Sejiro Avoseh: A Voice From Nigeria Through Assemblage
Sejiro Avoseh (born 1990) stands at the forefront of contemporary Nigerian art, forging a distinctive path through blending abstract human figures with repurposed automotive components—a striking juxtaposition that speaks volumes about societal critique and artistic innovation. Based in Essex, United Kingdom, Avoseh’s work transcends mere visual representation; it's an urgent commentary on issues facing his homeland and a testament to the transformative power of collage. His artistic journey began with formal training at Lagos State Polytechnic, earning him a Higher National Diploma in Creative Arts. Subsequently, he pursued postgraduate studies at the University for the Creative Arts in Canterbury, Kent, England, honing his skills in painting and mixed media techniques. This dual grounding provides a rich foundation for understanding his artistic vision. Early Influences: Avoseh’s fascination with assemblage began during his formative years, absorbing inspiration from Dadaist and Surrealist movements—artists who challenged conventions through unconventional materials and processes. These influences are palpable in his approach to creating art, prioritizing conceptual depth over polished aesthetics. He admired the daring experimentation of artists like Francis Bacon and Picasso, recognizing their ability to convey profound ideas through striking visual imagery. Technique & Material Exploration: Avoseh’s signature style centers around meticulously crafted montages constructed from cut-out magazines and newspapers. He painstakingly selects images—often depicting human forms—and combines them with discarded automotive parts, resulting in textured surfaces and layered narratives. This deliberate use of found objects elevates the artwork beyond a simple depiction to an investigation into materiality and its symbolic resonance. The artist describes: “I am painting the lives that have entered mine, I am also painting the effects these lives have had on mine; how they have lifted me.” He believes that art should be honest and confrontational, reflecting the complexities of human experience. Themes & Conceptual Concerns: At the core of Avoseh’s oeuvre lies a profound engagement with social justice issues prevalent in Nigeria. His artworks confront corruption, inequality, and abuses of power by governmental officials—subjects tackled with unflinching honesty and artistic sensitivity. Through his visual language, he aims to provoke dialogue and inspire action. He seeks to capture the spirit of resistance and aspiration that characterizes Nigerian society. Recognition & Critical Acclaim: In 2018, Avoseh garnered significant attention from the Financial Times as one of Nigeria’s most promising artists—a recognition that underscores the growing appreciation for experimental art forms originating in Africa. His work has been featured on WahooArt.com and other platforms, offering viewers a glimpse into his distinctive artistic vision. His pieces are currently part of notable collections that include works by Jean-Michel Basquiat, Pablo Picasso, KAWS, and others underscoring his growing relevance within the global contemporary art landscape.His series of portraits “Hungry and Angry” refers directly to the current political situation in Nigeria. If Sejiro Avoseh imagined this series before the demonstrations of October and the subsequent inhumane retaliations, it illustrates this feeling of injustice and helplessness which has fuelled the current events. It embodies a revolution against abyssal inequalities and a struggle for more freedom and social improvements. Thus, it is part of a global contestation of the regime.
Avoseh completed a Diploma In Painting at Lagos State Polytechnic, Lagos, Nigeria 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 and author Jess Castellote.
His work has been exhibited internationally, including at Kravets Wehby Gallery (New York), Afikaris Gallery (Paris), and Jupiter Contemporary (Miami).
