Beyond the Filter, an Artist Unmasks the Uncurated Truth

With a bold fusion of digital surrealism and African pop culture, Ehinomen Okoeki’s mixed-media collages dissect the complexities of modern identity, laying bare the paradoxes of self-presentation and the human quest for validation in the virtual landscape. Okechukwu Uwaezuoke  writes 

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ure, collage art may not be the latest buzz in art trends. Nonetheless, Ehinomen Okoeki’s game-changing blend of digital surrealism with African pop culture packs a visual punch. These mixed-media compositions beckon the viewer to lean in and unravel the threads of meaning woven into each layered, surreal figure.

This Edo State-born artist’s mixed-media collages, which explode with visual tension, slice through the façade of social media’s curated veneer to reveal the complex, often contradictory truths of modern identity. With wit and nuance, he lays bare the paradoxes of self-presentation, aspiration, and the human quest for validation in the virtual landscape. 

In one of these works, which he titled “Midnight Calls”, the artist stages a dazzling spectacle of self-presentation, where two faces – one male, one female – don oversized masks of their own eyes, grinning with a theatricality that is both captivating and unnerving. The black-and-white photography is amplified to cartoonish proportions, underscoring the performative nature of identity in the digital age. The male figure flaunts a bold, patterned outfit emblazoned with the defiant mantra “My Money Grows Like Grass”, an anthem to the Nigerian hustle ethos. Meanwhile, his counterpart radiates sweetness and pride in her vibrant textile, adorned with the nostalgic South African phrase “Ama Kip Kip”. As they clutch their phones, the image becomes a wry commentary on the curated personas social media denizens craft and consume online. Beneath the humour and visual panache, however, lies a sharp observation: in a world obsessed with likes and influencer aesthetics, the lines between authenticity and performance are hazily defined. Yet, the work exudes a sense of celebration and affection for African youth culture, seamlessly blending tradition with modernity.

Further navigating the realms of fantasy and reality, the artist unleashes a riot of colour and imagination in a composition he titled “I Gat My Eyes on You”, crafting a portrait that is at once whimsical and thought-provoking. The young subject’s eyes, like those of the figures in the previous painting, are amplified to surreal proportions, her vibrant lips curled into a sly smile as she tenderly cradles a single red rose. Her bold, geometric print dress is a masterful mashup of traditional African textiles and modern flair, blurring the lines between heritage and contemporary cool. The oversized, mask-like eyes she wears like a second skin raise questions about the performances of girlhood – is she playing a role, or revealing a deeper truth? Yet, it is the unbridled joy that lingers, a sense of childhood wonder that defies containment. This is a portrait that captures the essence of imagination in full bloom, where fantasy and reality blur like the petals of the rose she holds.

Fusing traditional and modern elements, the artist’s third piece, titled “Bloom”, bristles with energy, defying conventions and redefining the boundaries of contemporary portraiture. The subject’s face, like the others rendered in bold black-and-white, is exaggerated to comedic extremes, yet radiates an unmistakable joie de vivre. Seated with confidence, she cradles a bouquet of flowers that explodes with colour, injecting vitality into the monochromatic figure. Her Ankara-print dress proudly showcases West African heritage, while the flowers symbolise joy, femininity, and cultural pride in perfect harmony. What makes this piece truly remarkable is the artist’s masterful balance of humour and reverence, achieved through a precise collage technique that blends realism and surrealism. Every detail, from lashes to teeth, is meticulously crafted, inviting both admiration and delight. 

Lighting the way for new conceptual possibilities, Okoeki’s artistic approach is rooted in his early fascination with art and his internship experience with his maternal uncle, Victor Ehikhamenor, a renowned artist. Okoeki’s creative process involves collecting and manipulating images, digitally assembling and deconstructing them to uncover new conceptual possibilities. By blending digital manipulation with tactile collage, the Benin City-born artist operates at the intersection of control and chaos, precision and fragmentation.

Exploring the complexities of human experience, Okoeki’s art challenges conventional perceptions with his unique style, delving into themes of identity, culture, modernity, and human emotion. His works are populated by humanoid figures with exaggerated features, masterfully distorting proportions and challenging the viewer’s gaze. The vibrant incorporation of traditional African patterns and motifs adds a rich layer of symbolism and aesthetic depth to his craft, as vividly seen in the Ankara-print dress that brings “Bloom” to life. Okoeki’s artistic footprint is marked by a growing presence in notable exhibitions across Nigeria and beyond, including the thought-provoking Reflections of Our Times at the Ministry of Foreign Affairs in Abuja and the dynamic +234 Art Fair in Lagos. His artistic journey has also been enriched by participation in prestigious residency programmes, such as the 2023 residency at the Shanghai Academy of Fine Arts, Shanghai University, China, and the Reimagining Hope Residency in Lagos, curated by the Federal Ministry of Art, Culture, Tourism, and the Creative Economy.

A first-time meeting with the artist in Abuja lifted the veil on his beyond-the-glare-of-the-spotlight persona. It was on a sunny Thursday evening, on June 19 to be precise. A grey airport taxi, having obediently followed the GPS voice prompts, disgorged this writer before a modest bungalow at the end of Kachia Close in Abuja’s sleepy Garki neighbourhood, where the International Institute for Creative Development (IICD) Center unobtrusively called its operational base. As he stepped into the office, travel-weary from an afternoon flight from Lagos, the hum of creative energy wrapped around him like a soothing balm, momentarily easing the fatigue of the journey. Okoeki, clad in a black T-shirt and sporting tufty hair transitioning into dreadlocks and towering above everyone else, rose from his seat to shake hands. Looking more of a techy type than an artist, he radiated an aura of contentment that often accompanies artistic triumphs. He soon learned that he was supposed to be on the same flight with Okoeki, which he had missed by a curious twist of fate, hence his arrival later than expected. The office, meanwhile, with its endearingly disorganised appearance, was a cosy haven, with computer desktops and documents scattered about a longish table like the remnants of a creative brainstorm. The Bohemian setting, replete with teacups and a coffee machine cluttering a sink, added to the ambience, reminding this writer of a creative haven.