Victor Ehikhamenor: Exploring Nigerian Identity through Art

Victor Ehikhamenor is a multi-faceted artist whose practice encompasses painting, drawing, photography, sculpture and installation, as well as unique perforated works on paper. Born in the village of Udomi- Uwessan, Nigeria, and based in Lagos, Victor draws inspiration from the dual aesthetic and spiritual traditions which infused his upbringing, using imagery and symbolism from both Edo traditional religion and Catholicism. In 2017 Victor represented Nigeria at the nation's first ever pavilion at the Venice Biennale.



Here Victor Ehikhamenor tells us why Lagos is so exciting

Tell us about your exhibition, Daydream Esoterica
The body of work is about Lagos. It captures the vibrancy, colours and dreams and aspirations and daydreams of Lagos, and those who live in the city, and its boisterous nature.

What changes have you experience in the Lagos art world over the year?
I moved back to Lagos a decade ago and I think that things have definitely changed, as far as people embracing art and creativity in different forms now, and also the places that have been opened for people to express their creativity. You have new art galleries other than traditional ones, alternative places, photography places, graphic designers doing marvellous things, even younger artists. So there is that kind of upsurge in the way that people want to embrace the creative industry in Nigeria or Lagos at the moment.

What can the world learn from Nigeria?
The world can learn from us, they are learning from us, and also taking from us as much as possible. We’re influencing the world both in fashion and in other things, so people will be inspired by the work that is coming out of Nigeria right now. It’s not going to stop, because it is a DNA thing, we are carriers of this creativity. They have to remember that, that it’s not going to stop.

Do you feel a responsibility as an artist depicting your nation at a time of change?
My responsibility as a visual artist is to project my country in a much bigger and brighter way outside Nigeria. It’s a responsibility I don’t take lightly.

What does the future hold for the Nigerian art industry?
I would love Nigeria to go back to Venice again… hopefully in another two years we’ll have more people to work towards making it successful again.