Olumide Onadipe Reinvents Materiality at SOTO Gallery

Yinka Olatunbosun

Outside his Ijegun studio, Olumide Onadipe comes across as a philosopher. Every sentence holds a deeper meaning while he seems to peer into one’s mind. This multidisciplinary artist is set to demystify the world of his works with his next solo exhibition holding at SOTO Gallery, Ikoyi. Titled “The Earth Holds Our Names,” the exhibition which opened on April 19 runs till May 31st. In this show, Onadipe takes a deep dive into the relationship between materiality, memory, and by accident- environmental consciousness. Known for his “inventive sculptural language,” Onadipe transforms every day, often discarded materials into complex, tactile forms.

A prominent figure in the contemporary Nigerian art scene, recognised for his ability to blur the lines between painting and sculpture, Onadipe often uses intense heat to manipulate plastics (such as polythene bags) into organic, textured installations and wall hangings. His work frequently addresses the “clash between people and commodities,” reflecting on consumerism and the Nigerian experience.

For instance in Eko Bridge, the artist presents more than just an echo of infrastructure; it becomes a metaphor for connection- a joining of worlds that could have remained apart. The braided structure of Eko Bridge becomes a metaphysical crossing between these dimensions. Its woven lines echo pathways (Inà), suggesting continuity, circulation, and return.  The work, invariably, pays homage to feminine energy presenting it as sacred. The figure becomes a living portal, a vessel through which ancestral presence, memory, and destiny take form.

Onadipe reveals a series titled “It is Green on the other side” which explores migration, with a particular focus on the Japa phenomenon, a growing reality that continues to drain Nigeria of the skilled and qualified individuals vital to shaping its future. Drawn from Yoruba parlance, ‘Japa’ loosely translates to “escape,” suggesting the urgency leaving unfavourable socio-economic challenges to seek opportunities abroad.  The series raises critical questions about loss, ambition, survival, and identity, presenting migration not just as a physical relocation, but as a complex and deeply personal journey. While the dream of opportunity outside the shores remains deeply compelling, this series turns its attention to its darker underside: the extreme risks and harrowing realities faced by those who pursue migration through perilous, unofficial routes marked by exploitation, disillusionment, trafficking, forced labour and sometimes death.

In Opá Àse (Staff of Authority), Onadipe examines the symbols of authority associated with the Yoruba King, Oba, highlighting Opá Àse as the staff of sacred power. Traditionally linked to divine authority and leadership, the staff is seen here as both an object and a symbol of the throne, an instrument through which power is expressed and responsibility is shared. The work reflects on the weight of leadership within a modern democratic consciousness, where power ultimately resides with the community, and the Oba becomes both bearer and servant of that shared will.

With ‘Hormuz Island, Red-Oxide and the Ocean,’ the artist evokes the mystery of nature, drawing a parallel between water and earth as coherent and inseparable elements.

The work draws inspiration from a striking natural occurrence that took place around Hormuz Island in Iran, where a period of severe rainfall caused a significant movement of red earth oxide from the land into the surrounding ocean.

Thus the image of the earth “bleeding” into the ocean evokes a visceral connection to the human body, particularly the blood that flows through our veins. Iron, which gives the soil its red colour, is also a fundamental component of human blood. 

Onadipe, who holds a Master’s degree in Visual Arts from the University of Lagos, has exhibited globally at major fairs including 1-54 Contemporary African Art Fair in London, Art Context Miami, and ART X Lagos. For Tola Akerele, this solo showcase at SOTO follows the gallery’s busy first quarter, which included their key partnership in hosting the +234 Art Fair this past March.