Ndidi Emefiele was born in Abuja, Nigeria in 1987. She earned her BA from Delta State University, Abraka in 2007 and later, an MA from London's Slade School of Fine Art (2014–16). Emefiele's figurative art, integrating collage and traditional motifs, and distinguished by lively brushwork and bold colours, is deeply informed by her Nigerian heritage, reflecting a cultural richness. Showing regularly in London, Emefiele uses symbolism and recycled materials to vividly explore female identity and modern life complexities, often portraying empowered women, commenting on gender dynamics, consumption culture, and personal themes within a vibrant, expressive artistic style.
Painter Ndidi Emefiele was born in Abuja, Nigeria in 1987, showing her artistic inclinations from a young age. She earned her BA from Delta State University, Abraka in 2007. Growing up in Nigeria, Emefiele did not encounter art in the usual way, recalling: ‘In Abuja, we didn't have museums to explore and admire artworks; books were the only window to the world’ (Freddo 2023). Specifically, she remembered discovering a book about Ben Enwonwu, Nigerian sculptor and Slade School of Art graduate, commissioned by HM Queen Elizabeth II in the late '50s for a bronze sculpture. Reading about him empowered her to journey to London and begin her own artistic career. Emefiele received her MA from London's Slade School of Fine Art (2014–16), where she won the Olive Prize in 2016.
Emefiele blends cultural, gender, and personal themes to create vibrant figurative pieces, characterised by lively brushwork and a bold use of colour, reflecting the complexity of modern life and the nuances of female identity. Informed by her Nigerian roots, Emefiele's narratives blend collage, textiles, and traditional elements, imbuing her work with a rich sense of cultural heritage and aesthetic. She portrays women as empowered individuals interacting in a space where males are conspicuous by their absence. Her bold characters do not seek to conform to male standards. Furthermore, these figures are distinguished by oversized heads, richly symbolic, especially in Western Nigeria where sculptural heads are traditionally exaggerated in size and imbued with deep cultural significance. Known as the Ori, the head is seen as the most crucial part of the body, symbolising one's fate and inner essence. In Emefiele's works, women are depicted wearing glasses, a deliberate choice by the artist to offer them a shield of sorts. As Emefiele acknowledges, ‘It is that curtain, a veil, a mask behind which she masters the art of mobility, she is learning to work the alchemy of dissolving the hard conditions in which she finds herself’ (Franceschini 2015).
Emefiele's art responds to Nigeria's prevalent culture of consumption and reuse, drawing inspiration from discarded items, such as tulle, leftover fabric, scrap plastic, and compact discs. Her work cleverly incorporates humorous visual elements through the use of cut-outs and collaged pieces, weaving together themes from both popular culture and personal iconography. In her ongoing Rainbow series, Emefiele presents women in sunglasses made from recycled compact discs that reflect shifting colours with the changing light. Emefiele characterises the typical woman from this series as, ‘A reflection of light [...] an illusion constantly changing. She is as beautiful as you think she is and as toxic as you think she is’ (Omenka Gallery).
Emefiele's inaugural solo show at London's Rosenfeld in 2017 showcased works characterised by striking colour contrasts, exemplifying her ‘very personal expressionistic language’ (gallery press release). Her Pool series, with scenes of shimmering water, portrayed models in a blend of relaxed and seductive poses, while works such as Light bulb on a string and Sizzling Susan heralded a shift from her earlier close-ups to capturing figures in more intimate positions. Emefiele's third solo show, Here as in Heaven (2020), marked a significant shift in approach. Previously known for her humorous yet poignant depictions of women's strength and self-sufficiency, these works explored deeper, more introspective themes of life, death, and personal loss. Inspired by the tragic passing of her sister, her closest friend, Emefiele experienced a period of creative dormancy before returning to her art with a transformed perspective. This new collection moved away from the outward portrayal of women, focusing instead on profound existential questions. The artworks, richly emotive, explored themes of physical absence and spiritual presence. Key works, such as They Came to See God and Rehearsing Death, depicted scenes of transition between life and the afterlife, symbolising Emefiele's own experiences of loss and mourning.
In 2021 Emefiele featured in Citizens of Memory curated by Aindrea Emelife at The Perimeter, London. In 2022, in The Gift of Fellowship, Emefiele explored the concept of 'fellowship', acknowledging the role of friends, relationships, spaces, and self-compassion in navigating her profound grief. Dominated by large paper works, a medium not previously explored on this scale, she continued previous themes, such as swimming pools and exaggerated eyewear, but in a transformed context. Isle of the Blessed served as a companion to an earlier work, exemplifying this shift, with both women directly facing the viewer, symbolising Emefiele's journey of self-confrontation. In the same year, Emefiele showed with Cassina Projects at KIAF Seoul in South Korea. In 2023 Rosenfeld presented her solo show Re-inventing Piet Mondrian and the Consequences. Nididi Emefiele lives between Northampton, England and Nigeria. Her work is not currently represented in UK public collections. Emefiele is a member of the society of Nigerian Artists, The Female Artist Association of Nigeria and Founder of Ndigo Art Gallery.
Consult items in the Ben Uri archive related to [Ndidi Emefiele]
Publications related to [Ndidi Emefiele] in the Ben Uri Library