Morphing patterns into narratives: A conversation with Chimemelie Okafor
Chimemelie Okafor is a visual artist whose style is categorised and inspired by the motifs and patterns of African prints. She holds a BFA in drawing and painting from OCAD University.
Can you tell us about your journey into art?
I think I’ve always been an artist, even before I decided to pursue it as a career. As a child, I would get really excited about school projects, biology drawings, making Christmas decorations and birthday cards by hand, and just finding different ways to be creative. It wasn’t until 2021 that I really made up my mind that I wanted to pursue art as a career. After four years at OCAD University, I now have a BFA in Drawing and Painting. My time at OCAD gave me the opportunity to take different classes, experiment, and have conversations with other artists, and these experiences have shaped my work into what it is today.
How has your background, culture, or upbringing shaped the way you create?
My painting style is inspired by the colours and patterns on West African textiles. Growing up, my mom would dress my siblings and me in traditional clothing, and we were always encouraged to embrace and learn more about our culture. I especially enjoyed getting to pick out our favourite fabrics before they were sewn into dresses.
I loved being surrounded by such beautiful colours and I’ve been able to transform these textiles into my own visual language. Recently, I’ve been exploring my Igbo culture more deeply through my work. My recent body of work explores original Igbo ways of knowing, particularly how Igbo people understood and experienced time. A lot of that research has also come from conversations and stories shared by my family.
Do you see yourself as an “African artist,” or simply an artist who happens to be African?
I see myself as an African artist, and more specifically, a Nigerian artist. A lot of the themes within my work are centered around stories and cultural knowledge from Nigeria, particularly my own Igbo culture. I look up to a lot of African artists, and I remember wondering if it was possible for me to become artists like them. I want the next generation of African artists to be able to see themselves in the art world and know that they can have a place in it too. I would love for my practice to become part of that representation and for people to learn about my culture through my work.
What does your creative process look like from idea to finished piece?
My process usually starts with research and I write down potential ideas as they develop. A lot of daydreaming also goes into my process as I imagine different ways I can translate these ideas into humanly gestures and shapes. Once I have a clearer idea of what I want to create, I take reference photos and make digital drawings to work out the composition. From there, I sketch the composition onto the canvas and begin painting. I work primarily with oil paint, and my painting process involves a lot of layering. I gradually build up the colours, details and patterns until the painting starts to come together as a visually compelling piece.
Are there particular materials, symbols, or recurring elements you’re drawn to?
I’m drawn to circles, spirals, and curves, which have become recurring elements in my work. After researching Igbo concepts of time, I became interested in the idea of time being non-linear, and I try to incorporate that through my signature curved linework.
How do you handle creative blocks or self-doubt?
When I’m experiencing a creative block, I like to consume different forms of media. I’ll attend exhibitions, watch movies, listen to music, look through fashion magazines, or go for a walk. I see colour inspiration everywhere, so sometimes just going outside inspires me and gives me new ideas to bring back into my work.
A message to emerging African artists?
Never limit yourself, your best work should be your next work