Niyi Okeowo and Thompson Ekong (TSE) are reimagining the contours of contemporary art and what it means to be African visual creatives in the 21st century. Niyi Okeowo sits comfortably in the space he has carved out for himself in the Nigerian creative scene — not specifically as an artist but as a designer. For Okeowo, the distinction is critical. “Art is usually not governed by anything — you can draw a circle and call it art. But in design, you can’t just draw a circle. It has to solve a problem,” he asserts, his eyes gleaming with the conviction of someone who has deeply thought about his place in the creative world. And he has. Since absorbing the subtleties of design forms from an early age, the 30-something-year-old is truly at the vanguard of a renaissance in African contemporary design.

Okeowo’s influence extends beyond aesthetics, marking a pertinent shift in how African identities are articulated and perceived globally. His portfolio, hefty with collaborations with YKB, Show Dem Camp, Adobe, The Cavemen, Uber, and so on, speaks to his deep understanding of visual semiotics and brand identity. His most recent work — Rema’s HEIS logo — is a palindromic masterpiece which features gothic elements fused with modern design techniques to symbolise the eclectics of Rema’s sound. 

Meeting in a quaint coffee shop where the air is thick with creative fervor, Okeowo’s contemplative, calm demeanor juxtaposes easily with TSE’s barely restrained exuberance. Thompson credits much of his creative stimulation to interactions with other creatives, acknowledging the reciprocal nature of inspiration in the artistic community.

He manipulates the visual topography of African music, throwing himself into projects for talents like Taves, Lojay, Tiwa Savage, Santi, Burna Boy, and more. A multidisciplinary artist, his work is emblematic of a broader cultural zeitgeist, one that converges with the exponential growth in both the quality and quantity of creative outputs from Nigeria.

This interview has been edited for brevity and clarity.

BSide: You have been crucial to the visual language of many creative designs of our time. Do you have any moment yet when you think “Yeah, I’ve blown”?

TSE: That moment is ahead of me but definitely around the corner. The work I’ve done in the recent past have further proved the evidence of growth and that’s how I see them. I’m genuinely happy when people recognize my work or when they can spot something and say, ‘That’s TSE’ or likely inspired by it, without me having to point it out. I believe that my best work is my next one and I am working a lot so we’ll see.

BSide: Your work spans various mediums and styles. How do you decide which medium to use for a particular project? Do you ever find yourself switching gears midway through because something else feels more right?

TSE: Every project has a desired outcome or objective; sometimes it’s a statement, a start of a conversation, other times it’s a feeling to evoke with the audience that receives it. With that in mind, it’s really about walking backwards and letting it guide the creative process and, then, the execution of the project. Ultimately, the style/medium decision is continuous till the work is complete and delivered. As for inspiration and coming up with fresh ideas, I’ll credit that partly to the challenge that comes with every new project. I’m also very inspired by other creatives and the work they do. I mean, to be able to dream up something and bring it to life for others to see and experience, that in itself is highly inspirational.

BSide:  It’s interesting how the process almost becomes a conversation between you and the work itself. So, how do you keep pushing the limits of your creativity, and what does innovation look like for you in your work?

TSE: Pushing the boundaries of creativity is a part of the internal struggle that all of us experience at different points in life. Projects are subject to interpretation and vision of the creative — the creative is the constant and the foundation for what is to be created, so my work is really a reflection of where I am, where my mind is at the time and what I would like to see that’s not available or what I would like to see more of in the world. As such, pushing the boundaries, is also pushing myself by asking questions to really know what I want to do at the time. Innovation to me is highly collaborative and largely about experience, it’s about combining elements and approaches to then get an elevated result or outcome, be it traditional media or technology to create an experience that allows for a more impactful interaction with the work.

BSide: What do you think has been your most underappreciated work? Can you share a time when you created something that completely surprised you or went in an unexpected direction?

TSE: I wouldn’t say surprised but the pieces from Celestial Void series from 2021 made me look at myself differently. That, to me, was innovative. It was a combination of elements that came together, light, glass and captured in photographs and even the physical pieces produced were just different. Although the reception of the work was great, a lot of people did not get to experience Celestial Void and that’s something that I’m looking to fix — making the experience accessible to a wider audience and getting them to take a journey into The Void with me.

BSide: Interesting. Is there a moment of profound personal growth that occurred as a direct result of your work?

TSE: Summer of 2021, preparing to put on the Celestial Void showcase in London, in putting that show together was when it really hit me that I was doing something I had never done before and I had a moment to recall the process of creating the pieces they layers of details that fully rounded out the story and concept of the collection and then the actual show itself, all from having a vision for what I wanted to achieve. That moment is a pinpoint for my growth as an, especially seeing what I was able to create a couple years after No-1: The Future Experience from 2016.

BSide: Speaking of growth, what invaluable art business lesson did you learn in the past year that took your career to the next level?

TSE: It’s that there is an art to doing business as a creative, it’s not all just numbers and all the stuff that a lot of creatives shy away from. The goal should be to build structures that enable you to grow further than you can by yourself and if you don’t have a mind for it, seek out people who do.

BSide: That’s such a great point. Was there a specific moment or decision this past year that really highlighted this lesson for you?

TSE: Absolutely, collaborating with others and building the right team was key.

BSide: Collaboration is everything. Do visual artists experience imposter syndrome too?

TSE: Of course! It really comes with being a human being searching through your mind to create something and put it out into the world. When you challenge yourself to be great, you’d probably expect the biggest pushback to be external, but it’s not, it comes from within and that is the biggest challenge of the process and getting started; coming to a point of alignment with yourself and jumping into the process of creating something KNOWING that you’ll end up with something awesome, because you will give it all that you have and that knowing is something that continuously happens, you do things and you have evidence that you can in fact do things.

BSide: Is it the case that liking an artist or a song is what makes you decide to work on it? In other words, does your personal enjoyment of the music play a significant role in your decision to collaborate?

TSE: It’s not necessarily about liking the song itself—though that can certainly help. What’s more important is understanding the artist: where they are with their craft, what they’re aiming to achieve with the song, and how their vision aligns with mine. That said, I have found that some of the best collaborations and work I’ve done with music artists came from a genuine connection to their music. When I’m really into the music, it helps create a better synergy and allows the collaboration to flow more naturally. The vibe has to be right, and a personal connection can often enhance that.

BSide: That makes a lot of sense. Now, shifting focus a bit, where do you think the health of the creative community, specifically in Nigeria, is?

TSE: I’m not quite sure how to measure that but I will say that there is a reason why a lot of people and entities from all over the world are looking at Africa, Nigeria, the people, culture, our content and in extension the creatives and I’d say it’s because a lot of creatives are now finding their voices and taking up space, showing and telling the world how great we are, that’s the bigger picture of it but on the smallest scale, it’s really just a lot of kids in their hometown asking themselves questions and creating what they want to see in the world and the fact that there’s more creatives finding their way and more collaborations, that leads me to say that the community is in a good place, not perfect though and still in need for proper structure and support, but thriving regardless.

BSide: What haven’t you done yet?

TSE: I haven’t reached my final form.

BSide: When did you begin to think of yourself as an artist? 

Niyi Okeowo: I think of myself more as a designer than an artist. Design has to solve a problem, like needing a logo for something. That’s a design brief. It’s different if you ask me to use my art style to interpret your logo; if my style is flowers, you’ll see flowers around that logo. So, I see myself more as a designer than an artist. But to answer the question, I’ve always drawn since I was small. My family is artistic—my uncle, my mom, and other relatives all draw. It’s been around me since I was young. I even have some of the first drawings I did when I was about three. My mum kept it. Apparently, I drew Batman. 

BSide: So when did you find out that you really wanted to get into design? 

N.O.: When I was in the university — 100 level. I found this software called Fireworks, which was owned by Macromedia and eventually bought by Adobe. It became the precursor for what Photoshop is now. By my second year, I already knew because I was skipping classes just to learn. Now I realize that I’m dyslexic.

BSide: How did you find out? 

N.O.: I asked to be tested. I could sense that if something wasn’t piquing my interest, I wouldn’t put in the effort. It was an attention thing because I passed all my design courses. But for subjects that didn’t interest me, my brain just didn’t process them.

BSide: So right now, what interests you and feels urgent to you? 

N.O.: Creative direction. I like being able to get a brief, dissect it, do research, apply the context back to Nigeria or wherever else it’s applied to, and make something new. I like the idea of carrying people forward. There’s a personal project I’m working on for NASRDA, which is our space governing body, pretty much our NASA. We don’t often realize, but when NASA needs to go to the moon, they use Kano as a base. If you check online, you’ll see that Kano is one of their base locations. This led me to imagine what it would have looked like if Nigeria had gone to space in the 1970s. I’m researching NASA and developing a space program concept that aligns with Nigeria’s identity. What kind of imagery would be used?

BSide: Some might call your art futuristic, even though it has a vintage feel. How do you see it?

N.O.: It depends on perspective. First of all, you’re calling it art, but it’s really design. It’s not like I’m not an artist, but with design being at my core, it’s very important to differentiate them. Art is expression-based, and anyone can be an artist. A child may be a renowned artist, but it’s less likely (not completely impossible) for a child to be a world-renowned designer because they need to know certain technical things. For instance, a child might not understand why a colour would not work in a specific context. If we’re talking about art, then yes, my work might seem futuristic. With design, it depends on the brief. If tasked with designing a bottle intended to last a century, it might be seen as futuristic. If the brief calls for a design rooted in the past, it would be vintage. Design is shaped by the brief, while art is about self-expression. Someone like Chigozie Obi is an artist, unequivocally. It would be unconventional for her to create a logo without collaborating with a designer who understands technical aspects. This distinction between art and design is key — art is expressive, while design is structural and contextual.

BSide: So what’s beauty for you as a designer? How do you decide when to stop?

N.O.: For personal projects, I rely on my experience to determine when to stop. This is where maturity as a designer comes into play. You might not always know for certain, but design involves iteration. For example, designing a phone might involve creating 20 different versions before finalizing it. I was tasked with designing Rema’s album cover (alongside Tife)  to look identical on both sides, like a palindrome. The cover needed to incorporate gothic elements that would form the phrase “HEIS” when combined. We started by brainstorming ideas and creating a visual mood board. Our initial concept sketch featured a bat, which served as a starting point for the design process. We iterated on this initial concept until the final design was complete. That’s how I operate. I often set a project aside, revisit it, and see if improvements can be made. Experience helps determine when a design is complete. Once I’ve answered the key W’s and H. Did you study Mass Communication? 

BSide: No. I studied English. But I’m familiar with the five W’s and H. The What, Where, When, Who, Why, and How. Are you a very critical designer? 

N.O: 100%. I question everything.

BSide: Do you think that has diminished your enjoyment of appreciating designs?

N.O.: I find it’s a matter of balance. Sometimes I’m overly critical, which can be counterproductive. Why use this font? Why couldn’t they have used that? When I’m around others, I often hold back my critical nature to avoid seeming whiny or overly negative. I think there’s a time and place for critique. It can impact my decision-making at times. Observing younger designers, who lack the same experience, is interesting because they sometimes lack technical skill but create innovative work. It reminds me to not take things too seriously and consider how things might look without my extensive knowledge. If I weren’t aware of certain sensitive issues, my interactions might be different. Self-awareness helps manage this critical tendency.

BSide: Looking back, what do you think you were doing wrong during your formative years as a designer that you’ve now corrected?

N.O: I wasn’t conducting sufficient research and wasn’t in the habit of writing things down, which is risky for a designer. Relying too much on memory can lead to lost ideas. It’s crucial to take notes and conduct thorough research. I often made assumptions without understanding the reasons behind them. Understanding why things work is essential and helps clarify your approach. If I could go back, I would focus more on my mass communication classes to help me hone my research skills because research is vital. I consume a lot of stuff — even the ones I have no business consuming. For example, for the space project, I researched NASA extensively and watched related films. Additionally, I engage in user testing by posting unfinished projects online and observing public reactions. The feedback is crucial for refining my designs.

BSide: Are you super conscious about critiques?

N.O.:  Not really. Apart from the fact that there are always people better than you, the design process is slow and complicated in a country like Nigeria. The appreciation for design here is limited, and as a result, it doesn’t hold a much serious place. Also, one of the major issues is that the country lacks a cohesive collective identity; it’s a range of diverse groups. For example, in Japan, people primarily identify as Japanese, while in Nigeria, the primary identifiers are ethnic groups such as Yoruba or Hausa. This fragmentation complicates communication and design. Designing for Igbo people, for instance, requires careful consideration to avoid inadvertently offending cultural or historical sensitivities.

BSide: Have you had any problems like that?

N.O.: No, because again, I research a lot. I know what can be a sensitive topic, so I make a lot of findings to have an informed view. For an issue like #ENDSARS, I may not need to do much research because it’s plain oppression. But there’s still a need to be careful and sensitive as different groups exist within that sort of oppressed community, such as LGBTQ individuals. They may experience issues differently. You don’t want to dismiss or invalidate anyone’s experience. The world is a very sensitive place, rightfully so, because many things are happening. 

BSide: What’s pissing you off so bad right now in the design scene?

N.O.: A major issue is the pressure to transition into product design, driven by the higher salaries in tech. Many designers, often through internships, are pushed into product design roles, leading to a shortage of brand designers. For example, a product designer might earn £60,000 per year while working remotely from Nigeria, a salary significantly higher than that of a typical bank manager. While product design involves psychology and user behavior rather than just design experience, this shift often happens for financial reasons rather than passion. It’s like football players who have to adjust their style when moving to different leagues, sometimes losing their original flair.

BSide: How about AI? For example, as  a journalist, I often notice AI-generated content because it has an unmissable repetitive style. Do you encounter similar issues in design?

N.O.: Yes, AI does impact design, but not immediately. Design is context-dependent, and while AI can mimic certain styles, it often lacks the necessary context. AI’s biggest flaw is how it handles representations of people of color. Many algorithms are trained primarily on data related to white individuals, so AI might default to stereotypical images, like depicting Nigerian culture as villages. The problem lies in AI’s limited training on diverse, local contexts.

BSide: In your opinion, what is the role of a designer today, and how do you see yourself fulfilling that role?

N.O.: I think many of our day-to-day problems in Nigeria would be mitigated if the government took design seriously. Do you know what Wayfinding is?

BSide: No.

N.O.: It’s a design discipline that involves navigating spaces. For instance, if you drive in Nigeria, you’re likely to enter a one-way street, not because it’s your fault, but because there’s no Wayfinding. In countries where design is embedded in the culture, like the UK, you can learn to navigate the railway system in just a couple of days without anyone teaching you. In Nigeria, navigation is chaotic. When filling in details at airports, you’re anxious because things aren’t clear. The important information isn’t highlighted properly. There’s nothing guiding you on what to fill out first, so you end up asking people who make it very obvious that you’re disturbing them. Often, you fill in the wrong information and realize it was a waste. Clear signage and logical layouts are crucial, yet often overlooked here. Also, designers have a major role in challenging and reshaping cultural perceptions. Growing up as a Yoruba Nigerian, I found Yoruba culture to be stereotyped as “razz” compared to the Western content I consumed. Now my role as a designer involves addressing and correcting these perceptions, using design to represent and elevate cultural identities authentically.

Check out the BTS video here:

 

View this post on Instagram

 

A post shared by BOUNCE (@bounce.networks)