Lagos, Nigeria - In a deep dive into the evolution of contemporary African art, Nigerian visual artist Anthony Azekwoh has shared the raw, transformative journey behind his rise as a global cultural icon. From the restrictive halls of Covenant University to the viral success of "The Red Man," Azekwoh’s story is one of radical self-determination, technological adaptability, and the pursuit of a "visual vocabulary" for Nigerian identity. Azekwoh’s creative path was born of both discipline and necessity. Influenced early on by his English teacher, Mr. Kato, he initially focused on writing and blogging. However, his life took a stark turn during his time at Covenant University, which he described as an environment of "institutional control" that triggered deep depression. During his five-year tenure, he was suspended twice—once for missing a church service and again for having facial hair—experiences he later detailed in an essay titled "Covenant University: The Shame." It was a broken laptop in December 2016 that inadvertently shifted his trajectory; forced to find a new outlet, he turned to sketching on A4 paper and eventually taught himself digital art using a mouse before graduating to a graphic tablet. The turning point came in 2020 when his painting, "The Red Man," went viral globally. Azekwoh likened the experience of virality to a musician having a sudden hit song, noting that it forced him to rapidly develop a sense of self under the public eye. This success, coupled with the financial freedom brought by the NFT boom, gave him the leverage to make a life-altering decision: leaving university in his fifth year to pursue art full-time. The move caused significant friction with his family, leading him to move out and forge an independent path.
Related article - Uphorial Shopify
Despite his international acclaim, Azekwoh remains deeply tethered to his roots in Lagos. His artistic process—which involves a meticulous layering of light and shadow reminiscent of old masters like Rembrandt—is now dedicated to documenting African memory. His recent "Wedding" series, which culminated in "The Wedding Experience" exhibition in December 2025, serves as a narrative universe exploring the complexities of African ceremonies. Azekwoh views the collection as a metaphor for the human condition, where individuals with vastly different perspectives and "bloodied" secrets come together in a singular, public display of unity. Azekwoh’s journey is defined by a refusal to give "real estate" in his mind to fear or insecurity. By prioritizing local engagement and physical exhibitions, he aims to ensure that his work is not just a digital commodity but a permanent part of the Nigerian cultural landscape. His advice to others is rooted in this same resilience: the importance of transforming into something bigger than oneself to meet the weight of one’s community and history.
