Portfolio OBIAJE ANDREW EJIGA

Obiaje Andrew Ejiga Obiaje is a Nigerian visual artist currently based in the UK. His work investigates themes of identity and culture, with particular attention to how identities—especially those shaped by race—are perceived and interpreted by others. Deeply informed by social science theories of the self, he draws from concepts such as double consciousness, assimilation, intersectionality, and duality. These ideas fuel his exploration of how individuals navigate the tension between self-perception and societal perception. Through his practice, Obiaje seeks to counteract prejudice and racial profiling by centring the humanity of his subjects. His portraits act as both mirrors and windows—reflecting lived experience while challenging reductive narratives. Working primarily in mixed media, he blends oil paint with textiles to create layered figurative portraits. These pieces serve as visual metaphors for the complexity and richness of identity. Each portrait invites the viewer to pause and engage—to move beyond surface assumptions and encounter the subject as fully human. In doing so, Obiaje’s work encourages empathy and deeper reflection, prompting viewers to see not only others but also themselves.
Lin is part of a seven-painting series titled Double Consciousness, which explores the duality of identity. Inspired by Kehinde Wiley’s street-casting technique, I selected each model at random from diverse backgrounds. My goal was to assemble a varied cast that could help me explore a central question: Is the phenomenon of double consciousness singularly an African experience—or is it something more universal? After interviewing the models, it became clear that this internal conflict—the feeling of living between two cultural selves—is not exclusive to one race or heritage. Instead, it’s a deeply human experience, shaped by personal history, social context, and cultural complexity. For the visual concept, I chose to portray each model as a mirrored pair—one figure dressed in traditional cultural attire, the other in contemporary everyday clothing. This contrast between traditionalism and modernity symbolizes the tension, negotiation, and coexistence at the heart of identity today.
Lin Oil paint and textiles on board 185.4 x 124.8 cm 2025

Lin

Oil paint and textiles on board

185.4 x 124.8 cm

2025

Kaima described herself as bold, opinionated, and outgoing—traits that contrast with the qualities traditionally expected of Igbo women, such as calmness and reserve. In this painting, I explore that contrast by depicting two versions of Kaima side by side: her modern self and her traditional self. On the left, modern Kaima strikes a confident, sassy pose—her exaggerated shoulder tilt and direct gaze challenge the viewer, asserting her presence boldly. In contrast, traditional Kaima is portrayed with conservative body language that reflects the values of cultural restraint and composure. The composition also speaks to the tension between these two identities. The traditional figure turns slightly away from her modern counterpart, suggesting discomfort or distance. Yet her head tilts back over her shoulder, offering a subtle, curious glance—hinting at both recognition and unease with the modern self.

Kaima

Oil paint and textiles on wooden panel

123.5 x 193.5 cm

2025

During my interview with Mickey, I learned he was a double major in Psychology and French. This background made it easier to engage in deep discussions about double consciousness—particularly how it manifests through code-switching and internalized tension. As a person of colour, Mickey resonated strongly with these themes. For this piece, I wanted to visualize a confrontation between tradition and modernity—an intense juxtaposition that mirrors Mickey’s experience as an Indian man who doesn’t fully align with the stereotypical image of what an Indian man is "supposed" to look like or be. As with Kaima, I used mirrored figures to represent these conflicting identities. The traditional self is turned away from the modern self, but with a familiar head-tilt back over the shoulder—a recurring motif in this series. However, in Mickey’s case, the traditional figure looks down at the modern self with visible disapproval, while the modern self meets that gaze directly and confidently. This painting captures a quiet, internal dialogue—a private confrontation between who we are expected to be and who we are becoming—now made visible to the viewer.

Mickey

Oil and textiles on board

123.5 x 193.5 cm

2025

As someone with a biracial background, I felt Michika was the perfect muse to embody a harmonious blend of cultures. Being both Black (Ghanaian) and Asian (Japanese), her identity offered a rich foundation for exploring cultural duality and integration. Initially, I struggled with whether to present this piece as a duality, like previous works, or as a trinity—reflecting the two distinct heritages alongside a contemporary self. In the end, I chose to depict all three: Michika’s Ghanaian and Japanese roots, anchored by a central, modern self. By placing the contemporary figure at the center, I aimed to symbolize unity—a self that doesn't split between identities but weaves them together into a cohesive whole. This composition reflects the possibility of cultural balance, not conflict, and presents identity as something fluid, layered, and deeply personal

Michika

Oil paint and textiles on board

135.8 x 191.8 cm

2025

When speaking with Alice, her perspective stood out from the other models. As a Chinese-Canadian woman, she didn’t describe her cultural identities as being in conflict. Instead, she saw her traditional and modern selves as one and the same—interwoven rather than opposed. With this in mind, illustrating her piece felt instinctive. I chose to portray the traditional and modern versions of Alice as close sisters, embracing without friction or resistance. Their connection symbolizes a seamless blending of past and present—an identity rooted in unity rather than contradiction.

Alice

Oil paint and textiles on wooden panel

149.5 x 170 cm

2025

This painting portrays two sisters, Folakemi and Nifemi, embracing each other with warmth and tenderness. Folakemi is dressed in a modern, Yoruba-inspired outfit, while Nifemi wears a Victorian-style gown—each reflecting different cultural and historical influences. Their names carry deep meaning: Folakemi means "pamper me with wealth," and Nifemi means "love me." Despite their contrasting appearances, their embrace symbolizes a powerful message—one of unity, unconditional love, and the beauty of connection beyond difference. Through them, I express a hope that we may cherish one another not in spite of our differences, but because of them.

Folakemi & Nifemi

67 x 76 cm

Oil paints, Ankara, lace on cotton canvas

2023

Raised in an English-speaking environment, my siblings and I gradually drifted from our native Idoma language. In this Family Portrait, I depict myself and my two sisters—each shown in dual form: one dressed in Victorian attire, the other in traditional Idoma clothing. This visual duality captures the tension and harmony between our inherited heritage and the culture in which we were raised. Though our roots are Idoma, our identities have been shaped by the English language and its worldview. This painting reflects the layered, evolving nature of who we are—caught between remembrance and reinvention.

Family Portrait

90 x 120 cm

Oil paints, and Ankara on cotton canvas

2023

This painting is part of a four-piece series exploring the idea of double consciousness—the experience of navigating two conflicting identities at once. Inspired by Sekai Machache’s Mashavi No. 3, which powerfully portrays the coexistence of multiple selves, I turned inward to confront my own internal tensions. At the time, I was grappling with the sense of being split between cultural identities, struggling to reconcile them. This work reflects my ongoing interest in the dialogue between these seemingly opposing parts of the self, and the complexity that arises when they try to exist together.

Double Consciousness 1

67 x 76 cm

Oil paints, Ankara, lace, and resin on cotton canvas

2023

Double Consciousness 2

Size: 67 x 76 cm

Medium: Oil paints, Ankara, lace on cotton canvas

Date: 2023

Double Consciousness 3

67 x 76cm

Oil paints and Ankara on cotton canvas

2023

This double-sided painting draws inspiration from W.E.B. Du Bois' concept of double consciousness. Each model is depicted twice, occupying both sides of the artwork. The piece merges African cotton fabrics with oil paints, creating a visual metaphor for the duality of identity. It reflects my experience as an immigrant in the UK, grappling with the contrasting values of my Nigerian heritage and the culture I was integrating into. My goal was to craft a distinctive piece that not only showcased my painting techniques but also pushed artistic boundaries by introducing movement. The lion-printed fabric, known as “Isiagu” (meaning Lion's Head), is traditionally worn by the indigenous people of southeastern and southern Nigeria. The symbols on the north and south sides of the frame are lion heads in between horsetails and on the east and west sides of the painting is the Nigerian coat of arms.

Afro-Baroque 1

103 x 150 cm

Medium: Ankara and oil paint on MDF board encased with bespoke Afro-Baroque frame

2024

Afro-Baroque 1

Size: 103 x 150 cm

Medium: Ankara and oil paint on MDF board encased with bespoke Afro-Baroque frame

Date:2024

This double-sided self-portrait features symbols specific to my tribe. The symbols on the north and south sides depict a silhouette of a monument from my home state in Nigeria. This sculpture, a food basket, represents the agricultural lifestyle of the people. The left and right sides of the frame display the Nigerian coat of arms. The vines connecting the symbols on all sides symbolize the agricultural heritage of the Idoma people. The red and black stripes are traditional attire worn by the Idoma tribe

Afro-Baroque 2

95 x 143 cm

Ankara and oil paint on mdf board encased with bespoke Afro-Baroque frame

2024

Afro-Baroque 2

95 x 143 cm

Ankara and oil paint on mdf board encased with bespoke Afro-Baroque frame

2024

video of installation set-up

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CREATED BY
obiaje Ejiga