"ABIKOYE PAUL IS MANY THINGS" - ABIKOYE PAUL

 By Adebiyi Temiloluwa 

NCB: Good evening, Paul. 

Abikoye Paul: Good evening, NCB.

NCB: How are you doing today?

Abikoye Paul: I'm doing great.

NCB: That's good to know…Who is Abikoye Paul?

Abikoye Paul: Abikoye Paul is many things at once. I find that question difficult, not because I lack clarity, but because I refuse to reduce myself to a single label. I am a photographer, a pencil artist, a painter, an actor, and a writer. I work across mediums because ideas do not respect borders, and neither do I. Each practice informs the other. Beyond art, I am also a great cook.Abikoye Paul is many things.

NCB: I love this answer "not reducing yourself to one label". Very intriguing answer. As an artist, how does your academic background in English influence the way you paint and interpret art?

Abikoye Paul: I would not lie, my academic background in English influences my art significantly. English does not only teach language; it trains perception. Through stylistics, I learned to look beyond surface appearances and interrogate meaning, context, and implication. That way of seeing has expanded how I approach art. I do not engage with images at face value; I read them. This influences how I interpret ideas and how I construct my work. I am intentional about storytelling. I do not create randomly. English sharpened my ability to structure narratives, use symbolism, and communicate layered meanings visually. It has fundamentally.

NCB: What brought you into art, I mean what inspired you to start expressing yourself through painting?

Abikoye Paul: I have been able to draw since I was a child, but at the beginning, it was limited to portraits, mainly faces and likeness. That changed at a particular moment. I once created an untitled work of a woman breastfeeding her child. I was interested in exploring how motherhood and the female body are often viewed with unnecessary shame, even though breastfeeding is natural and nurturing. When people around me reacted strongly to that work, I realised something important: art could do more than capture appearance. it could provoke thought and conversation. That moment shifted my practice. I moved away from simply drawing faces and began using art as a storytelling and communicative tool. While the talent was always there, that experience pushed me to sharpen it and use it intentionally, to express ideas, question norms, and tell meaningful stories.

NCB: You're someone who sees art as an expression rather than just a representation, may I ask why this is so?

Abikoye Paul: I see art as expression rather than mere representation because representation stops at appearance, while expression engages meaning. A face can be drawn accurately and still say nothing. What interests me is not just what is seen but why it is shown and how it is felt. Expression allows art to carry emotion, context, memory, and social commentary. It gives room for interpretation and dialogue. I am not interested in reproducing reality as it is; I am interested in responding to it. For me, art becomes valuable when it communicates an inner truth or raises a question, not when it simply mirrors the external world.

NCB: Beautifu! What message do you often hope viewers and readers take with them when they see your works?

Abikoye Paul: I do not aim to give viewers a fixed message. I aim to leave them with a responsibility. My work is concerned with overlooked narratives and quiet imbalances within society, things we see every day but rarely interrogate. Through minimalism, black and white imagery, and symbolism, I strip away excess so the viewer is forced to look closely and think deeply. I am interested in challenging assumptions, how we perceive fatherhood, how we misread bodies, how bias quietly shapes what we believe to be truth. When viewers encounter my work, I hope they leave more aware of their own gaze, questioning what they saw, what they assumed, and why. If the work lingers in their mind and unsettles certainty, then it has done its job.

NCB: A work that unsettles uncertainty. In Wòó Dáa Dáa, you explored the idea of viewpoint and perception. Can you expand on how perspective shapes meaning in this work, and why you felt this theme was important to address?

Abikoye Paul: In Wòó Dáa Dáa, perspective is everything. The work is built around the idea that what we see is never neutral; it is always filtered through personal, cultural, and social lenses. The thin red threads across the pupil represent invisible forces, race, religion, language, and inherited beliefs that subtly shape how we interpret what is in front of us. By focusing on the eye, I wanted to highlight that even when we think we are seeing clearly, our perception is mediated. This theme was important because assumptions and unconscious biases govern how we engage with others and the world. I wanted viewers to pause, reflect, and question not only what they see but how they see it and why they see it that way. It is an invitation to awareness and self-examination, not just observation.

NCB: In Eniyan Lasọ́ Mi, what specifically inspired this artwork? 

Abikoye Paul: Eniyan Lásọ́ Mi is deeply personal. It was inspired by moments in my life when I was at my lowest, and my friends showed up for me through presence, conversation, and support. Those experiences made me realise that no one truly survives alone. Family extends beyond blood ties. It includes the people who choose you, stand by you, and carry you when you cannot carry yourself. The work reflects this understanding and also speaks to a broader cultural reality, how loneliness can exist even within the community, and how human connection becomes a form of protection.

NCB: Looking back at your life and how far you've come what do you wish that you could have done better? 

Abikoye Paul: Start earlier, maybe.

NCB: Give an advice to someone who wishes to venture into art but is unsure.

Abikoye Paul: I believe the most important advice I can give is simple: start now. There is no perfect time, no complete readiness, and no final permission. Uncertainty is part of the process. Skill grows with doing, clarity comes with consistency, and confidence is built through practice. Waiting only delays growth. Start now. That is the earliest it can be.

NCB:What does your creative process look like from start to finish? 

Abikoye Paul: My creative journey usually begins with observation. I pay attention to experiences, random conversations, and the little things people reveal about themselves. I reflect on what I notice, ask questions, and think about how to represent those ideas visually. Most of the time, I do not start with a fully formed concept. I just know I want to make something and begin. References are an important part of the process. Sometimes, I research online, check Pinterest, or find inspiration elsewhere, but lately, I have been creating my own references, often through photography, which helps me visualise what I want. Sketching comes next. I see it as the foundation of the artwork. The sketch does not have to be perfect. it guides the shading and layering process. Shading is slow and deliberate. I often build up to seven layers, gently and patiently, until the image comes to life. It is repetitive but meditative work, and it teaches patience. Once shading is complete, I move to finishing, refining edges, adding details, and making sure the work is exhibition-ready. Only at the very end do I name the piece, usually in Yoruba, because the title emerges naturally once the work is complete and its message is clear. The entire process is about careful observation, reflection, and patient execution. It is both structured and intuitive, allowing me to communicate ideas while leaving space for interpretation.

NCB: I discovered that you're a writer too. Is there any way this has influenced your art?

Abikoye Paul: Absolutely. I actually began as a visual artist before I started writing, but once I began writing, it opened up new ways for me to express myself. Instead of relying solely on the artwork to convey a message, I use captions as an extension of the piece. Each caption becomes a small piece of writing that helps communicate the ideas behind the work more fully. After completing a drawing or painting, writing the caption feels like pouring my heart into it. It allows me to share the intentions, emotions, and nuances of the artwork in a way that the visual alone cannot.

NCB: Very nice. What art creation process do you enjoy the most? 

Abikoye Paul: I usually do not prefer one stage over another because each part of the process is important, but if I had to choose, I would say shading. I love that part, especially when I am shading the eyes. There is a unique joy that comes from watching the work become realistic, from realising that I am the one creating this. Shading is when the artwork truly comes to life, when the idea begins to manifest, and you start falling in love with it. At first, it might not look perfect, but as the layers build and the image starts to emerge, there is a deep satisfaction and excitement. I genuinely enjoy shading the most, and whenever I start a new piece, it is the part I look forward to the most.

NCB: How do you know that a piece is truly ‘Finished’?

Abikoye Paul: This is actually a question that sparks a lot of debate in the art world, and honestly, I do not have a definitive answer. For me, I just know when to stop. I stop when the idea I have in my head has been fully expressed. Sometimes there is a feeling that I could do more, but I choose to stop because the work is already conveying what it needs to convey. It does not require anything extra. The message is complete, and I trust that feeling. That is when I know the piece is finished.

NCB: Was there anyone who significantly influenced you over years as a mentor? 

Abikoye Paul: I am not really a fan of having a single mentor or multiple mentors because I believe everyone has their own path and timing. I prefer to experience and develop my practice in my own way rather than follow someone else’s pattern. That said, I have been inspired by many artists across different disciplines. For example, Rapido Draws is an incredible hyperrealistic artist. Even though my work is more symbolic, I admire the realism and dedication in his art. I also draw inspiration from musicians like Asa, whose songs are beautifully symbolic and carry powerful messages. Artists like Teledalase, Fadugba, and Tolu Aliki have also influenced me. I learn from their approach, their ideas, and the way they challenge perceptions rather than being formally mentored by a single person. My influences are diverse, and they shape the way I see the world and approach my own work.

NCB: What is that one tool either conceptual or physical that you cannot do without? 

Abikoye Paul: My pencils, obviously. The foundation of everything I do. But apart from that, I can not do without my Mono Zero eraser and my electric eraser. The Mono Zero is tiny, perfect for creating light, subtle details, while the electric eraser allows me to add sharper, more defined details. Both are essential for bringing realism to my work, helping me create textures like skin pores and refining areas that transform a portrait from ordinary to lifelike. I often use them interchangeably depending on the effect I want, and they have become indispensable tools in shaping the precision and depth of my artworks.

NCB: How do you deal with creative block when inspiration feels distant? 

Abikoye Paul: I rarely experience creative block because I create when I feel ready, not out of obligation. I only make art when I am mentally and emotionally prepared, when the idea has already taken root in me. But when I do feel stuck, especially when trying to write a caption or name a piece, I have a routine that helps. I take long walks, often at night when it is peaceful and calm. While walking, I speak aloud to myself, pretending to be on a phone call so people don’t think I’m insane. 

I imagine having a conversation with a group of other "me," discussing ideas and possibilities, working through the thought process aloud. I also spend time in spaces where I can observe real life – on campus gate pedestrian bridges, at canteens, and around everyday people like mechanics or vendors. Listening to their conversations and absorbing their stories. These walks and observations help me reconnect with the world and with my own thoughts, and from that space, inspiration naturally returns. I block creative block with that.

NCB: Beautiful! Looking ahead, what other themes do you wish to explore and where do you see yourself in the nearest future? 

Abikoye Paul: One thing I am definitely working on in the near future is what I call “menism.” It is not in opposition to feminism, but rather an effort to shed light on men sharing their part of the story as well. One thing I have noticed is that when society tries to correct an imbalance, it often creates another. For example, in addressing what women should or should not do, society can unintentionally create pressures and limitations around manhood. That is a theme I want to explore in my upcoming work. In the near future, I see myself working across multiple disciplines—acting, writing, drawing, painting, and other forms of art to fully convey my ideas and bring my expressions to life. I want to use these different mediums to communicate meaning and provoke reflection.

NCB:Thank you so much for your time, Paul. It was really nice having you and I must say that I myself learnt from you.

Abikoye Paul: Thank you, NCB, for having me. I'm honoured. Thank you, for your thoughtful questions too.