I Like Myself Now: A Contextual Examination of Balafaama Princewill’s Artwork

Faida Samuel

Art has long served as a reflection of society, and artists are seen to communicate with society via various art forms, such as paintings, sculptures, and graphic design, among others, just to mention a few. Artists use their artwork to reflect, challenge, and engage with societal realities. Through their arts, they critique government actions, applaud positive changes, or highlight pressing societal issues. Hence, their artworks surpass mere aesthetics, transforming into a tool for change. As such, artists through their works create dialogue and discourse, ensuring that things are going well in society. Balafaama Princewill is among Nigerian painters whose paintings address diverse societal issues.

Balafaama is a self-trained multimedia artist, born and raised in Lagos, Nigeria. Her artistic journey began in her childhood days, like many other children, but she continues to passionately build on that without formal training. Happenings around her inspired her to paint and communicate her inner feelings, particularly works rooted in themes based on the realities of mental health struggles. Balafaama has exhibited widely and has also participated in several art workshops and other art-related activities. Consequently, in this review, one of her paintings will be contextually interrogated, and its title is “I Like Myself Now.

“I Like Myself Now” in plate i is a digital self-portrait by Balaafama. The figure’s hair is rendered in a light brown tone, textured in a way that appears rough, almost like an old sponge. The female figure is portrayed in a contemplative mood, her hands gently placed on her chest, suggesting self-examination or emotional grounding. Surrounding her are green leaves, which not only frame the composition but also enhance the visual contrast, infusing the piece with a sense of life and renewal. Through this work, Balaafama celebrates her personal growth and the distance she has traveled on her life’s journey. The painting becomes a quiet yet powerful affirmation of self-acceptance, resilience, and transformation. Balaafama has this to say about the painting: “I celebrate the culmination of my journey, where I have learned to love and accept myself unconditionally. It’s a testament to the power of patience and perseverance and a reminder that true happiness comes from within. Through my artwork, I hope to inspire others on their own journeys of self-discovery and acceptance. It’s not always easy, but it’s worth it. And remember, good things really do take time. Plate i, shows I Like Myself Now.

Plate i, I Like Myself Now, Balaafama Princewill, Digital Painting, 2024.

Contextually, the figure’s pose is central to the emotional tone of the piece; with hands gently placed on her chest, she seems immersed in reflection, neither fully smiling nor despondent but rather occupying a sacred space of inner stillness. This gesture, often associated with gratitude or self-soothing, reflects the artist’s statement about having learned to love and accept herself “unconditionally.” The pose does not demand attention; instead, it quietly claims it, inviting the viewer to pause and consider what self-love might actually look like in its most honest form. Surrounding the figure are green leaves, which not only contrast with the central tones of the figure but also serve a symbolic purpose. Green is often associated with renewal, healing, and growth, all themes reflected in Balafaama’s journey toward self-acceptance. The leaves suggest that she is not only rooted but also flourishing. They frame her like a wreath, subtly crowning the self with dignity and peace. This compositional element reinforces the idea that her story is one of survival and blossoming a narrative of growth that has taken time and effort to nurture.

Balafaama’s own words contextualize this visual storytelling: “I celebrate the culmination of my journey, where I have learned to love and accept myself unconditionally.” Her message about patience and perseverance resonates with the figure’s composed expression. Ultimately, I Like Myself Now is more than a self-portrait; it is a declaration that celebrates not just the destination but the emotional labor of arriving there. It invites viewers to witness not only who Balafaama has become but also how she got there. In doing so, it extends an encouragement to others: that self-discovery, though difficult, is possible and that good things, especially self-love, really do take time.