If you’ve scrolled through Instagram or Twitter in the past year, you’ve probably come across Anthony Azekwoh’s work — vivid, arresting pieces that seem to demand attention. His art, whether in the form of digital portraits or larger-than-life sculptures, carries a sense of power that makes it hard to look away. The images are worlds, telling the stories and contradictions of the space from which they emerge. 

 

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Azekwoh’s career path feels symbolic of a new generation of Nigerian artists who are blurring the lines. It’s clear that he’s not limited by any particular medium or method. He moves fluidly between disciplines, much like his work moves fluidly between worlds — past and present, real and imagined. His art, in all its forms, captures a moment in time while hinting at something much larger: the weight of history, the inevitability of change, and the power of story.

 

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While Azekwoh’s digital presence has anchored him in the burgeoning world of African contemporary art, it’s his grounding in history and culture that sets him apart from his peers. Born and raised in Lagos, Azekwoh’s environment has had a profound impact on his creative output. Lagos is a city that thrives on its contradictions — its vibrancy and chaos, its beauty and brutality — and Azekwoh’s work reflects this duality. His art captures the essence of the city’s spirit, whether it’s through the stoic figures he creates or the underlying tensions he visualizes.

Anthony Azekwoh’s walk into the art world has been anything but conventional, and this unpredictability is mirrored in the work that has brought him to international attention. With no formal art training, the Nigerian artist has carved out a space for himself that spans digital art, traditional painting, and sculpture.

 

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Thematically, his work investigates the nuances of Black identity, hierarchy, and the materiality of existence. Azekwoh taps into the spiritual essence of these stories but renders them in a way that speaks to modern audiences, making the mythic feel urgent and alive. His characters, whether human or god-like, are imbued with a quiet yet commanding presence. His pieces aren’t just beautiful; they’re unsettling in their quiet intensity. The figures he portrays seem to know something the viewer doesn’t, their eyes fixed in a gaze that’s both inviting and impenetrable. This emotional tension is perhaps most evident in his “The Red Man”, where the figure seem to flicker in and out of existence, his form barely contained by the canvas.

 

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What’s exciting about Anthony Azekwoh is his refusal to be boxed into any single identity or artistic style. As much as his art is rooted in Nigerian traditions, it’s also deeply global in its outlook. His work forces us to reconsider how we define African art and challenges the simplistic, often reductive narratives that have historically dominated the Western art world’s view of the continent. The artist is part of a broader movement of Nigerian creatives — whether in music, fashion, or visual arts — who are unapologetically centering African stories in their work. And while his early foray into digital art garnered attention, it’s his exploration of more tactile, nuanced themes in Nigerian culture that is solidifying his place as one of the most interesting young artists in the country.