{"id":240,"date":"2026-07-29T12:34:02","date_gmt":"2026-07-29T12:34:02","guid":{"rendered":"https:\/\/kartdiskuss.com\/blog\/?p=240"},"modified":"2026-07-29T12:42:44","modified_gmt":"2026-07-29T12:42:44","slug":"materiality-freedom-and-social-consciousness-a-conversation-with-professor-lasisi-lamidi","status":"publish","type":"post","link":"https:\/\/kartdiskuss.com\/blog\/index.php\/2026\/07\/29\/materiality-freedom-and-social-consciousness-a-conversation-with-professor-lasisi-lamidi\/","title":{"rendered":"Materiality, Freedom and Social Consciousness: A Conversation with Lasisi Lamidi"},"content":{"rendered":"
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Introduction<\/strong> <\/p>\n\n\n\n

Many contemporary Nigerian artists embody the spirit of experimentation and artistic freedom; one of them is Professor Lasisi Lamidi. A distinguished sculptor, painter, and installation artist at the Zaria Art School, Ahmadu Bello University, Lamidi has developed a multidisciplinary practice rooted in material exploration, philosophical inquiry, and social engagement. Influenced by the enduring legacy of his late uncle, Gani Odutokun, yet driven by an unwavering desire to forge his own artistic path, Lamidi’s works challenge conventional boundaries between media while addressing some of the most pressing social, political, and spiritual concerns of contemporary Nigerian society. In recent years, his installations and mixed-media works have become visual commentaries on issues such as insecurity, leadership, economic hardship, religious consciousness, and collective hope. Through an inventive use of everyday materials, symbolic forms, and conceptual strategies, he demonstrates how artistic practice can transcend aesthetic appreciation to become a platform for critical reflection and public dialogue. In this exclusive interview with Kontemporary Art and Diskuss (KAD), Professor Lamidi reflects on his artistic journey, the influence of the Zaria Art School, the philosophy of materiality, the emergence of his installation practice, and his commitment to using art as a vehicle for social commentary. He also shares valuable insights on artistic originality, the evolving nature of contemporary African art, and the responsibilities of the next generation of artists navigating an increasingly complex creative landscape.<\/p>\n\n\n\n

KAD<\/strong>: Your artistic practice spans sculpture, painting, conceptual drawing, and, more recently, installation art. How has your creative journey evolved over the years, and what experiences have shaped the direction of your practice?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>: Thank you, and welcome to my studio. My artistic journey began under the mentorship of the late Gani Odutokun, who was not only my mentor but also my uncle and fatherly figure. He introduced me to the study of Fine Art, and the tutelage I received under him, together with my training at the Zaria Art School, Ahmadu Bello University, laid the foundation for my studio practice. Although I have worked across painting, sculpture, and drawing, I have always believed in exploring different possibilities. Over the years, scholars have described my work as eclectic, and I embrace that description. For me, eclecticism is about drawing inspiration from different sources while ensuring that my own ideas and concepts remain dominant. Whatever I borrow, I reinterpret through my own artistic vision. One of the greatest values I inherited from the Zaria Art School is the freedom of expression. That freedom has remained my guiding principle and greatest source of motivation. My mentor always encouraged me to work without limiting myself to a particular medium. He would say, Just work. Sculpt, paint, draw, and make art. You never know where it will take you.<\/em><\/p>\n\n\n\n

That philosophy has shaped my career. I see myself as someone who is constantly exploring, particularly the possibilities of materiality. I collect materials over time and continually examine how they can be incorporated into my sculptural language. This commitment to experimentation has led to an evolving artistic practice in which every new body of my work becomes an opportunity to investigate the expressive potential of materials.<\/p>\n\n\n\n

KAD<\/strong>: As an accomplished sculptor associated with the Zaria Art School, how has the philosophy and legacy of the school influenced your artistic vision, material choices, and approach to contemporary art?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>: Materiality lies at the heart of my artistic practice, but beyond that, the greatest gift I inherited from the Zaria Art School is freedom, the freedom to explore, to express myself, and to remain true to my artistic vision. The foundation my uncle, Gani Odutokun, laid continues to influence my work. If people look at my paintings or drawings, they can easily identify traces of his influence. However, I often ask art historians a different question: Who has influenced my sculpture within the Zaria Art School tradition?<\/em> Many would probably say no one, because my sculptural practice has evolved along a distinct path. I believe this individuality reflects the philosophy of the Zaria Art School itself. Rather than encouraging imitation, the school nurtures creative independence. Each artist is given the freedom to discover a personal visual language while building on the intellectual foundation established by earlier generations. That spirit of artistic freedom remains the defining influence on my practice.<\/p>\n\n\n\n

KAD<\/strong>: Your recent installations respond to contemporary social and political realities in Nigeria. What motivates you to engage with issues such as insecurity, economic hardship, corruption, and governance through your art?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>: My engagement with these issues comes from lived experience. I grew up in a very humble family in Kaduna. My life changed when my uncle brought me to Zaria, where I encountered a completely different environment, one that valued education and intellectual growth. The opportunities available in Zaria gave me an advantage over many of my peers and shaped the direction of my life. Looking back, I often reflect on the contrast between my upbringing and the realities I experience today. My family struggled financially, and my uncle assumed the responsibility of supporting my education. I always tried not to burden him, but he remained committed to allowing me to succeed. Those early experiences of hardship have stayed with me and continue to influence my artistic practice.<\/p>\n\n\n\n

During my undergraduate years, my uncle introduced me to the art market in Kaduna. I began producing small works that I could exhibit and sell, which helped me support myself financially. Even during my master’s programme, the art market remained relatively stable. However, everything changed with the Boko Haram insurgency in 2009. Many expatriate collectors left Nigeria, and cities such as Kaduna, Kano, and Abuja lost much of the patronage that artists had relied upon. To sell artworks, one often had to travel to places like Lagos or Port Harcourt. When I secured employment in 2005, I was fortunate because the income from selling my artworks often exceeded my salary. I never depended entirely on my salary. However, after 2009, when the insurgency intensified, the art market declined significantly, and many opportunities disappeared. It felt as though I was returning to the poverty I thought I had left behind. A turning point came during the prolonged ASUU strike and lockdown. For about eight months, very little was working, and the government’s response offered little hope. I could no longer afford the materials required for sculpture or painting, so I turned to drawing. Using pencil, charcoal, chalk, and pastel, I began producing a series of works that responded to insecurity, violence, and the broader social challenges confronting the country. That body of work eventually evolved into my installation practice.<\/p>\n\n\n\n

My installations address leadership, but not only political leadership. The artworks also question the responsibilities we owe one another as members of society. While many of the works express lamentation over Nigeria’s condition, others offer hope and spiritual reflections. Works such as White Blood<\/em>, Peace Within<\/em>, and Dry Bones Shall Rise Again<\/em> suggest that, despite the crises confronting the nation, hope remains possible through faith, resilience, and collective responsibility. As I continued developing these works, I became increasingly interested in questions of social inequality and leadership. I reflected on the growing divide between ordinary citizens and those in positions of power. Rather than exhibiting all the works together, I organised them into thematic series. The Window Series<\/em>, for example, explores political, social, and cultural realities while also seeking to offer comfort and hope to families who have lost loved ones. Dry Bones Shall Rise<\/em> and Peace Within<\/em> both, communicate hope, while Prayerful Nation<\/em> reflects on the role of faith in sustaining Nigerians through difficult times. I also produced works during the 2020 protests, although not all of them have been exhibited. One example is the Padlock Series<\/em>, which examines how society is increasingly constrained, not only by political leadership but also by technology and the various systems that shape our lives.<\/p>\n\n\n\n

KAD<\/strong>: Mixed media plays a significant role in your work. How do you determine the combination of materials for a particular project, and what symbolic meanings do these materials carry within your visual language?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>: As I mentioned earlier, I consider myself a student of materiality. I enjoy exploring mixed media because I want my work to stand apart from that of other artists. My choice of materials may not immediately make sense to everyone, but each material carries symbolic meaning within my visual language. For example, I may use wire to represent the human figure in a Nigerian context or ropes and suspended objects to construct an installation. Every material is carefully selected because it contributes to the message I want to communicate. I remember attending a conference in Nsukka, where I observed the strong emphasis on conceptual art. That experience made me reflect on installation practice and ask myself a simple question: Must every installation be monumental?<\/em> Large-scale installations often present practical challenges, including storage, transportation, and exhibition space. This led me to explore the possibilities of minimalist installations. I realised that a single object could carry profound meaning. An ordinary bottle, for instance, can become a powerful symbol capable of generating extensive interpretation. While some artists communicate through lengthy texts, I prefer allowing carefully chosen objects to speak for themselves. Through symbolism, metaphor, and allegory, I use minimalist installations to address social, spiritual, psychological, and emotional issues. Ultimately, my work is about exploration and personal expression through materials.<\/p>\n\n\n\n

KAD<\/strong>: Many of your recent works appear to function both as artistic expressions and as social commentaries. Do you see art primarily as a tool for aesthetic appreciation, social criticism, public engagement, or a balance of all three?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>: I believe art goes beyond those three categories. My work addresses many dimensions of human experience. Sometimes I explore emotional trauma, broken relationships, grief, and the loss of loved ones. At other times, I engage with religious crises, spirituality, social realities, politics, and cultural issues. For me, art cannot be confined to a single label or category. It extends beyond the terminology we commonly use. As artists, we should continue developing new concepts and language that better reflect the evolving nature of contemporary artistic practice. Personally, I now see my work as being more philosophical than purely aesthetic. Of course, as artists, we appreciate beauty, and I often introduce colour to make my works visually engaging. However, aesthetics is never my primary concern. What matters most is the message the artwork communicates and the conversations it generates within society.<\/p>\n\n\n\n

KAD<\/strong>: Your installations often invite viewers to reflect on the state of the nation while advocating for responsible leadership and good governance. What conversations or changes do you hope these works will inspire among policymakers, communities, and the wider public?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>: My immediate audience is the university community, my students, colleagues, art historians, intellectuals, and art enthusiasts. Through my work, I want them to experience the possibilities of materiality and to reflect on the ideas embedded in the artworks.<\/p>\n\n\n\n

Beyond the exhibition space, I hope these conversations continue through publications and social media. Interviews such as this are important because they allow the ideas behind the works to reach a much wider audience. The title of my recent exhibition, Lamentation for a Nation<\/em>, reflects this intention. The lament is mine, expressed through my artworks, but it is directed to society as a whole. Although the works are rooted in the Nigerian experience, their concerns extend beyond national boundaries because the challenges of leadership, justice, compassion, and human responsibility are universal. My works are therefore a form of silent protest. Rather than shouting, I allow the artworks to speak. While some pieces address leadership directly, others encourage viewers to look inward and ask how they can contribute positively to their communities. Social change begins with individuals, and I hope my works encourage people to reflect on their responsibilities to one another. Ultimately, I hope these conversations reach policymakers and leaders, but more importantly, I hope they inspire ordinary people to become agents of positive change within society.<\/p>\n\n\n\n

KAD<\/strong>: As both an artist and an educator, what advice would you give to emerging Nigerian artists who wish to create socially engaged art while maintaining originality, artistic integrity, and professional sustainability?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>: I have been able to pursue many of my socially engaged projects because I have the financial stability of a salaried academic position. If I were practicing solely as a full-time studio artist, I might not have had the same freedom to focus on socio-political installations, simply because artists also have to earn a living. For young artists, I would recommend adopting a hybrid approach. Continue producing the conceptual or socially engaged works you are passionate about, but also create works that can sustain you financially. There is nothing wrong with balancing artistic conviction and economic reality. At the same time, artists must remain true to themselves. Never create work simply because another artist is successful. For instance, many young sculptors today are influenced by the success of Dotun Popoola’s metal sculptures. While his achievements are admirable, he earned that recognition through years of dedication and experimentation. Simply imitating his style will not produce the same results.<\/p>\n\n\n\n

My advice is simple: be yourself, stay committed to your artistic vision and practice consistently. Many great artists were not fully appreciated during their lifetimes; recognition often comes much later. Fortunately, attitudes are changing, and conceptual art is receiving increasing appreciation around the world. Success should never be the primary motivation. Instead, pursue the work you genuinely believe in. If you remain sincere, disciplined, and passionate about your practice, opportunities will eventually come. Consistency and authenticity are the foundations of a meaningful artistic career.<\/p>\n\n\n\n

KAD<\/strong>: Looking ahead, what themes or ideas are you currently exploring, and how do you envision your artistic practice contributing to the future of contemporary Nigerian and African art?<\/p>\n\n\n\n

Lasisi Lamidi<\/strong>:<\/strong> I believe my primary responsibility is simply to continue creating the work. Whether my practice ultimately contributes to contemporary Nigerian and African art is for scholars, critics, and future generations to determine through documentation and interpretation. If my work is recognised as making a meaningful contribution, then I consider myself fortunate. At the moment, I intend to continue developing my Window Series<\/em> installations. Within that body of work, there are several ideas I am still exploring. For example, I plan to expand my White Blood<\/em> series. I have completed the first work and hope to produce additional pieces for future exhibitions. Likewise, I intend to continue my Keys of Freedom<\/em> series. Having completed the first and second works, I am now developing a third, which will explore the idea of freedom in greater depth. The Keys of Freedom<\/em> series reflects on a paradox within society: people may be told they are free, yet years of oppression, fear, or systemic control can make them feel otherwise. Even when freedom is offered, many struggle to experience it because they have lived under different forms of bondage for so long.<\/p>\n\n\n\n

Looking ahead, my work will remain rooted in social commentary. I will continue to engage with issues affecting society from social, cultural, political, and religious perspectives. At the same time, spirituality will remain at the heart of my practice. Drawing inspiration from biblical teachings, I hope my works will continue to offer hope, healing, and encouragement to people who have experienced hardship, loss, and suffering. Ultimately, I want my art to remind people that, even in difficult times, there is always the possibility of hope and renewal.<\/p>\n\n\n\n

Conclusion<\/strong><\/p>\n\n\n\n

Professor Lasisi Lamidi’s artistic journey reflects a lifelong commitment to experimentation, material exploration, and intellectual inquiry. Throughout this conversation, he reveals an artistic philosophy grounded in the values of the Zaria Art School, particularly the freedom to explore, innovate, and develop an authentic visual language. His reflections demonstrate that contemporary art extends beyond aesthetics; it is a medium for questioning society, documenting lived experiences, and inspiring critical dialogue. Through sculpture, drawing, mixed media, and installation, Lamidi continues to engage with issues of leadership, spirituality, social justice, memory, and hope. His practice illustrates how ordinary materials can be transformed into powerful symbols that provoke reflection and encourage audiences to reconsider their relationship with society and with one another. Equally significant is his commitment to nurturing younger artists through teaching and mentorship, reminding them that originality, consistency, and integrity remain the foundations of a meaningful artistic career. As Professor Lamidi continues to expand his Window Series<\/em>, White Blood<\/em>, and Keys of Freedom<\/em> installations, his work reinforces the growing role of conceptual and installation art within contemporary Nigerian and African art discourse. His practice serves as a testament to the enduring relevance of artistic freedom, material innovation, and socially engaged art in addressing the complexities of our time. At Kontemporary Art and Diskuss (KAD), we believe that conversations such as this are essential to documenting the thoughts, philosophies, and creative processes of artists whose works continue to shape contemporary African art.<\/p>\n","protected":false},"excerpt":{"rendered":"

Introduction Many contemporary Nigerian artists embody the spirit of experimentation and artistic freedom; one of them is Professor Lasisi Lamidi. A distinguished sculptor, painter, and installation artist at the Zaria Art School, Ahmadu Bello University, Lamidi has developed a multidisciplinary practice rooted in material exploration, philosophical inquiry, and social engagement. Influenced by the enduring legacy […]<\/p>\n","protected":false},"author":2,"featured_media":241,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_analysis_target_kw":"","footnotes":""},"categories":[1,9],"tags":[],"class_list":["post-240","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-spotlight","category-interviews"],"_links":{"self":[{"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/posts\/240","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/comments?post=240"}],"version-history":[{"count":3,"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/posts\/240\/revisions"}],"predecessor-version":[{"id":244,"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/posts\/240\/revisions\/244"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/media\/241"}],"wp:attachment":[{"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/media?parent=240"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/categories?post=240"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kartdiskuss.com\/blog\/index.php\/wp-json\/wp\/v2\/tags?post=240"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}