In a moment where questions of identity feel increasingly urgent and visible, Obiaje Andrew Ejiga (b. 2003, Nigeria) approaches portraiture as both a site of introspection and a space of confrontation. Now based in the UK, and a First Class graduate of Duncan of Jordanstone College of Art & Design, University of Dundee (2025), Ejiga’s practice is rooted in a thoughtful engagement with how race, culture and environment shape the construction of self.
Working across mixed media, his portraits are materially and conceptually layered, combining oil paint with textiles to evoke the shifting, often fragmented nature of identity. Drawing on frameworks such as double consciousness, assimilation and code-switching, Ejiga explores the tension between how we see ourselves and how we are perceived by others. His work does not offer resolution; instead, it holds these contradictions in delicate balance, inviting the viewer into a space of reflection.
From Seamless (2023), which examined the dualities of immigrant experience, to Afro-Baroque (2024), a kinetic installation responding to the performative fluidity of identity, Ejiga has developed a practice that is both visually compelling and intellectually rigorous. His ongoing series Double Consciousness, informed by the writings of W. E. B. Du Bois, continues this exploration, expanding his investigation into multiplicity and self-perception.
At once intimate and expansive, Ejiga’s work functions as both mirror and window, reflecting lived experience while challenging the frameworks through which it is often understood. In this conversation, we explore the ideas, influences and evolving language behind a practice that insists on being seen in its full complexity.
Are you self-taught, or did you undertake formal artistic training?
I received formal education at the Duncan of Jordanstone College of Art and Design from 2022 to 2025
Can you describe your creative process from conception to completion?
My visual language shifts between the subtle and the overt, often operating in a space that is both deceptive and revealing. I work in mixed media, combining oil paint and textiles to construct layered figurative paintings.
The fabrics play a central role in how meaning is conveyed. At times, they extend beyond the boundaries of the canvas, asserting a bold and immediate cultural presence. In other instances, they are partially obscured beneath thin, opaque layers of paint, allowing fragments of pattern to emerge more quietly.
This balance is intentional and varies depending on the narrative of each piece. When I want to emphasise visibility and cultural assertion, the fabric becomes dominant and expansive. When exploring more introspective or subdued themes, its presence is softened and integrated, inviting a slower, more contemplative reading.
Does narrative, symbolism, or storytelling play a role within your work?
Absolutely. Narrative, symbolism, and storytelling are central to my practice. The textiles I use often reflect the sitter’s ethnic heritage, while body language and facial expression become key tools for suggesting what the work is communicating.
I see my practice as an evolving story that continues to unfold over time. With each new body of work, new perspectives and unexpected shifts emerge, shaping how I make, think, and process ideas.
Through my work, I aim to tell both my own story and the stories of those around me. In many ways, the work can be understood as a form of self-portraiture. Although I may not physically resemble every figure I paint, I connect deeply with what they express and the experiences they represent.
Which artists have most influenced you historically or contemporarily, and why?
Many artists have influenced my practice, particularly through their ability to tell stories within figurative work. Artists such as Kehinde Wiley, Tim Okamura, Monica Ikegwu, and Steve Forster have informed my approach to portraiture, while practitioners like Sekai Machache and Yinka Shonibare have shaped my thinking around identity and representation.
I am especially drawn to how artists like Yinka Shonibare, Kehinde Wiley, and Sekai Machache explore and reframe the Black experience. Their work challenges established ideas of power, dignity, and beauty by placing the Black figure within spaces and poses that have historically excluded them. This repositioning has been particularly influential in shaping how I think about narrative and representation in my own work.
What personal, cultural, or environmental influences shape your practice?
In 2022, I moved from Nigeria to the UK for university. As an immigrant in a new environment, I spent my first few months observing, carefully adjusting how I spoke and behaved in an effort to assimilate and fit in. At the same time, I carried with me my parents’ reminder to never forget where I came from.
This created an internal tension between who I was and who I was becoming. I found myself constantly navigating between these identities—code-switching without fully feeling a sense of belonging to either. This experience led me to reflect on my own duality and question what authenticity means within that space.
Where is your studio based, and how does the space inform your creativity?
I currently do not have a separate studio space, and I work from my home in Salford, Greater Manchester
Do you have any rituals or rhythms that anchor your studio practice?
I tend to begin my process with my sketchbook. I carry a small A6 sketchbook with me, using it to note down ideas and make quick sketches as they come.
Inspiration often comes from everyday moments – sometimes I’ll pause a film to capture an interesting scene by photographing the screen, then return to it later. At the time, I don’t always fully understand the images or ideas I record, but over time, as I revisit my sketchbook, patterns and meanings begin to emerge.
Some of these ideas develop into paintings, while others remain as fragments within the process.
What bodies of work or projects are you currently developing?
I am currently working on a body of work that focuses on the burnout that I felt and wrestled with after completing my fine Art degree
Where can collectors encounter or acquire your work?
My work i available on my website at obiajesart.com
