Yemisi Ogunbodede: Art Key to Nigeria’s Creative Economy Future

As conversations around Nigeria’s creative economy grow, visual art is gaining recognition as both cultural expression and economic value. At the centre is Oluwayemisi “Misi” Ogunbodede, founder of CraftVantage, whose 2026 Graduate Exhibition in Lagos showcased emerging Nigerian artists and explored themes of identity, resilience and culture. Beyond the artworks, the exhibition highlighted mentorship, sustainability and the need to build lasting opportunities for young creatives. Dike Onwuamaeze brings excerpts:

‘Bold Stories, Sustainable Futures’ was a compelling theme for CraftVantage. What inspired it, and what conversation are you hoping it sparks within Nigeria’s art ecosystem?

The theme was inspired by two things: The courage of young artists to tell stories that are deeply personal, and the need to build a creative ecosystem that can sustain them beyond talent alone. For us, “Bold Stories” speaks to the power of the works themselves. These artists are engaging with identity, memory, resilience, spirituality, womanhood, urban life, and the everyday realities that shape us. “Sustainable Futures” speaks to what must happen around the artists. How do we ensure that talent is not only celebrated, but supported? How do we create platforms, patronage, mentorship, commercial pathways, and visibility that allow emerging artists to build lasting careers? The conversation we hope to spark is that art is not just cultural expression. It is also part of economic participation, national identity, and the future of Nigeria’s creative economy.

The exhibition brought together young artists working across painting, sculpture, installation and mixed media. What does this diversity say about the direction contemporary Nigerian art is heading?

It shows that contemporary Nigerian art is becoming more experimental, more confident, and more layered. Young artists are no longer working within narrow definitions of what art should look like. They are combining materials, disciplines, memory, culture, personal experience, and social commentary in very interesting ways. This diversity also reflects the spirit of the country itself. Nigeria is complex, energetic, restless, and constantly evolving. The work of these artists mirrors that. They are not only making beautiful objects, they are creating visual language for the times we are living in.

Many of the featured works explore identity, resilience, memory and everyday life. Why do you think these themes are resonating strongly with emerging Nigerian artists today?

Emerging artists are creating from the realities they know. Identity, resilience, memory, and everyday life are not abstract themes in Nigeria, they are lived experiences. Many young artists are trying to understand where they come from, what they have inherited, what they are surviving, and what future they are imagining. Their work becomes a way of processing personal and collective experience. That is why the themes feel so strong. They are not forced. They come from observation, emotion, memory, and the need to make meaning.

CraftVantage emphasises storytelling and social consciousness alongside technical excellence. How important is art as a tool for social commentary and nation-building in Nigeria today?

Art is extremely important because it gives society a way to see itself. It allows us to reflect, question, remember, celebrate, and imagine differently. In Nigeria, where so many stories are often told through politics, economics, or crisis, art provides a more human and layered way of understanding who we are. It can speak about identity, history, inequality, hope, resilience, beauty, and possibility in ways that statistics or speeches often cannot. For nation-building, that matters. A country also needs imagination. It needs symbols, stories, memory, and cultural confidence. Art helps create that.

Interest in African art continues to rise globally. How can Nigeria better position itself as a leading destination for art investment and collecting on the continent?

Nigeria already has the talent, the stories, the cultural depth, and the market energy. What we need is to keep building the structures that make the ecosystem easier to understand, access, and trust. That means stronger galleries, better documentation, more collector education, institutional support, consistent art fairs, serious criticism, stronger museums, artist archives, and more platforms that connect artists with local and international audiences. We also need to tell the story of Nigerian art with more confidence. If we want global collectors to take Nigerian art seriously, we must also build stronger local confidence around collecting, patronage, and cultural investment.

What would you say to private investors, corporates or institutions that still see art mainly as decoration rather than as a serious cultural and economic asset?

I would say art is one of the most powerful ways to invest in culture, identity, legacy, and economic value at the same time. Of course, art beautifies spaces, but that is only one layer. Art also tells stories, preserves history, strengthens brands, supports livelihoods, creates markets, and builds cultural capital. For corporates and institutions, supporting art is not charity alone. It is a way of participating in the creative economy, shaping cultural conversations, and aligning with innovation, youth development, sustainability, and national progress. When you invest in art early, especially in emerging artists, you are not just buying an object. You are helping shape a career, a market, and a cultural future.

One of CraftVantage’s stated goals is to provide visibility and long-term support for emerging creatives. What are the biggest barriers young Nigerian artists still face in building sustainable careers?

Many young artists have talent, but they need more than talent to build a sustainable career. They need access, mentorship, materials, documentation, networks, pricing guidance, business knowledge, collector engagement, and consistent visibility. A major challenge is the transition from school into professional practice. That is often where young artists are most vulnerable. They may have skill, but they may not know how to position their work, speak about their practice, price properly, engage collectors, or navigate opportunities. That is where CraftVantage is trying to intervene. We want to support artists at that critical point where encouragement, structure, and access can make a real difference.

Beyond exhibitions, what kind of support systems do young artists need most to thrive professionally?

Exhibitions are important, but they are not enough on their own. Young artists need mentorship, grants, residencies, production support, studio access, collector introductions, curatorial guidance, legal and business education, and stronger links to institutions. They also need help understanding the business of art. How do you build a body of work? How do you price? How do you document your practice? How do you write about your work? How do you protect your intellectual property? How do you build relationships without losing your creative identity? The goal should be to build artists who are not only talented, but professionally prepared.

Nigerian artists are increasingly gaining international recognition. How can emerging artists be better positioned to transition from local visibility to global relevance?

Global relevance begins with strong local grounding. The most compelling artists are often those who are deeply connected to their own stories, materials, context, and visual language, but who present that work with professional clarity and international standards. To support that transition, artists need strong documentation, curatorial framing, digital visibility, international residencies, gallery relationships, critical writing, and access to platforms where their work can be seen by the right audiences. It is not enough to say Nigerian artists are talented. We must build the bridges that allow that talent to travel.

How important is mentorship in the journey of a young artist, and how is CraftVantage helping bridge the gap between talent and professional opportunity?

Mentorship is critical because talent without guidance can easily become isolated. A mentor helps an artist think more deeply about their practice, understand the market, avoid mistakes, and see possibilities they may not have imagined. At CraftVantage, mentorship is part of the structure. We are not simply asking artists to produce work and show up at an exhibition. We are supporting them through a process that includes guidance, training, feedback, exposure, and professional development.

The gap we are trying to bridge is the gap between promise and opportunity. Many artists have promise. What they need is the right environment to convert that promise into a sustainable practice.

Nigeria’s creative economy is often discussed in terms of music and film, but visual art gets less policy attention. What economic contribution can the visual arts sector make to Nigeria if properly developed?

The visual arts sector can contribute significantly if we take it seriously as part of the creative economy. It creates direct and indirect opportunities across artist production, galleries, framing, logistics, curation, publishing, design, education, tourism, events, collecting, advisory services, and cultural exports. It also strengthens Nigeria’s soft power. The way a country’s art travels influences how that country is seen globally. Nigerian visual art can help shape cultural diplomacy, tourism, investment conversations, and global perceptions of Nigerian creativity. But for that to happen, the sector needs more structure, policy attention, investment, and institutional support.

How do you see exhibitions like this contributing to Lagos’ wider creative and commercial economy?

Exhibitions like CraftVantage do several things at once. They create visibility for artists, but they also activate a wider ecosystem. They bring together collectors, corporates, designers, media, curators, vendors, cultural stakeholders, and institutions. For Lagos, this matters because the city already has the energy and influence to be a major cultural capital. Curated exhibitions help deepen that positioning. They create spaces where culture and commerce meet, where relationships are formed, and where creative talent becomes more visible to people who can support, collect, commission, fund, or amplify it. That is how an exhibition becomes more than an event. It becomes part of the city’s creative infrastructure.

Can the visual arts become a stronger source of employment for young Nigerians? What parts of the value chain hold the greatest untapped opportunities?

Yes, absolutely. But we need to expand how we think about employment in the visual arts. It is not only about the artist selling a painting. There are opportunities across the entire value chain: studio production, art handling, framing, conservation, curating, gallery management, art writing, exhibition design, set design, public art, art education, digital content, licencing, merchandise, brand collaborations, art advisory, cultural programming, and creative tourism. If properly developed, visual art can support both direct artistic careers and many adjacent professions. That is why the ecosystem matters. When the ecosystem grows, more people can earn from it.

As governments seek to diversify the economy beyond oil, what role should the arts and culture sector play in that diversification strategy?

Arts and culture should be treated as a serious part of economic diversification, not as an afterthought. The sector creates jobs, builds identity, attracts tourism, supports young people, strengthens communities, and expands Nigeria’s global influence. But beyond economics, culture gives meaning to development. It tells the story of who we are and what we are becoming. If Nigeria is thinking about the future, then the creative sector must be part of that future. The opportunity is to connect culture with enterprise, education, tourism, sustainability, technology, and investment. That is where real diversification can begin to feel both economic and human.

Looking ahead, what lasting impact do you hope the CraftVantage 2026 Graduate Exhibition will have?

For the artists, I hope the exhibition becomes a turning point. Not just a moment where their works were seen, but a moment that opened relationships, confidence, mentorship, patronage, and opportunity. For the wider creative economy, I hope CraftVantage contributes to a stronger conversation about how we support emerging talent more intentionally. Nigeria has never lacked talent or creative brilliance. What matters is creating the kind of platforms, support, and opportunities that allow that talent to truly flourish over time. Ultimately, I hope CraftVantage helps shift the narrative from simply celebrating talent to building the systems that sustain it. That is the legacy we are working towards.