scratched the surface. I intend to do more. For starters, technology has helped to democratize how I share my work, from Instagram to virtual exhibitions. Recently, too, I have been exploring how to add some dimension and complexity to my work with the aid of digital layering.

Ultimately, I want to be able to leverage technology to reimagine my works without physically altering the original. But then I am taking a good pace as I am first, a painting artist, and emotions are my core.
 
EXPERIENCES & PROJECTS

Can you walk us through one of your favorite pieces — what inspired it and how it came together?

One of my favourites is a piece titled "Morenike; Mother Lisa."

I painted it in remembrance of my late mother. I wanted to remind myself she was always looking at me from above, wherever I turned, and wanted to create a piece that symbolizes her warm, constant gaze.

So, I did a reimagination of the Monalisa painting to but I didn't use her exact face because I wasn't going to share that with the world. But more because I wanted as many people as possible to relate and be able to engage with it.

The feedback has been great, and I hope my mother is really proud of what she inspired. Another work I am very excited by is the 'In The Beginning' which is of an artist's hand holding a brush on a blank canvas. This is very symbolic because like I said I often begin my paintings sometimes, clueless but trusting my artistic instinct to kick off. I have exhibited both painting and pitched them for even more.

 

 
Have you collaborated with other artists or brands? What was that like?

Yes, I’ve worked with spoken-word poets, musicians, and even a mental health-related event in Newcastle where I exhibited one of my works, a tale of two, which is about two migrants in love. I also exhibited it at the MOBOs, which were held in the city too. I chose that work because of the relevance it had to the audience.
 
Do you exhibit your work? If so, how does the gallery experience differ from sharing work online?

I’ve been fortunate to exhibit at various shows.

 I did only a bit in Nigeria as those were my formative years and I hadn't gathered enough confidence yet, although my works, I now reckon, were good and would have qualified. Since moving to the UK, I have had quite a bit of attention and exhibited both physically and digitally.

I was at the Paint Your Journey exhibition/competition in Bradford, UK. I have also exhibited my Super Power and Balance works at the Identity exhibition put together by Boomer Gallery in London.

Footprint image by Jasanya

At the Beyond Border exhibition in Helsinki, Finland, I also exhibited Small Steps, Big Steps, Super Power and Balance in celebration of the 2025 Africa Week alongside some artists I deeply respect including Kayode Olowu, Abolore Sobayo.

I have exhibited digitally at the London Art Fair, where I presented In The Beginning and One with Earth. I am due to exhibit more in the coming weeks as I have fielded some of my works including 'In the Beginning' and 'Equality' at the Royal West of England Art Gallery, 'One With The Earth' at the 'Wish You Were Here exhibition hosted by the Chapel Art, 'Wild and Fro' at BBA. I am also hoping to exhibit at Garfield Mill in Scotland and at the Art Unlimited competition.

Exhibiting physically allows people to feel the texture, see the layers, and connect more deeply. Online, however, has its magic too — it’s immediate, global, and often more democratic. Some of my collectors discovered me through Instagram DMs.
 
Audience & Impact

How do you hope people feel when they view your art?

I hope they feel seen. I hope they pause and ask themselves hard questions and find soft answers in my works. Whether it’s a burst of colour or a haunting silhouette, I want my art to hold space for reflection.
 
Has social media played a role in your artistic growth or exposure?

Massively. Being listed as one of the “Artists to Watch in 2022” came after someone shared my work on Instagram, and it went semi-viral. Social media has connected me to buyers, curators, and fellow artists around the world. It’s helped me build a global village without a formal gallery rep.
 
What has been the most rewarding feedback you’ve received from a viewer or collector?
A collector once messaged me saying, “Your painting reminds me I’m not broken.” I don’t think I’ll ever forget that. It confirmed to me that vulnerability is not just powerful — it’s connective.
 
ADVICE & FUTURE PLANS

What advice would you give to emerging artists trying to find their voice?

Don’t rush to define your style — let it find you. Keep creating, even when no one is watching. Art isn’t about perfection; it’s about presence. And if you’re ever stuck, go back to your “why.” Mine was to heal both myself and others.
 
How do you define success as an artist?

For me, success isn’t measured in sales or followers — it’s measured in impact. If one person finds peace, hope, or courage through my work, then I’ve done my job. Every canvas is a conversation, and every connection is success.
 
What are your goals or upcoming projects for the next year?

I started a project some time ago, Friends, Art and Finger Foods, which is an opportunity to present my works to some friends and let them have a good time with my pieces alongside food and merriment, because for me, these are what matters most.

I intend to do another edition soon. I am also working on a solo exhibition that will explore the emotional landscapes of migration. Not sure if I should spill this yet, but I’m looking to develop a digital series combining spoken word and painting. And yes, I love volunteering and will be continuing my volunteer work in both Manchester and Nigeria — because art and service, for me, are deeply intertwined.