Hafizat Adegbile is a visual artist whose work is inspired at least in part by the likes of Cindy Sherman, Robert Longo and the superstars of the Pictures Generation. Hafizat continues their search for identity with the lens, and within her digitally manipulated pieces, as identity fractures, is complicated and in some instances renders itself complicit. It’s a search encompassing sweeping simple beauty and granular detail. Hafizat's work has featured in many galleries around the world, and at home in a variety of Nigerian cultural periodicals.
OUTSIDELEFT: If someone said, “How would you describe yourself…” to encapsulate where you are with your career now. What would you say?"
HAFIZAT ADEGBILE: I would describe myself as a creator and an explorer leveraging technology to craft my experiences. My art is a reflection of both personal experiences and broader human themes. My journey as an artist has been shaped by technology enabling me to push boundaries and blend traditional approaches with modern technology.
Right now, I’m in a space where I’m exploring the limitless possibilities of digital tools to express ideas, emotions, and narratives in new and innovative ways.
I'm currently combining refinement with discovery. My work revolves around the cultural, social and political realm. I'm learning to appreciate the flexibility of creative exploration as well as the discipline required to advance my profession, and my work is changing as a result. The intersection of art and technology is interesting, and I’m at a stage where I feel excited to experiment, collaborate, and expand my creative horizons. I feel like I'm on the verge of something more profound right now, new territories.
OL: You were raised in a creative family, can you talk about your childhood, when did you begin to realise that you had your own way of seeing things, a precursor to becoming a visual artist? Was there a shoe-dropping moment of realization for you?
HA: My journey into the world of art began when I was 15 years old with a modest present from my father: a camera. Yes, I was raised in a creative family, my father owned a photography studio, and my mother painted, so I was no stranger to the creative process. I would use my camera to romanticise even the most ordinary aspects of everyday existence. My shoe dropping moment was was while growing, when I realised art is not just about how perfect your creation is but how it makes your audience feel. I was working on something that did not come out quite well but still still produced the emotions I was trying to pass across. At this point I realised I do not need to be perfect before I become a visual artist, the beauty lies in the process and originality.
OL: Were you encouraged to pursue art, before you studied more IT related courses at University?
HA: No I was not encouraged to study art, my parent gave me free hand to study whatever I wanted and I chose computer science
OL: You were interested in photography, and that has evolved into the hybrid imagery you are known for. Can you talk about that?
HA: Yes I was interested in Photography. After high school, I went ahead to study computer science and saw this as an opportunity to evolve, to take my photography skills to another level by blending in the use of technology via visual editing applications. I would use tools to curate feelings that correspond to the thoughts in my head. If a photo I took is not totally expressing what I wanted it to express, I take it to my computer and modify it to tell the story I want it to tell.” I took advantage of this by expanding my knowledge by delving into digital skills such as graphic designs and picture editing and modification, visual editing applications and transformed my pure photographs to digital imagery. I found the realm of digital art while studying. I have exhibited my works in various galleries in Nigeria and internationally at Holy Art Athens, Holy Art Berlin, Madeke Art Gallery in The UK and Andakulova Gallery in Dubai.
OL: Is there much state support for artists in your state, or country? In the UK we have the Arts Council national body and regional arts groups who can access some funding. How accessible is arts support where you are?
HA: I am from Nigeria and Oyo state to be precise, and I must say the support for artist in the state is not much as expected. Although we have the council for arts and and culture in the state which is responsible for artistic talent hunt in the state’s rural and urban communities, but I feel the reach is not enough, they need to do more.
OL: Is your arts scene patriarchal? What are your observations about the representation/power of women on the arts scene? Are you seeing positive changes?
HA: Historically, the arts scene has been patriarchal, we have had male dominating positions of power in galleries, museums, film industry as well as the musical industry. Female artists, curators, and leaders have often been underrepresented, underfunded, and in-fact under-recognized. However, in recent times, there have been obvious shifts towards greater gender equality. We now have more women in the galleries, music as well as museums.
OL: Do you listen to music while you work?
HA: I don’t listen to music while working because it distracts me from what I am doing and I mostly like to focus.
OL: Are you ever not working? If so what do you do with that time?
HA: When I am not working, I like listening to music traveling and developing my art skills by reading
OL: Where can we see your work - are there any shows coming up?
HA: In the coming months I plan doing a workshop to share my creativity and knowledge, and to motivate people that are interested in art to learn new skills and have fun at the same time. In addition to fostering a sense of community.
WORK
OL: Can you talk about your Fabrics of Culture series?
HA: Fabric of culture series is a series I did in 2024 to promote the Yoruba culture. The artworks celebrate African cultural heritage, particularly through the emphasis on traditional attire and ceremonial elements. I captured photographs of various women of the Yoruba tribe from the South West of Nigeria in their traditional and cultural attire. These ladies were adorned with beads from head to toe. Behind them is a backdrop made of Ankara clothing, a popular West African textile. The work was exhibited in Madeke Art Gallery in UK and also Holy Art Gallery in Athens
The *three piece of works* in this series particularly manifests the attires and costumes of the Yoruba people from Ondo, South West Nigeria.
The first piece, titled, ‘Preparations,’ This artwork captures an intimate moment between two women engaged in a traditional hair-braiding process. The image is rich in cultural elements, with both women adorned in elaborate traditional Ondo/Owo people of Nigeria beadwork which projects royalty and cultural elegance. These beads are also popular amongst the Benin people of Edo State Nigeria. . The woman standing is carefully braiding the seated woman’s hair, while the seated woman rests her head on one hand, appearing calm and reflective.
The activity of the women reveals that they are getting ready for a performance, and going by their dressing, it is none other than a dancing session to display the Ondo/Owo cultural dance and project their songs.
The beads decorate the women’s head, neck, arms and they are also used to beautify the bags on them. The beaded adornments are given significant emphasis, and the texture of the beads, along with the patterned background, suggests a fusion of modern digital art techniques with a deep appreciation for traditional craft. The earthy, warm tones of the beads and the bold colours of the background create a sense of energy and vibrancy, bringing the figures into focus while situating them within a larger cultural narrative
The strong presence of beads, often seen as symbols of wealth, status, or cultural significance, further amplifies the idea that the women’s adornments are more than decorative; they carry historical and social meaning.
Their white wrappers, strapped on their bodies from the upper parts of their breasts, signifying traditional or ceremonial clothing depict purity, which adherents of the river goddess, Osun, identify with.
The background is composed of a vibrant, dynamic pattern featuring concentric circles with alternating orange, blue, and brown hues. This pattern, reminiscent of African wax prints, known as Ankara, contrasts sharply with the softness of the human forms. The repeating circular motifs echo the cyclical nature of life and tradition, grounding the figures in a strong cultural context.
This artwork speaks of the importance of tradition and communal bonds among African women. The act of hair-braiding, often a social activity passed down through generations, becomes the focal point of this piece. It is not just an everyday task but a symbolic act of care, continuity, and connection between women. The seated woman’s relaxed posture suggests trust and comfort, while the standing woman’s focused attention emphasizes the care and skill involved in this intimate cultural practice.
HA: The second piece, ‘Back View,’ depicts the back view of a woman dressed in traditional attire, ready for a dance display, highlighted by her white cloth and adorned with intricate beadwork around her neck and head. The woman’s head is elaborately wrapped in an orange beaded headdress, complementing the multiple layers of beads around her neck. Her posture seems calm and grounded, suggesting a moment of reflection or ritual. The white wrappers, strapped on her body from the upper parts of the breast, depict purity, which adherents of the river goddess, Osun, identify with.
The texture of the skin is rendered with a slight grainy effect, which creates a tactile quality, while the white cloth, with its creases and folds, adds depth to the figure. The geometric and repetitive nature of the background contrasts sharply with the natural curvature of the human body, emphasizing the figure as the focal point.
The absence of the woman’s face shifts the focus away from her individual identity, making her a symbol for the collective experience of African women or, more broadly, African culture
The decision to obscure the woman’s face allows the viewers to focus on the broader cultural message rather than individual identity. I believe this strengthens the piece, as it encourages reflection on the collective history and identity that the figure represents.
This piece is also a celebration of African cultural identity, highlighting both the beauty of traditional attire and the significance of adornment in many African societies.
HA: The third piece, ‘The Dancer,’ brings to limelight the importance of Irukere in the African traditional dance culture.
‘Irukere,’ is made from the tails of horses and are mostly hand held by Yoruba traditional rulers (Obas) and chiefs, and they are one of the symbols of their authority and repels negative energies. The Irukere also symbolises honour, respect and royalty and the richness African culture. For the traditional Owo/Ondo cultural dancers, and even other ethnic dancing groups in Africa, the horsewhip signifies command of their performance and helps performers glide to the rhythm of the music. This, therefore, is what the woman in the third photo is displaying to the world.
People from Owo/Ondo/Benin in Nigeria will immediately be transported back to their roots by simply relishing this works. The photos will stir nostalgic feelings among them and reinstate their sense of cultural pride. Even, Africans of other nationalities will easily identify with the culture on display as they also have their own way of life similar to what the artiste is trying to project.
OL: Could you say something about your Race Series, it is for me immediately impactful and would resonate with anyone anywhere...
HA: The race series includes three piece ‘The worker’, ‘Death and the Government Cheese’ and ‘Pay Me My Wages’.
'The worker,' the first artwork, shows a human figure with a rat's face on it. The artist effectively conveys the idea of the everyday grind—in which people manoeuvre around life's obstacles like rodents navigating a maze—via this strange fusion. The face of the rat is a powerful reminder of the dehumanising consequences of contemporary capitalism, which reduces people to nothing more than cogs in the wheel of economic production.
'Death and the Government Cheese' the second artwork explores the deeper aspects of the rat race. Here, a rat-faced man is shown dangling from a noose while holding a piece of cheese that is just out of reach. As people are pushed to the limit by the unrelenting desire of prosperity, this poignant composition speaks volumes about the desperation and misery that permeate society. The cheese on a fork is a sharp reminder of the false benefits that befall people who compromise their health in order to conform to social expectations.
'Pay Me My Wages' the third work shows a rat-faced creature acting as a supervisor and giving small bits of cheese to rats who are under him. The hierarchical dynamics found in the rat race, where people compete for scarce resources while perpetuating an unfair and exploitative system
The use of symbolism highlights the fundamental inequities present in our socioeconomic structure, since the desire of riches comes at the price of solidarity and human dignity.
Essential Information
You can see my website and exhibitions here:Lola gallery
Madéké gallery here
Collaborative project with Yorland Republic here
