A Decorative Conversation with Dennis Osadebe

Photo Credit: Yusuf Sanni

Dennis Osadebe is a Nigerian mixed-media artist and sculptor based in Lagos, Nigeria. He is known for his mixed-media paintings and sculptures. His practice utilizes a personal iconography that explores heritage, technology, and the possibilities of humanity. Osadebe coined the cultural movement 'Neo-Africa' as a response to the limiting nature of the term 'African Art' as a means to encourage others to rebrand tradition in a way that reflects the transforming world. Osadebe is influenced by artists such as David Hockney, Kerry James Marshal, Michael Craig-Martin, and Roy Lichtenstein. Dennis has exhibited both solo and group exhibits internationally in galleries such as Avenue Des Arts, Los Angeles LA, Galerie Liusa Wang, France PR, Circle Art Gallery, Christopher Moller Gallery, The Other Art Fair, New York NY, Red Door Gallery, Nigeria LA, Philips Auction House, Hong Kong HK, and elsewhere. His most recent exhibits were at the KÖNIG GALERIE, London NW1, MoCADA, GR Gallery, New York.  I had the pleasure of asking Dennis about some of the advantages of using different types of media, advice he would give young emerging African artists, what upcoming projects he is working on, and so much more.

UZOMAH: Your vibrant post-pop style centers around the idea of reimagining Africa. How can art help change the narrative of how other countries view African countries?

DENNIS: I want us to be understood as a continent full of talent and potential. Through my work, I aim to show that we are more than capable of participating and leading the way for art that extends outside of the pre-assumed parameters of ‘African Art’ to shift the expectations set upon us. I believe that art acts as a portal to understanding humanity, complex conversations, and topics by documenting the spirit in the moment. I like to use my work to speak on the diversity of art on the continent.

Righteous mind I (2021)

U: Have you found any disadvantages of using technology in society and within the creative process of creating art? If so, why?

D: Not at all. On the contrary, technology has been an asset in allowing my work to continue developing from the boundaries of painting. In Please Enter, the commission I created for The National Gallery in 2021, I was able to translate my visual language into an interactive digital space that allowed for an entirely new experience of the work both for myself and the viewer.

Two heads are better than one (2020)

U: How do you use art to bring out more humility in the world?

D: By being honest in my approach and unpacking topics that we can all relate to, I explore themes within my practice, such as the ideas of play and reflection that encourage a sense of community and togetherness, allowing the work to be reflective of the larger human experience.

U: What are some of the advantages of using different types of media?

D: Tapping into new approaches allows me to continually learn and grow. Despite painting being my immediate medium, I don’t see myself as a digital artist or a painter but as an artist in all forms of the word. It’s important to create in the medium most fitting for the concept. For example, Playful Rebellion is a video game that reflected on the heightened police brutality in Nigeria following the #EndSARS movement through an accessible, playful form. Moving outside of painting allowed for this idea to reach its full potential through merging art and gaming.

Collectors (2021)

U: What advice would you give a young emerging African artist seeking representation from galleries?

D: Being an artist means you have to be professional, hardworking, and patient. As an independent artist, I’ve forged my own journey rather than working solely with one gallery. It takes work and tenacity to find opportunities for yourself but allows you the freedom to carve out your own space within the industry.

U: Can you express the importance of the Neo-Africa cultural movement, which you coined for African artists in the art world and beyond?

D: Neo-Africa was formed as a response to the limiting nature of the term ‘African Art.’ Its importance lies in how it can be used to advocate for freedom of expression through rebranding tradition in a way that reflects the transforming world. I think freedom is always a good thing.

U: Your series Stand For Something in 2019 allowed the audience to picture themselves standing for something. How does art help you stand for something?

D: Art gives you perspective. As the artist, I can make work that echos important beliefs, and as the viewer, art allows you to align yourself with forms of creative expression which resonate with what's important to you.

U: Your art explores many themes; how do you involve both the traditional and contemporary with humor and surrealism?

D: When approaching a new body of work, my goal is to find the connection between traditional and technology, and the mixing of the two leads to surreal motifs that lend themselves to the humor in the work.

Connection (2021)

U: What are some of your favorite color combinations to use, and why?

D: I like to limit my palette as I feel like it gives me more freedom, but the combinations are dependent on the context of the work. In my latest body of work, Modern Magic, I worked with earth tones because I felt like this palette would be able to bring across the dreamlike atmosphere that I intended for the works to exude.

U: What is next for you in terms of upcoming projects?

D: I am working on new ways to make my work more accessible to further the scope of the ways that my practice can be applied outside of the gallery. Look forward to that!

For more information about Dennis’s artwork, please visit his site, and give him a follow on Instagram.