Dr. Oshodi Seyi Paul, a foremost Nigerian artist born on January 21, 1975, is an educator, sculptor, 2D/3D animator, video producer, curator and serial arts entrepreneur. He studied at Stella Maris College, Okitipupa, Ondo State, trained in art at Obafemi Awolowo University, and later earned a Post-Graduate Diploma in Education and a Master’s in Educational Technology from Lagos State University.
He furthered his artistic training with a Master’s in Visual Arts from the University of Ibadan and holds a PhD in Visual Arts and African Cultural Heritage from European American University.
As CEO of Oshodi Arts Gallery — reputed as one of the largest galleries in West Africa — Dr. Oshodi has created and overseen public works and commissions that have become landmarks: from the Gani Fawehinmi statue at Ojota and the Tunji Braithwaite statue on the Third Mainland Bridge, to a Fela sculpture in New York and many civic logos and fountains across Nigeria. He has produced commercials and campaigns for major brands and runs multiple media companies; his gallery executive-produces festivals and cultural events that nurture artists across disciplines.
In this exclusive interview with AKAB Media Communications Concept, Dr. Oshodi responds in full to questions about his origins, his most meaningful works, the ambitions behind Oshodi Arts Gallery, and his outlook for African art in the digital age.
Your artistic journey spans sculpture, animation, and media innovation. What inspired your early passion for art, and how did your upbringing in Ondo State influence your creative direction?
I was born with the skill of drawing. This was a gift to me, and I knew I needed to develop it. From early on I felt a natural drive to create. Every time I sat down and made a drawing, people would appreciate my work — their appreciation inspired me and pushed me to improve. As I grow, that response continues to motivate me; it keeps me inspired and better every day.
My passion is the force behind my practice. As an artist, you must understand that art is about creating new things. I create new things and people respond. That appreciation motivates me to do more. I am still growing and moving — I haven’t yet arrived at a final destination. I have captured parts of the essence I seek, but the journey continues. My passion drives me forward.
Many of your monumental works — such as the Gani Fawehinmi Statue and the Fela Kuti Sculpture in New York — have become national and international landmarks. Which of these creations holds the deepest personal significance to you, and why?
Virtually every one of my monumental sculptures carries real significance — each is historical and iconic in its own right. I do not take commissions because of money alone. What matters to me is the relevance of the work: will it push me artistically, will it inspire others, will it motivate people?
I am especially moved by public works that will stand in community spaces — pieces that revalidate the history of individuals, legends and heroes. Such sculptures document their impact on society. We must remember these contributions; placing sculptures in public places keeps people informed and preserves collective memory. That role — turning history into visible, lasting public art — is what gives my monumental pieces their deepest meaning.
Oshodi Arts Gallery has become a major cultural hub in West Africa. What was your vision when establishing the gallery, and how has it evolved to support young and emerging artists today?
My vision has never been small or limited to Nigeria. I have always aimed for global relevance — to make Oshodi Arts Gallery one of the leading galleries in the world. By God’s grace, I believe we are already among the top galleries in Nigeria and West Africa. My aim is to be number one in the world eventually, and I believe we can get there.
We deliberately chose Ikorodu as the site because I wanted to build an art village within a city — a place where creative life and community life intersect. The challenges we face are part of the process; but my passion makes those challenges almost invisible. I keep working without always thinking about obstacles. My goal is to create works and programs that attract audiences from across the world.
For me, development is not measured by the number of artworks produced but by the number of people we have empowered and trained. I want to “build people.” I have set a concrete ambition: to develop nothing less than 10,000 artists through the gallery — painters, sculptors, ceramists, photographers, and animators. This human-centered measure of impact is how I define success.
Looking ahead, what do you see as the future of African art in the digital age, and how do you hope your legacy will continue to inspire the next generation of artists and cultural innovators?
African art will go places in this age because our culture is unique — it is the source of our strength. If Nigerian artists understand their cultural values, they can leverage them to elevate creativity and international recognition. Culture is our total way of life; Africa’s cultural wealth is immense and contains untapped resources for art.
We must also embrace the digital space. The value of creative expression increases when we contextualize traditional motifs, human stories, animal symbolism and the like into new media and digital platforms. Today, art is being digitalized — drawing and painting are evolving into animation, digital installations and multimedia storytelling. The tools have changed, but the purpose remains: art is an expression of the inner mind. It documents history, reflects the present and can even forecast the future.
Artists should use available materials and technologies to interpret what lies inside them. By doing so, we preserve our history and also create new forms of cultural expression that will speak to global audiences. I believe the next generation of African artists will not only continue to preserve our stories but will also redefine how the world experiences them — through digital platforms, animation, public sculpture, and community-centered cultural programmes.
Dr. Oshodi sees art as a gift to refine, a tool to memorialize history and a vehicle to lift communities. His gallery’s programs, public commissions, and festivals are all designed to translate that vision into measurable impact — training thousands of artists and building an art village that places culture at the center of urban life. As he put it plainly, art is an expression of the inner mind — and through education, public work, and digital innovation, he intends that expression to reach the widest possible audience.
For inquiries or more about Oshodi Arts Gallery and its programmes, visit the gallery in Ikorodu or contact AKAB Media Communications Concept via akabmedia@gmail.com
PHOTO NEWS
visit our Facebook page for all the pictures taken at the gallery.
