Sejiro Avoseh: A Voice From Nigeria Through Assemblage

Sejiro Avoseh (born 1990) occupies a pivotal position in contemporary Nigerian art, establishing himself as an innovator by merging abstract human figures with repurposed automotive components—a striking juxtaposition that powerfully communicates social critique and artistic ingenuity. Based in Essex, United Kingdom, Avoseh’s oeuvre transcends mere visual representation; it constitutes an urgent reckoning with the challenges confronting his homeland and serves as a testament to the transformative potential of collage techniques. His artistic trajectory commenced with formal training at Lagos State Polytechnic, securing him a Higher National Diploma in Creative Arts. Subsequently, he pursued postgraduate studies at the University for the Creative Arts in Canterbury, Kent, England, refining his skillset across painting and mixed media disciplines. This dual grounding furnishes an invaluable understanding of Avoseh’s artistic vision—a perspective shaped by both academic rigor and experiential observation. Early Influences: Avoseh's fascination with assemblage took root during his formative years, absorbing inspiration from Dadaist and Surrealist movements – artists who bravely defied conventions through unorthodox materials and processes. These influences permeate his artistic approach, prioritizing conceptual depth over superficial aesthetics. He admires the daring spirit of figures like Marcel Duchamp and Giorgio Morandi, recognizing their ability to provoke thought and challenge accepted norms. Technique & Material Exploration: Avoseh’s distinctive style centers around meticulously crafted montages constructed from carefully selected cut-out magazines and newspapers. With painstaking precision, he chooses images—often depicting human forms—and integrates them seamlessly with discarded automotive parts. This deliberate incorporation of found objects elevates the artwork beyond a simple depiction, transforming it into an investigative exploration of materiality and its symbolic resonance. The resulting textured surfaces and layered narratives speak volumes about Avoseh’s artistic intent – to convey complex ideas through visual language that is both evocative and intellectually stimulating. Themes & Conceptual Concerns: At the core of Avoseh's artistic endeavor lies a profound engagement with social justice issues endemic to Nigeria. His artworks confront corruption, inequity, and abuses of authority perpetrated by governmental officials—subjects tackled with unflinching honesty and artistic sensitivity. He seeks to stimulate dialogue and inspire action through his visual narratives, mirroring the spirit of artists like Picasso and Bacon who dared to address uncomfortable truths within their work. The recurring motifs in his paintings – fractured figures amidst industrial landscapes – reflect a preoccupation with societal fragmentation and the struggle for authenticity. Recognition & Critical Acclaim: Avoseh’s artistic reputation gained considerable momentum in 2018 when he was recognized as one of “18 Nigerian young visual artists under 30 to follow” by art critic Jess Castellote—a distinction that underscores the burgeoning appreciation for experimental art forms originating from Africa. His work has been featured prominently in prestigious publications such as The Financial Times and Art Dubai, cementing his position within the global contemporary art landscape. Furthermore, Avoseh’s pieces are currently showcased on WahooArt.com and other platforms, offering viewers a captivating glimpse into his singular artistic vision.

His series of portraits “Hungry and Angry” directly addresses the prevailing political climate in Nigeria. Prior to the October demonstrations and subsequent retaliatory actions, Avoseh envisioned this series—a poignant reflection of anxiety and helplessness fueled by injustice. It embodies a revolutionary impulse against profound inequalities and represents a fervent aspiration for greater liberty and societal betterment.

Avoseh completed his Higher National Diploma in Painting at Lagos State Polytechnic in 2013. Since then, he collaborated with international doll- maker Aidamaris Roman on her “Forgotten Heart” series. In 2018, he was listed as one of “18 Nigerian young visual artists under 30 to follow” by art critic Jess Castellote.

His work has been exhibited internationally, including at Kravets Wehby Gallery (New York), Afikaris Gallery (Paris), and Jupiter Contemporary (Miami).