This is a interview with Bayo Akanbi who appeared in our exhibition and publication “Contrast, Issue 2“.
Your work is driven deeply by human experience. What aspects of the human condition do you find yourself more drawn to exploring throughout your practice?
I am particularly drawn to themes of identity, migration, and the intersection of tradition with modernity. My practice is deeply rooted in the exploration of cultural narratives and how they shape both individual and collective identities. I’m fascinated by the tensions and harmonies that arise from navigating multiple worlds—whether geographical, emotional, or societal. For me, the human condition revolves around our constant search for belonging and understanding and the delicate balance between connection and isolation. I aim to capture the nuances of these experiences in my work
How do you aim to evoke an emotional connection with your audience? Can you give an example of a project where you felt you achieved this well?
My aim is to create work that resonates on a visceral level, sparking an emotional reaction that lingers long after the initial encounter. I often use mixed media techniques and experimental approaches to immerse viewers in a sensory experience. One project that stands out is “Portrait of Kano Durbar,” a short documentary film about a cultural festival in Northern Nigeria, which was screened at Manchester Museum. I combined video, photography, sound, and archival footage to create an experience that goes beyond antiques and collectibles. The audience response was powerful; many shared personal stories and their perceptions of the region, feeling a renewed interest in visiting that part of Nigeria. That collective vulnerability was a moment where I felt I had successfully connected with them.
What complexities are introduced by the subtle use of red and green in your work, and how do these colours help to shape the narrative you’re telling?
Red and green are colours rich in symbolic meaning, and I use them intentionally to add layers to my narratives. Red, in my work, often evokes both passion and danger—it’s a visceral colour tied to human emotions like love, anger, and sacrifice. Green, on the other hand, can suggest growth, renewal, and sometimes tension, especially when juxtaposed with red. The interplay of red and green invites viewers to reflect on the dualities present in the human experience, such as the conflict between progress and tradition or the tension between desire and fear.
Your work uses the concept of contrast to explore both identity and self-perception. How do you think photography is well suited for examining these themes?
Photography, with its ability to freeze a moment, is an incredible medium for exploring contrasts—both visually and conceptually. The lens allows for the capture of raw, unfiltered truth while simultaneously offering space for abstraction and interpretation. When examining identity and self-perception, photography becomes a tool for reflection. It can reveal layers of the subject that might otherwise remain hidden or overlooked. In my work, contrasts in light, composition, and texture become metaphors for the internal struggles and external pressures that shape who we are. By playing with these visual contrasts, photography helps me delve deeper into how we see ourselves and how the world perceives us.
You mentioned that you see art as a mirror, encouraging self-reflection. How do you create this reflective space for your audience, and what kind of self-discovery do you hope to inspire in them?
I create this reflective space by incorporating a sense of ambiguity in my work—there are often more questions than answers, which encourages viewers to engage actively rather than passively. I utilise layered narratives, mixed media, and fragmented imagery to invite contemplation. By not dictating a single, clear message, I leave room for the audience to project their own experiences, interpretations, and emotions onto the work. My hope is that through this interaction, viewers will reflect on their own identities, cultural affiliations, and personal histories. Ultimately, I aim to inspire a sense of introspection that leads to a deeper understanding of the self and the complex social world around us.
Looking forward, what themes and narratives are you interested in exploring in your future projects?
In future projects, I am particularly interested in exploring themes related to memory and generational trauma. I want to delve deeper into how past experiences—both personal and collective—shape present realities. I’m also intrigued by the concept of home, not just as a physical space but as an emotional landscape. As someone who moves between Lagos and London, I’m fascinated by the idea of “in-between spaces”—places that aren’t fully one thing or another, yet exist in their own right. These spaces can serve as powerful metaphors for identity, migration, and belonging. I aim to continue creating work that invites audiences to question, reflect, and engage with these universal human themes.