Artist Spotlight: The Multidimensional Hustle of Okechukwu Eze
Share
With nearly four decades of creation under his belt, Okechukwu Eze is far from a typical studio artist. A sculptor, environmentalist, and sharp businessman, he embodies the dynamic hustle of Lagos.
We sat down with him to talk about his artistic heritage, his relationship with family and business, and the vibrant chaos that fuels his multidimensional craft.
On The Meaning Of His Name:
“Okechukwu means ‘the Share of God.’ I believe that name is also why we have a lot of creative people in my family — we are from the lineage of God. We come from Anambra State, particularly Awka, which is known for its wide range of innovations and creations.
My family initially didn’t want me to become an artist because my forefathers were sculptors as well, and they feared my sculptures might turn out to be fetish, just like the sculptors before me.”
On Passing the Torch to “The Okechukwus”:
“Family plays a huge role in any creative journey. While I might not have had the best nuclear family support in the early stages of my art career, I’ve also experienced some of the best moments as an artist through family.
My son won an award as the best art student in his school, and I feel proud to be a role model to a child who is as talented as he is. My daughter is also a talented writer. I like to think they are inspired because their father is an artist who proves to them the value of art — both in a personal, artistic sense and financially.”
On Fearing the Canvas in 1990s Lagos:
“My earliest art memories in Lagos go back to the late nineties, a few years after I finished secondary school. My grades weren’t the best, so I couldn’t go straight to art school. Instead, I took up an apprenticeship at my sister’s shop, and that was when I first started making money off my art.
It was almost unbelievable to me at the time. I would go to Artworld in Yaba to buy pencils for my drawings. Back then, I believed painting was only for the masters. I had a fear of actually putting paint to canvas, so I stuck strictly to drawing media. But Lagos, being the opportunity-filled state that it is, gave me a chance to pick up painting commissions and sign-making, allowing me to build something for myself.”
On Refusing to Be Boxed into a Single Style:
“Personally, I refuse to have a single style. I love to experiment with media and styles regularly and not stay boxed in because art is nuanced and multilayered.
As an environmentalist, whenever I notice a pileup of pollution, I make art out of recycled materials — partially as a way to combat the waste and as a message to deter polluters. Lately, I’ve also loved recycling magazines for my pieces. What makes my artwork mine is the raw texture and unmistakable creativity.”
On Lagos as a Palette:
“A typical workday is unpredictable. You might have a canvas stretched but not feel inspired to paint a single stroke. But I am deeply inspired by what happens around me. Lagos is a very chaotic place, and that’s why it’s one of my favourite subjects.
Lagos is weird. You can buy almost anything on the roadside, and everyday characters look like they walked out of a cheesy Nollywood comedy. That’s what makes it the most inspiring place. It dictates my colour palette, which remains mostly nature-themed, as I believe the ultimate artist is none other than God Himself.”
On Juggling Being a Businessman and an Artist:
“I’m an Igbo man and a hustler. It’s no secret to Nigerians that Igbo people conduct business on a shrewd, clever scale. By the time I entered university, I already had my art business alongside another small venture, which meant my time for painting became limited. I had to strictly schedule particular days to paint.
Because art is so vast, I expanded my reach — from selling physical art internationally to selling creative concepts to artists and business owners. I direct and collaborate with art partners and mentorship protégés in a symbiosis of sorts. A few of these protégés are currently doing big things on their own, and I’m deeply proud of them.”
On Studio Atmosphere, and Enya:
“If someone stepped inside one of my paintings, they would definitely smell ‘Gardening’ first because I’m a Stoner — a stone sculptor, that is. I live proud as a Stoner because I live healthy, and I don’t depend on any substances for creative inspiration.
As for a studio soundtrack, I am eclectic. I listen to old-school Afro music like Majek Fashek, reggae, and lately, I’ve gotten deeply into Enya — I listened to Enya all through last night till this morning.
Although sometimes, I don’t want to hear any sound at all. I like the silence. Like my teacher used to say, ‘Music is a drug,’ and realistically, one cannot be high all the time at work, even with such a beautiful, uplifting drug.”
Words of Wisdom To Young Artists; Rejecting the Illusion of Perfection:
"Young artists of this generation are the luckiest. Most art resources back in the day were hard to get, and formal training was difficult to access. Now, resources are all over the internet. The old saying goes 'practice makes perfect,' but to be honest, I think consistent practice simply equates to growth. Perfection is an illusion."
EXPLORE OKECHUKWU EZE'S COLLECTION
See You This Weekend
If you’re in London, stop by Indra Gallery on August 29th or 30th. Browse the collection in person, meet the artdey team, and take home something original.
📍 Indra Gallery, 20 East Road, Old Street, N1 6AT, London
🗓 August 29-30 | 12pm-9pm
Pre-order now and pick up at the pop-up.
— Alex