Moses Olugbenro is a multidisciplinary Nigerian visual artist whose work explores emotion, African tradition, and the human form. Born in Abeokuta, Ogun State, in the late 90’s, his practice has evolved from charcoal drawing to oil painting, with ambitions to explore activism and social commentary through his art.
We spoke with Moses about his creative journey, documenting his process, and the importance of preserving the stories behind African art.
Your work spans different mediums. Can you tell us a little about your journey as an artist and your relationship with the materials you use?
As a visual artist, every day is a new discovery for me. I’m always looking to improve my craft with every brush stroke. Charcoal was my first medium, and I love it for how fast it is to work with and for the textures it gives me. I picked up oil paint in September 2024. Being able to work in oil feels like a dream come true for me.
Your portraits use the human form to tell stories. What stories are you most drawn to telling, and where do they come from?
Your portraits use the human form to tell stories. What kind of stories are you most drawn to telling, and where do they come from?
I use my art to explore themes of emotion and African tradition. In the future, I hope to use my art for activism, addressing themes of government and society.
Looking back at your journey so far, was there a piece or a moment that changed how you saw yourself as an artist?
Yes. My view as an artist changed in January 2020, after I attended an art event organized by Ken Nwadiogbu, a successful Nigerian artist.
Why do you think it matters for artists like yourself to have their stories and processes documented—not just their finished pieces?
For an artist like me, documenting my process is necessary. I want to carry people along with me and let them see the hard work that goes into each piece. It also helps because, most times, people wouldn’t believe the work was done by a human.
What’s been lost, in your view, when African art and craft journeys go undocumented—and what changes when they’re actually celebrated and told?
Undocumented African art loses its “why”—the reasoning behind a piece, not just the finished image. Work gets lumped into vague labels like “African art” instead of tied to a real name and lineage.
Someone else ends up telling the story, and that usually costs the artist both credit and value, since provenance is a big part of what markets actually pay for. Techniques die too, once they only live hand to hand, and that chain break tells the story, though, and the maker becomes an author. People can see the reasoning, not just the result.
If someone outside the art world stumbled on your work for the first time, what do you want them to walk away understanding—about you or about the story behind the piece?
I want people to see my work and feel a part of it.
Moses’ artistic journey is still unfolding, with each new work offering another glimpse into his evolving practice and perspective. To explore more of his work or connect with him, follow his creative journey on HERE.
You can also watch the full virtual conversation with Moses on YouTube, where he shares more about his practice, influences, and journey as a visual artist.
