For muralist Barnabas Onuche Ajanya, art is about bringing colour and life into spaces—and making people see them differently. Shaped by Kaduna, Lagos, Zaria and Abuja, his work draws from the colours of northern Nigeria, African art and contemporary influences. In this conversation with Adejoke Henry, Ajanya opens up about his creative journey, the realities of earning a living from art and finding his place in Abuja’s creative scene. He also shares his struggles, inspirations and his ambition to change how Nigerian art and artists are valued.
Tell me about yourself beyond the canvas: My name is Barnabas Onuche Ajanya, and I was born in Kaduna. I grew up in Lagos, schooled in Zaria, but I’m typically called an Abuja boy. My university days and the people I met in those days shaped me, mainly. My life experiences have been diverse, but I am grateful for my journey. These experiences show in my art pieces these days.
When did you first discover that art was more than a hobby?
It was sometime in my third year at the university. I was flat broke, and it was the wrongest time to be taxing any family members for cash. So I sold a few of my art pieces and even a class assignment. Prior to this, I did a lot of things for free, because art was totally a passion and not a money-making venture. I used to do a lot of free stuff for people, and it never bothered me. So yeah, Sapa dealt me a strong one, and from that point on, I thought of every and any way to make art my cryptocurrency.
What are the recurring themes you find yourself exploring and why?
The Sahel savannah of the north. Solid browns and crisp oranges, dark and heavy hues, basically.
Growing up, I had a lot of shapes and forms, and nature was sort of my playground.
Right now, the world has become kind of grey, and it sure tires me out.
From serious, straight and boxy shapes and forms to grey, white and black hues covering every space we have.
So, doing the opposite of what I see around has triggered my creativity. Using a lot of curves and colours to create almost every piece that comes my way. Especially with the murals I do nowadays. Lighting up the place and giving colour and life to every space has always been of great importance to me
Which artists, cultures, books, and places have had the most impact on your style? This might sound slightly old-school, but I was drawn to the Renaissance period back in school and almost didn’t see myself as anything other than a realism artist. Then I got so drawn into the Benin, Nok and Ife masks, the Ashanti dolls. So mix that with the Renaissance art style, and you see a sense to what I create from sculptures to paintings.
I always adored the work of Eric, artists like Ben Enwonwu, our great Nigerian, Michelangelo, the great Italian, and David, a stone-sculpture carver. Then, most recently, muralists like Smoe Nova and Kiptoe, who are German and American, respectively ginger my art style and motivate the essence to create art.
How has living in Abuja influenced your work, opportunities and your view of the Nigerian art space? It’s super hard, taxing and frustrating, but very possible to succeed in the country’s capital city. When I started off, I always thought that collecting cheap jobs and under-selling yourself would keep you busy and make you money. Yes, it did, but not with money, and it kept me frustrated. But once you meet the right clients and people, you’d know that being an artist in Abuja and Nigeria as a whole has a premium market, and there are people willing to pay top dollar for the beauty of your artwork.
Walk us through your creative process: For personal works, this might sound weird, but it takes years of fillers and ideas pouring through from experiences, images and people. The short form, though, always starts with a sketch for either a sculpture or a painting. These days I do a lot of paintings. So yes, it starts with sketches, not just a sketch. Days of brainstorming over which would become the end product. Then, most times, days or possibly weeks, there’s a lot of silence and wondering if it’ll ever be an awesome piece. Eventually, I’m like, whatever, “all die na die”, and I just go ahead and start off the piece. There are one or two times I’m done with the piece, though, and then I cover it up and do something totally different…lol. But at the end of it all, something comes out, and I stick with it.
What have been the biggest challenges you have faced as a visual artist, and how have these experiences helped your growth?
The typical one that chases every form of artist and affects every other aspect of our journey. The artist’s block! That weird moment when you want to create, have plans for a project, but nothing seems to be stumbling to the surface. It’s super frustrating and messes with almost everything around me. If I can’t create, I don’t feel complete, and I can’t affect anyone around me positively, and that sucks.
Is there one work that holds a particular special place in your heart, and why?
So I can’t give the full details of this painting, but it sure holds a deep place in my life. The painting is nothing special to be honest, cause it’s a slightly Pop art styled portrait of a random lady, that no one knows, not even me. It wasn’t the original painting on the canvas. Remember my process of changing ideas every time? Yeah, this is one of the canvases that went through that process, and I remember the original painting on the canvas, cause it was made to tell a story of the 6 years before 2020. Between the original painting and this lady’s face, I changed the idea 4 times to try to tell how I felt. Every time I finished any of the paintings, I’d try to sell it, but I was never able to sell it. I’d even get super good offers, agree to payment and then turn it down, cause I couldn’t let the painting or that very canvas go. Now it’s hanging in my mum’s parlour…lol
Outside the studio, what do you enjoy? Reading a book, laughing with someone who’s within arm’s reach. I’m not so much a fan of being outside, even though I’m outdoorsy. I hear being outside and being outdoors are two different things. I’d rather be on my own every other time of the day. I spend a lot of time watching anything and everything about cars. From the history of cars, modelling, building, driving them, all the way to motor sports. I adore cars. Benz owners, BMWs have the best driving experience you could ever ask for, take it or leave it.
Looking ahead, what legacy do you hope to leave through your art?
Well, that’s a hefty one. Building a legacy is wild, and I wish I could mention and share my plans, but I’m so sure that with the legacy I plan to build, Nigeria will be happy I was born and bred here. Art in Nigeria is appreciated only for its beauty, but not for its value. I’ve said too many things that aren’t connecting, but a change in the art scene in Nigeria is my target. I’m on a painted wine bottle series at the moment, and then the next target has to do with cars.
Artists should not lose hope, lose focus, waver, or reduce their worth in the marketplace or in creating value. If Nigeria won’t appreciate you, create your own world where you are and appreciate your process.
Credit: Leadership
Tell me about yourself beyond the canvas: My name is Barnabas Onuche Ajanya, and I was born in Kaduna. I grew up in Lagos, schooled in Zaria, but I’m typically called an Abuja boy. My university days and the people I met in those days shaped me, mainly. My life experiences have been diverse, but I am grateful for my journey. These experiences show in my art pieces these days.
When did you first discover that art was more than a hobby?
It was sometime in my third year at the university. I was flat broke, and it was the wrongest time to be taxing any family members for cash. So I sold a few of my art pieces and even a class assignment. Prior to this, I did a lot of things for free, because art was totally a passion and not a money-making venture. I used to do a lot of free stuff for people, and it never bothered me. So yeah, Sapa dealt me a strong one, and from that point on, I thought of every and any way to make art my cryptocurrency.
What are the recurring themes you find yourself exploring and why?
The Sahel savannah of the north. Solid browns and crisp oranges, dark and heavy hues, basically.
Growing up, I had a lot of shapes and forms, and nature was sort of my playground.
Right now, the world has become kind of grey, and it sure tires me out.
From serious, straight and boxy shapes and forms to grey, white and black hues covering every space we have.
So, doing the opposite of what I see around has triggered my creativity. Using a lot of curves and colours to create almost every piece that comes my way. Especially with the murals I do nowadays. Lighting up the place and giving colour and life to every space has always been of great importance to me
Which artists, cultures, books, and places have had the most impact on your style? This might sound slightly old-school, but I was drawn to the Renaissance period back in school and almost didn’t see myself as anything other than a realism artist. Then I got so drawn into the Benin, Nok and Ife masks, the Ashanti dolls. So mix that with the Renaissance art style, and you see a sense to what I create from sculptures to paintings.
I always adored the work of Eric, artists like Ben Enwonwu, our great Nigerian, Michelangelo, the great Italian, and David, a stone-sculpture carver. Then, most recently, muralists like Smoe Nova and Kiptoe, who are German and American, respectively ginger my art style and motivate the essence to create art.
How has living in Abuja influenced your work, opportunities and your view of the Nigerian art space? It’s super hard, taxing and frustrating, but very possible to succeed in the country’s capital city. When I started off, I always thought that collecting cheap jobs and under-selling yourself would keep you busy and make you money. Yes, it did, but not with money, and it kept me frustrated. But once you meet the right clients and people, you’d know that being an artist in Abuja and Nigeria as a whole has a premium market, and there are people willing to pay top dollar for the beauty of your artwork.
Walk us through your creative process: For personal works, this might sound weird, but it takes years of fillers and ideas pouring through from experiences, images and people. The short form, though, always starts with a sketch for either a sculpture or a painting. These days I do a lot of paintings. So yes, it starts with sketches, not just a sketch. Days of brainstorming over which would become the end product. Then, most times, days or possibly weeks, there’s a lot of silence and wondering if it’ll ever be an awesome piece. Eventually, I’m like, whatever, “all die na die”, and I just go ahead and start off the piece. There are one or two times I’m done with the piece, though, and then I cover it up and do something totally different…lol. But at the end of it all, something comes out, and I stick with it.
What have been the biggest challenges you have faced as a visual artist, and how have these experiences helped your growth?
The typical one that chases every form of artist and affects every other aspect of our journey. The artist’s block! That weird moment when you want to create, have plans for a project, but nothing seems to be stumbling to the surface. It’s super frustrating and messes with almost everything around me. If I can’t create, I don’t feel complete, and I can’t affect anyone around me positively, and that sucks.
Is there one work that holds a particular special place in your heart, and why?
So I can’t give the full details of this painting, but it sure holds a deep place in my life. The painting is nothing special to be honest, cause it’s a slightly Pop art styled portrait of a random lady, that no one knows, not even me. It wasn’t the original painting on the canvas. Remember my process of changing ideas every time? Yeah, this is one of the canvases that went through that process, and I remember the original painting on the canvas, cause it was made to tell a story of the 6 years before 2020. Between the original painting and this lady’s face, I changed the idea 4 times to try to tell how I felt. Every time I finished any of the paintings, I’d try to sell it, but I was never able to sell it. I’d even get super good offers, agree to payment and then turn it down, cause I couldn’t let the painting or that very canvas go. Now it’s hanging in my mum’s parlour…lol
Outside the studio, what do you enjoy? Reading a book, laughing with someone who’s within arm’s reach. I’m not so much a fan of being outside, even though I’m outdoorsy. I hear being outside and being outdoors are two different things. I’d rather be on my own every other time of the day. I spend a lot of time watching anything and everything about cars. From the history of cars, modelling, building, driving them, all the way to motor sports. I adore cars. Benz owners, BMWs have the best driving experience you could ever ask for, take it or leave it.
Looking ahead, what legacy do you hope to leave through your art?
Well, that’s a hefty one. Building a legacy is wild, and I wish I could mention and share my plans, but I’m so sure that with the legacy I plan to build, Nigeria will be happy I was born and bred here. Art in Nigeria is appreciated only for its beauty, but not for its value. I’ve said too many things that aren’t connecting, but a change in the art scene in Nigeria is my target. I’m on a painted wine bottle series at the moment, and then the next target has to do with cars.
Artists should not lose hope, lose focus, waver, or reduce their worth in the marketplace or in creating value. If Nigeria won’t appreciate you, create your own world where you are and appreciate your process.
Credit: Leadership
