Adebayo Bolaji was born to Nigerian parents in London, England in 1983. After a successful acting career, he turned to painting. His art is a vibrant fusion of his Nigerian heritage and London upbringing, creating a unique visual collage that explores identity and societal roles. His work spans painting, sculpture, and performance, often incorporating African textiles and found objects, merging cultural narratives with contemporary themes and reflecting a dynamic, multidimensional human experience.
Multidisciplinary artist, Adebayo Bolaji was born in Perivale, London, England to Nigerian parents in 1983. As a child, he was instinctively drawn to art, often immersing himself in drawing cartoons and comic card images. While Bolaji's early interest in visual arts was not nurtured in his home environment, his artistic journey took a different direction when he began acting in youth theatre at the age of 14, leading to significant roles in West End productions.He also briefly studied law at London Guildhall University due to ‘parental pressures’ (It’s Nice That). However, despite a successful acting career, Bolaji felt constrained and sought a more personal mode of expression. This quest led him from writing, to drawing, and ultimately to painting, which emerged as a medium in which he could freely execute his vision.
Encompassing painting, sculpture, performance, and poetry, Bolaji's art serves as both a form of psychoanalysis and an exploration of personal history, while also investigating the broader themes of change and the individual's role within society. His work is a deep anthropological, religious, and historical inquiry, intertwined with elements of popular culture, offering a multidimensional perspective on the human experience. Bolaji's artistic practice is informed by his dual heritage, blending the urban landscape of London with the rich traditions of his Nigerian background. In his art, these two worlds come together, creating a unique style that speaks to both the complexities of his identity and the rich experiences of living between two distinct cultures. Bolaji describes his style as ‘a visual collage that seeks to find a truth and not hide its journey in getting there’ (Forbes). His artworks are inspired by vibrant African textiles, the storytelling rhythms of Nigeria, and deep cultural rituals. He also draws influence from the principles of the Nigerian Oshogbo Art Movement of the 1960s, which is reflected in the aesthetics, line, and patterns in his work. While his Yoruba Nigerian heritage plays a central role, Bolaji is mindful of being pigeonholed as an 'African World Artist'. He emphasises his identity as a Londoner of Nigerian descent, challenging stereotypes and generalisations in the art world (Magazine Tank). Bolaji also utilises found objects, embracing the serendipity and history they bring, and often crafting layered constructions that speak to themes of identity and change. His vibrant and bold paintings contrast sharply with the earthy, raw tones of his sculptures. When creating sculptures, Bolaji starts with a design or template, which serves as a foundation for further development. This process is dynamic and improvisational, allowing the initial idea to evolve organically, akin to a ‘dance and a fight’ simultaneously (Dateagle Art). Bolaji's unique practice of embedding his signature multiple times within a single painting is a poignant reflection of his journey towards self-acceptance. Once inclined to Anglicise his name, he now boldly celebrates his African heritage through this repetition, each signature symbolising a bold reaffirmation of his identity.
In one of his notable paintings, Black is Beautiful, he reimagines Michelangelo's Pietà with a profound contemporary resonance. Here, the traditional figures of Mary and Christ are portrayed as Black, intentionally challenging their conventional portrayal. Bolaji's rendition is a poignant commentary on police brutality and systemic racism, particularly reflecting the experience of African-American mothers mourning their sons — a narrative tragically underscored by the killing of George Floyd. The artwork, conceived before this event, gained an unforeseen layer of significance as it echoed the collective outcry over Floyd's death and the broader Black Lives Matter (BLM) movement. In this piece, the artist uses black to represent not just race but the essence of the soul, making the skin colour symbolic. Chibok (2016), created during a residency at Yinka Shonibare MBE’s Guest Projects, is a deeply emotional 'stream of consciousness' piece, responding to the harrowing abduction of 276 schoolgirls by the terrorist group Boko Haram in Nigeria. Employing a metaphorical visual language, the painting is a vivid clash of colours and shapes interspersed with chaotic scribbles, capturing the turmoil of the event. Finished as the fate of some girls became known, the work serves as both a memorial and a stark commentary on the world's muted reaction to the tragedy.
Bolaji's first solo exhibition, Rituals of Colour, was held at the Public Gallery in London in 2018. It focused on the transformative power of colour, used as a therapeutic tool to explore the rituals of healing and self-expression. Further solo shows included Serena Morton Gallery, London (2019) and Beers London (2021). In 2023, he was commissioned to create a public sculpture for west London's Acton Gardens' Central Plaza, titled The People’s Throne. Reflecting seven key community values, it included a sculptural throne and a mural collaboratively designed with local residents, serving as a vibrant symbol of empowerment and communal connection. Bolaji's work is not currently represented in UK public collections.
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Publications related to [Adebayo Bolaji ] in the Ben Uri Library