Oluseye is a Nigerian-Canadian artist. Across his practice, he embraces the notion of Blackness as divine, fluid and unfixed; unbound by time, space, and geographies. As such his work bends the ancestral with the contemporary; the traditional with the modern; the physical with the spiritual; the new with the old; and the past with the future. Oluseye re-animates found objects and detritus collected from his travels — which he terms “diasporic debris” — to trace Blackness through its multifaceted migrations and manifestations.
His latest solo exhibition, ‘Black Exodus: Summer Departure’, is a journey to finding self and forging an artistic identity rooted in play, honesty, travel and research. Spanning sculpture, installation and photography created over the past five years, the exhibition weaves the artist’s personal narrative, trans-Atlantic journeys and artistic evolution into a broader exploration of historical and contemporary Black life.
Q > How does where you live affect your work/artistic practice and output?
A > I am constantly on the go and have a few makeshift studios set up across the world. As a result, the objects I work with are varied and speak to the unique characteristics, culture and imbued energies of the places they are sourced from. My output is eclectic by nature — some of my sculptures are made up of as many as 50 parts.
Oluseye, 2023. Photography by Hayden Phipps. Southern Guild
Q > Tell us about some of your biggest influences and sources of inspiration.
A > Travel is my biggest inspiration. The ideas I choose to develop often come from the anecdotes and stories I hear while travelling, and likewise, the objects that become formal presentations of these ideas are derived from my travels. Some artists I admire are Alicia Henry, Mary Evans, Melvin Edwards, Rotimi Fani Kayode and Dame Magdalene Odundo.
Q > Connecting with ‘places’ through presence and absence — tell us about a journey or place which has triggered memorable emotions.
A > Ivory Coast has been the place where I’ve most enjoyed living and working. I enjoyed the ease and slow pace of life, learning to cast in bronze and taking at least three dips in the ocean per day. It was the perfect work-life balance.
Q > Describe your workspace.
A > My workspace is one big “organised clutter”. If it isn’t cluttered, then it doesn’t make sense.
Q > Which questions do you often ask yourself in relation to your work?
A > Am I having fun? Is this thing bringing me joy? How can I approach this idea playfully
Q > The most unusual/surprising object you’ve found and used in your art-making?
A > At a Pride parade a few years ago, a friend of mine bought me a black phallic candle as a joke. Now, it’s a central component of what I am certain will be one of my most iconic works — Blessed be The Negro Seed.
Q > What’s your favourite way to spend a weekend?
A > I like early mornings, coffee, wandering along an isolated beach and the possibility of finding materials for my practice.
Q > Legacy: what do you hope to leave behind?
A > I’d like to be remembered as someone who did everything with passion and to a high standard. Someone playful and thoughtful who infused life with joy.
Q > What’s the most satisfying part of your creative process (and why)?
A > I love the private moments of realising an idea is gold!
Q > An unexpected pleasure you’ve encountered in the last year?
A > Ankle support sneakers. They don’t always look great but wow — it’s a whole world of difference for someone dealing with pain associated with flat feet!
